Art of the American West—June 4, 2024 | John Moran Auctioneers

Sale 283 145 East Walnut Avenue, Monrovia CA 91016

This is an interactive catalogue. Click on any item description or hyperlink for more information.

Friday, May 31st: 12-4pm Saturday, June 1st: 12-4pm

Monday, June 3rd: 12-4pm

Tuesday, June 4th: Doors open 9am

Maranda Moran Vice President, Head of Sale Specialist, Silver, Western & American Indian Art marandam@johnmoran.com

Sally Andrew Cataloguer, Silver, Western, & American Indian Art sally@johnmoran.com

Grant Stevens Cataloguer, Decorative Arts grant@johnmoran.com Tuesday, June 4, 2024—10am

Madison Ari Cataloguer, Fine Art mari@johnmoran.com

Mario Esquivel Office Manager mario@johnmoran.com Ella Fountain Client Services ella@johnmoran.com

1

Harrison (Haskay Yahne Yah) Begay (1917-2012, Navajo/Diné)

Native American ceremony

Gouache on light blue paper

Signed near the lower edge in English and Navajo: Harrison Begay / Haskay Yahne Yah

Sight: 19.75” H x 15.75” W

$600-800

2

Harrison (Haskay Yahne Yah) Begay (1917-2012, Navajo/Diné)

Figures with animals

Gouache on Arches paper

Signed near the lower edge in English and Navajo: Harrison Begay / Haskay Yahne Yah Sight: 28.25” H x 20.625” W

$1,000-1,500

3

Harrison (Haskay Yahne Yah) Begay (1917-2012, Navajo/Diné)

Native American medicine men

Gouache on paper

Signed mear the lower edge in English and Navajo: Harrison Begay / Haskay Yahne Yah Sight: 15.5” H x 17.5” W

$500-700

4

Harrison (Haskay Yahne Yah) Begay (1917-2012, Navajo/Diné)

Fire dancer

Gouache on paper

Signed near the lower edge in English and Navajo: Harrison Begay / Haskay Yahne Yah Sight: 14.75” H x 13.75” W

$400-600

5

20th Century American School

Starlit dance

Gouache on paperboard

Signed lower right: Warner 13” H x 11” W

$400-600

6

Michael (Lomawywesa) Kabotie (1942-2009)

Native American figure

Gouache and mixed media on paperboard

Signed lower right: Lomawywesa; titled in ink on a gallery label affixed verso 20” H x 16” W

$2,000-3,000

Provenance: Hopi Arts & Crafts, Mesa, AZ

Notes: Affixed to the frame’s backing paper are information sheets related to the artist.

7

Everett Gee Jackson (1900-1995)

“Hiawatha and the Iroquois Wampum” illustration from “Indian Legends,” circa 1968

Ink and graphite on illustration board

Signed, titled, and inscribed in pencil in the lower margin: Everett Gee Jackson Image: 6.75” H x 6” W (irreg.); Board: 14.875” H x 9.875” W

$800-1,200

Notes: This lot is accompanied by a description of the Native American legend being illustrated as well as a trifold biography of the artist.

Sandor Bernath (1892-1984)

View from above of a church in Taos Watercolor on paper

Signed lower right: Sandor Bernath

Image/Sheet: 13.75” H x 17.5” W

$1,000-1,500

9

Gene Kloss (1903-1996)

“The Old Road to Taos,” 1948

Drypoint on wove paper

From the edition of 35

Signed and titled in pencil at the lower margin: Gene Kloss Plate: 13” H x 12” W; Sheet: 17” H x 13.75” W

$1,000-1,500

Literature: Sanchez 428

Notes: According to the catalogue raisonne by A. Eugene Sanchez, “Midway up the old road to Taos a horse-drawn wagon is visible. This road was passable until a landslide closed it in early 1991.”

10

Gene Kloss (1903-1996)

“Taos Pueblo Stream,” 1983

Etching and drypoint on Somerset paper

An artist’s proof aside from the edition of 50

Signed, titled, and inscribed “Artist’s Proof” in pencil at the lower margin: Gene Kloss Plate: 7.5” H x 8.875” W; Sheet: 11.25” H x 13.625” W

$700-900

Literature: Sanchez 614

Notes: This work is also known as, “Pueblo Stream.”

11

Gene Kloss (1903-1996)

“Corn Dancers Coming,” 1975

Etching and drypoint on wove paper

An artist’s proof aside from the edition of 50 Signed, titled, and inscribed “Artist’s Proof” in pencil at the lower margin: Gene Kloss Plate: 11” H x 13.875” W; Sight: 11.75” H x 14.5” W

$800-1,200

Literature: Sanchez 569

13

Gene Kloss (1903-1996)

“The Rio Grande at Embudo,” 1984

Etching and drypoint on wove paper

An artist’s proof aside from the edition of 55 Signed, titled, and inscribed “Artist’s Proof” in pencil at the lower margin: Gene Kloss Plate: 7.5” H x 8.875” W; Sight: 8.25” H x 9.5” W

$800-1,200

Literature: Sanchez 620

Notes: An inscription in black pen on a label affixed to the frame’s backing paper reads: “About 2” down from the top border of this etching can be seen a portion of the old Narrow Gauge Railroad (bed) familiarly called the “Chile Line” because of the cargo it carried back to Colorado. Embudo was the first stop on the river coming down.”

This work is also known as “Rio Grande at Embudo.”

Gene Kloss (1903-1996)

“Courtyard in Chimayó,” 1973

Etching on Arches paper

An artist’s proof aside from the edition of 75

Signed, titled, and inscribed “Artist’s Proof” in pencil in the lower margin: Gene Kloss Plate: 7.5” H x 9” W; Sheet: 10.75” H x 13.125” W

$600-800

Literature: Sanchez 547

Notes: According to the catalogue raisonne by A. Eugene Sanchez, “This scene is believed to be a reverse glass transfer image of No. 243, “Mexican Houses” (Vol. I, Page 110), done in 1932 with a few modifications.”

14

Gene Kloss (1903-1996)

“Pines on Point Lobos,” 1938 Etching on Arches paper Edition: 65/75

Signed, titled, numbered, and inscribed “N.A.” in pencil at the lower margin: Gene Kloss

Plate: 9” H x 7” W; Sheet: 13.75” H x 10.5” W

$500-700

Literature: Sanchez 352

Wharton Harris Esherick (1887-1970)

“Trudging in the Snow (January),” 1922

Woodcut on paper

From the edition of unknown size

Signed and titled in pencil at the lower margin: Wharton Harris Esherick; and with the artist’s initials in the block at lower left; inscribed in pencil in the lower margin, possibly in another hand: January

Image: 9.25” H x 8.25” W; Sight: 9.625” H x 8.75” W

$800-1,200

Notes: One of the alternative titles for this woodcut is “January - Blankets of Snow.”

16

Ned Jacob (b. 1938)

“Cheyenne with Pendant Shield” Charcoal on paper

Signed lower right: Ned Jacob; titled in ink, verso Sight: 24” H x 14” W

$600-800

17

Patrick Swazo (1929-1974, Pueblo)

“Deer Dancers”

Charcoal on paper

Signed lower right: Swazo; titled on a label affixed to the frame’s backing paper

Sight: 19” H x 23” W

$500-700

Notes: This lot is accompanied by a card signed by Patrick Swazo.

18

Stetson Honyumptewa (b. 1959, Hopi-Tewa)

A Hopi angwusi katsina doll, 1988

Signed and dated to underside: Stetson Honyumptewa / 88; further marked: Penasco N Mx / 87553 / Angwusi (Crow) / Hopi Moenkopi AZ

The polychrome painted carved wood crow masked figure depicted with turquoise necklace and holding two whips 17.125” H x 6.125” W x 5.5” D

$500-700

Gregory Lomayesva (b. 1971)

A Hopi Shalako-style katsina mask, 1997

Signed and dated verso: Gregory Lomayesva / 97

The polychrome painted carved wood mask surmounted by two smaller figures, decorative feathers, and a leather strap, with woven red yarn fixed verso 17” H x 17” W x 5” D

$500-700

20

Paul Pletka (b. 1946)

“Making Strong Talk” Mixed media on paper laid to board Signed lower right: Paul Pletka; titled on a label affixed to the frame’s backing paper 13” H x 28” W

$4,000-6,000

Provenance: Gallery A, Taos, NM

Exhibited: New York, NY, Coe Kerr Gallery, “Paul Pletka: Indians of the Plains,” April 5-29, 1978

22

Veloy Vigil (1931-1997)

“Grey Feather” Oil on canvas

Signed lower right: V. Vigil; titled by repute

72” H x 68” W

$3,000-5,000

21

Polia Pillin (1909-1992)

“Indian Girl” Gouache on paper

Unsigned; titled on two labels affixed to the frame, verso Sight: 10” H x 12” W

$800-1,200

An American pine step-back cupboard Mid-18th century; Hudson Valley, NY

The red painted cupboard with carved wavy side panels and two shelves above a single cabinet door with iron hinges revealing a single inner shelf 72.75” H x 34.75” W x 15” D

$1,500-2,500

Provenance: Jerome Blum, Lisbon, CT

Private collection, acquired from the above 1984

A carved wood mirror 20th century

Appears unmarked

The wood frame assembled in the manner of intertwining vines

47” H x 33.25” W x 2.5” D

$600-800

25

Earle Stroh (1924-2005)

Luminous southwestern landscape, 1985 Pastel on paper

Signed and dated in pencil lower right: E. Stroh Sight: 19.5” H x 25.25” W

$600-800

Bill Worrell (1936-2021)

“Pecos Archaic Shaman”

Patinated bronze and stone

Incised signature to underside: Worrell; further incised, dated, and possibly numbered illegibly; attributed and titled to previous dealer’s paper label

Overall: 12.5” H x 6.75” W x 5.25” D

$500-700

28

Fritz Scholder (1937-2005, Luiseno)

“Snake Dancer,” 1979

Lithograph in colors on Arches paper Edition: 135/150 (there were also 15 artist’s proofs) Signed and numbered in pencil in the lower edge, at right: Scholder; with the artist’s blindstamp in the lower edge, center; Stephen Britko and Catherine Kisch Kuhn, prntr.; Tamarind Lithography Workshop, Inc., Los Angeles, pub.; and with their blindstamps in the lower sheet edge, at Image/Sheet: 30” H x 22” W

$800-1,200

Literature: Tamarind 79-636

27

20th Century American School

Three figures, 1990

Oil on canvas

Partially indistinctly signed, dated, and inscribed lower left

24” H x 36” W

$800-1,200

Oscar Howe (1915-1983, Yanktonai Dakota)

Oscar Howe was a renowned Native American artist Dakota culture and mythology. Born on the Crow was deeply influenced by the rich visual traditions

Despite facing significant obstacles as a Native one of the most respected and celebrated artists techniques, eventually developing a highly individualized forms. He drew inspiration from the geometric designs sweeping lines of modernist painting.

Throughout his career, Howe created a vast body and installations. His art was exhibited widely in numerous awards and honors for his contributions Oscar Howe remained committed to his artistic

In 2022, a major exhibition titled “Dakota Modern: New York which reintroduced Howe’s work to contemporary Museum in Oregon and will be on view at the South September 17, 2023.

Oscar Howe and John “Leonard” Jennewein were professor of history and of English from 1953 until letterhead. It Is unknown if this ever happened.

artist who is best known for his innovative and expressive depictions of traditional Crow Creek Reservation in South Dakota, Howe grew up immersed in his heritage and traditions of his people.

American artist in a predominantly white art world, Howe persevered and became artists of his generation. Howe experimented with a wide range of artistic styles and individualized style that blended traditional Dakota imagery with contemporary abstract designs and bright colors of Dakota beadwork and quillwork, as well as from the bold,

body of work that included paintings, drawings, prints, and murals, as well as sculptures in galleries and museums across the United States and Europe, and he received contributions to the field. Despite facing discrimination and marginalization throughout his life, vision and his cultural heritage.

Modern: The Art of Oscar Howe” opened at the National Museum of the American Indian, contemporary audiences. The exhibition subsequently traveled to the Portland Art South Dakota Art Museum at South Dakota State University from June 10, 2023 to

were good friends/colleagues at Dakota Wesleyan University, where Jennewein was a until his death in 1968. This piece of Howe’s artwork was to be adapted to copy paper

29

Oscar Howe (1915-1983, Yanktonai Dakota)

Smoke signals, circa 1953

Casein on paper

Initialed lower right: OC; inscribed and dated in ink, presumably in another hand, on the frame’s backing paper: “Done to be used / as a letterhead;” titled by repute Image/Sheet: 25.75” H x 7” W (irreg.)

$60,000-80,000

Provenance: John “Leonard” Jennewein, acquired from the artist circa 1953 Linova Jennewein, daughter of Leonard, Rapid City, SD By descent from the above, Rapid City, SD

30

Oscar Howe

(1915-1983, Yanktonai Dakota)

Blessings for fertility, circa 1957

Casein on paper

Signed lower right: Oscar Howe; titled by repute Image/Sheet: 12” H x 18” W

$30,000-50,000

Provenance: John “Leonard” Jennewein, acquired from the artist circa 1957 Linova Jennewein, daughter of Leonard, Rapid City, SD By descent from the above, Rapid City, SD

Notes: Provenance traces the painting’s journey from the artist to John “Leonard” Jennewein. Oscar Howe and Jennewein shared a close friendship and professional relationship at Dakota Wesleyan University, where Jennewein held a professorship. When Jennewein’s son tied the knot, Howe crafted this painting in his classic “Santa Fe” style as a heartfelt wedding present for the newlyweds. Its significance transcended mere artistry, as Howe conveyed to the couple that it symbolized fertility. Remarkably, Howe’s gift bore fruit, as the couple was later blessed with a son and a daughter. The current owner of this work is the daughter that this painting had hoped for.

Rhonda Holy Bear (Cheyenne River Lakota Sioux, b. 1960)

A female Lakota Sioux figure, circa 2000s

Unmarked

The carved and polychromed wood figure adorned in fully painted hide Ghost Dance dress with feather and tin cone trim, accented with a brass studded leather belt and beaded moccasins, raised with wire armature mounted on an acrylic base

Figure: 18” H x 8” W x 3” D; Base: 0.75” H x 5” W x 5” D

$2,000-3,000

32

Randall Sahmie (1950-2008)

Hopi Kachina figure

Oil on canvas

Signed lower right: RSahmie; illegibly dated lower right

34” H x 15” W

$800-1,200

Signed lower right: L. Brown

Image/Sheet: 14” H x 18” W

$400-600

Lewis Brown (b. 1945)

Navajo weavers

Tempera on paper

Mixed media on canvas laid to panel

Signed lower left: Natalie Skynear; signed again, twice, and titled, all verso; titled again on a gallery label affixed verso

27.5” H x 22.5” W

$800-1,200

Provenance: Gallery 10, Inc., Sutter Creek, CA

34

Natalie Skynear (b. 1944)

“Unruly Son”

35 Lon Megargee (1883-1960)

Portrait of a Native American Oil on canvas laid to board

Signed lower right: L. Megargee

9” H x 7.375” W

$2,000-4,000

36

Ira Yeager (1938-2022)

Profile of an Indian Oil on canvas

Signed lower right: Ira Yeager

60” H x 60” W

$3,000-5,000

37

Clarence Ellsworth (1855-1961)

Portrait of a woman, 1955

Oil on canvas laid to paperboard

38

Robert Ritter (b. 1951)

“Clarita”

Oil on canvas

Signed lower left: Ritter; titled on a label affixed to the upper portion of the frame, verso 60” H x 48” W

$1,000-1,500

Signed and dated lower right: Clarence Ellsworth

9.5” H x 7.5” W

$600-800

39

Don Oelze (b. 1965)

“As Light Fades” Oil on canvas

Signed lower left: Oelze; titled on the frame plaque

40” H x 42” W

$20,000-30,000

40

Charles Craig (1846-1931)

Horserider in a field

Oil on canvas laid to canvas

Signed lower right: Chas. Craig

13.5” H x 21” W

$2,000-3,000

41

Gray Bartlett (1885-1951)

Native Americans on horseback at a watering hole

Oil on canvas

Signed and with the artist’s device lower right: Gray Bartlett

16” H x 20” W

$1,500-2,000

42

Florence Cramer (1883-1962)

Riders on horseback, 1925

Gouache and watercolor on paperboard

Signed twice and dated lower left: Cramer

Sight: 14.25” H x 11.5” W

$600-800

43

Signed and with the artist’s device lower right: Heinie

titled verso 9” H x 14” W

$800-1,200

Provenance: El Centro Gallery, Santa Fe, NM

Heinie Hartwig (b. 1937)

“High Mountain Snow” Oil on Masonite

Hartwig;

44

Reid Christie (b. 1951)

“Crow Warning - Blackfoot Council,” 1994 Oil on panel

Signed lower right: Christie ©; signed again, titled, dated, and numbered “1320,” all verso 14” H x 18” W

$800-1,200

Provenance: Big Horn Galleries, Cody, WY/Tubac, AZ

45

Ron Stewart (b.1941)

“Following the Streams”

Watercolor and gouache on paper

Signed and titled lower left: Ron Stewart ©, with an additional watercolor and gouache vignette lower right

Sight of main image: 10.5” H x 14.5” W; Sight of vignette: 2” H x 4” W

$500-700

46

Albert “Weasel Arrow” Lujan (1892-1948)

Two works:

Figures in a Pueblo scene Oil on board

Signed and inscribed lower right: Albert Lujan / Taos, N. Mex

4” H x 6” W

Pueblo scene Oil on board

Signed and inscribed lower right: Albert Lujan / Taos, N. Mex

4” H x 6” W

$800-1,200

47

Nan Sheets (1885-1976)

Church with mountains Oil on canvas

Signed lower right: Nan Sheets 12” H x 16” W

$600-800

48

Mark Voris (1907-1974)

“Where Some Mexicans Live,” 1933 Oil on canvas

Signed and dated lower left: Mark Voris; signed again and titled on the stretcher 26” H x 36” W

$1,000-1,500

49

Eileen Monaghan Whitaker (1911-2005)

“La Pinata”

Watercolor on paper

Signed lower left: Eileen Monaghan Whitaker, a.w.a; titled on the frame’s backing board

Sight: 29.5” H x 21.5” W

$500-700

50

Mark Thompson (b. 1947)

Still life with a buffalo skull Tempera on panel

Signed lower right: S. M. Thompson © 45” H x 38” W

$1,500-2,500

51

Ronald Crooks (1925-2006)

“Basket Weaver” Oil on Masonite

Signed lower left: R. Crooks; titled and inscribed with the inventory number and artist copyright, verso: #328 30” H x 24” W

$600-800

52

R. C. Gorman

(1931-2005, Navajo/Dine)

“Evangelina (State I),” 1980

Lithograph in colors on wove paper

Edition: 90/175

Signed, numbered, and dated in pencil along the lower edge: R.C. Gorman; Ben Q. Adams, prntr.; Western Graphics Workshop, Albuquerque, NM, pub; with the artist’s, printer, and publisher blindstamps at the lower edge

Image/Sheet: 29.5” H x 22” W

$300-500

Provenance: Galleria Capistrano, San Juan Capistrano, CA

Private collection, acquired from the above

Literature: Adams and Newlin 182 i/ii

An Apache olla basket

Early/mid-20th century; Southwestern United States

A tall coiled olla with five columns of conjoined diamonds and floating crosses 10.25” H x 9” Dia.

$800-1,200

54

A polychrome Yokuts “Friendship” basket

Early/mid-20th century; Central California

A coiled large oval low bowl with a band of male figures holding crosses below a checkered band

5.25” H x 14.75” W x 11.25” D

$1,000-1,500

55

A polychrome Yokuts basket

Late 19th century; Central California

A coiled flared bowl with rim ticking and four radiating stepped arms issuing from base

4.375” H x 9.5” Dia.

$600-800

A large polychrome Yokuts basket

Early/mid-20th century; Central California

A coiled large bowl with rim ticking and nine columns of alternating zigzags, stacked arrowheads, and chevron motifs

8” H x 15.5 “ Dia.

$700-900

large Pima basketry tray

Early/mid-20th century, Akimel O’odham; Southwest United States coiled tray with a stepped concentric star motif radiating from center

5.5” H x 18” Dia.

$800-1,200

A large group of Native American basketry

Early/mid-20th century

Seven coiled baskets including two dichromatic Papago small bowls, each with stepped motifs (larger: 3.5” H x 6.5” Dia; smaller: 3” H x 6” W), two shallow lidded round baskets (larger: 3.5” H x 8” Dia.; smaller: 3” H x 5.5” Dia.), a small tapered globular bowl (3.5” H x 5.5” Dia.), a large polychrome basketry bowl with striped bands (5.25” H x 11” Dia.), and a hat-shaped basket with flared rim and checkered band (4” H x 11.25” W), 7 pieces

$400-600

Marjorie Reed (1915-1996)

American artist Marjorie Reed’s vivid colors and of the real and imagined American West. While fascination with the iconic image of the West, the

Born in Illinois in 1915 to a family of artists and Stephen Reed, was a commercial artist, and as Reed work as well. The Reed family moved to Los Angeles a job at the Walt Disney Studios. Having done some left soon after, disliking the regimentation and

Reed’s artistic direction would change once she tutelage of Jack Wilkinson Smith, Reed was encouraged passionately enamored with the great outdoors work in those fields, she became determined to that Reed would walk eighteen miles a day, exploring

Reed befriended Captain William Banning, who set out in a Model T, retracing the route of the famed on. From these sketches, Reed created colorful, Southwest.

Reed completed her first series of Butterfield Stage same year. Reed would continue this research cycle, stagecoach and Western art would continue through would compel her to move over eighty times, spending collected by luminaries such as James S. Copley, collectors. Marjorie Reed passed away in 1996,

expressive strokes bring to life some of the most engaging and entertaining images Reed depicted scenes of cowboys and ranchers, what sets Reed’s work apart is her the stagecoach.

art enthusiasts, Reed began dabbling in art at three years old. Reed’s father, Walter Reed grew older and trained as an artist under him, she began to take on commercial Angeles when Marjorie was 14, and later, like many Southern California artists, she took some commercial work for Disney, Reed was taken into the animation department, but repetitiveness of animation work.

began taking art classes at Chouinard Art Institute in the mid-1930s. Under the encouraged to follow her passion for the outdoors and ranch life. Reed had become and life of cowboys and ranchers in the Southwest, and though she had been denied to capture the spirit of the West in her paintings. Some of her friends would even state exploring the countryside around Los Angeles.

who had been a stagecoach driver. Reed was inspired by these tales of the stagecoach, famed Butterfield Overland Mail Stage and sketching out images for paintings later colorful, exciting images of the Butterfield stagecoaches soaring across the plains of the

Stage paintings in 1957, with a book, “The Colorful Overland Stage,” published the cycle, traveling, sketching, and painting, for the rest of her life. Other cycles of through the 1960s and 1970s. Her passion for the images and history of the West spending much of her time in Tombstone, Arizona. Her work became quite popular, Copley, the publisher of the San Diego Union and San Diego Tribune, and numerous private leaving behind a voluminous legacy of American art.

59

Marjorie Reed (1915-1996)

“Wen Tsosie’s Little Sister, Navajoland” Oil on canvasboard

Signed lower right: Marjorie Reed; titled on a label affixed, verso 9” H x 12” W

$400-600

60

Marjorie Reed (1915-1996)

“Winter Eve at Sam Day’s Chinle Trading Post” (now Thunderbird Lodge) Oil on canvas

Signed lower right: Marjorie Reed; titled on a label affixed to the stretcher

30” H x 40” W

$4,000-6,000

61

Marjorie Reed (1915-1996)

“On Time at the Change Station” Oil on canvasboard

Signed lower right: Marjorie Reed; signed again, titled, and inscribed in ink, verso: Sketch for Large Painting 11” H x 14” W

$1,000-1,500

62

Marjorie Reed (1915-1996)

“Passing of the the Stage in Earthquake Valley” Oil on canvasboard

Signed lower right: Marjorie Reed; titled in black pen, presumably in another hand, on a label affixed verso

8” H x 10” W

$1,000-1,500

A Volpiani Workshop Arts & Crafts Prairie-style bookcase

Late 20th century

Burn marked to upper right proper cabinet interior: Volpiani Workshop

The quarter sawn wood bookcase with butterfly and mortis and tenon construction, featuring four custom Paul Crist (b. 1944) leaded glass cabinet doors with white and iridescent glass accents, each revealing two adjustable shelves, above four lower cabinet doors with copper pulls on hammered escutcheons, each revealing a single adjustable shelf

68.25” H x 66.25” W x 17” D

$1,000-1,500

63

Clay Foster (b. 1954)

A large turned wood bowl, 1989

With burn etched signature and date to underside: C. Foster / 89

The high-shouldered bowl with natural gaps and ragged edges inherent in the material

14.25” H x 16.125” Dia.

$300-500

Notes: This lot is accompanied by an informational sheet including exhibition history of the artist’s work from Frontroom Gallery, Dallas, TX.

64

Bruce Bernson (1950-2014)

Two burlwood bud vases, late 20th century

One incised near base: Bruce Bernson / usa ‘81’ / Wild Lilac Burl; the other incised: Bruce Bernson / Oak Burl

Each globular turned wood vessel with flared rim fitted with a glass insert 2 pieces

Larger: 9.875” H x 5.75” Dia.; Smaller: 7.75” H x 5.625” Dia.

$200-300

An Arts & Crafts-style partner’s desk

Late 20th century

Volpiani Workshop

The quarter sawn wood double-sided desk with butterfly and mortis and tenon construction and copper pulls on hammered escutcheons, one side featuring opposed cabinets revealing a single adjustable shelf, the other side featuring two opposed drawers above a file drawer, centering another wide drawer, all surmounted by a brown leatherwrapped top bordered by large round brass studs

30.5” H x 76.75” W x 6.75” D

$1,000-2,000

67

An Arts & Crafts-style file cabinet

Late 20th century Volpiani Workshop

The quarter sawn wood console cabinet with butterfly and mortis and tenon construction and copper pulls on hammered escutcheons, featuring two cabinet doors revealing a single adjustable shelf centering two opposed stacked file cabinets to each side, the top mounted with posterior gallery rail

31.5” H x 69.5” W x 25” D

$600-800

69

A Stickley “Prairie Spindle Settle,” no. 89-234 2005; Manlius, NY

With piecrust Stickley burn mark and metal tag bearing the shop mark [joiner’s compass]; dated and marked: #52; further marked: 89-234

The oak wood loveseat from Stickley’s nostalgic “Mission” collection, with pegged construction and corbeled flat arms and crest rails raised on slats, all joined by a box rail, featuring floral pattern cotton upholstered cushions

29.75” H x 84.5” W x 37.5” D

$500-700

68

A Stickley “Prairie Loveseat,” no. 89-210 1993; Manlius, NY

With piecrust Stickley burn mark and metal tag bearing the shop mark [joiner’s compass]; dated and marked: #35 Fayetteville; further marked: 89-210

The oak wood loveseat from Stickley’s nostalgic “Mission” collection, with pegged construction and corbeled flat arms and crest rails raised on flat panels, all joined by a box rail, featuring floral pattern cotton upholstered cushions

29” H x 67.5” W x 37.5” D

$800-1,200

70

An Arts & Crafts copper table lamp Early 20th century Shade stamped with illegible mark

The two-light converted gas lamp with foliate sheet metal mounts raised on a Spanish-style wrought iron stand with conforming elements and married with a Glasgow-style pierced copper shade with Scotch thistle and dot design, electrified Lamp: 18.5” H x 17.75” W x 15.25” D; Shade: 9.75” H x 22” W x 19” D

$800-1,200

72

A pair of copper candlesticks

Early/mid-20th century Each unmarked Hammered copper three-light candlesticks, 2 pieces Each: 9.75” H x 13.25” W x 6.325” D

$300-500

A Wilkinson table lamp model 515

Early 20th century

Base marked in relief to underside: 515

The Art Nouveau three-light patinated bronze table lamp raised on four feet and surmounted by a later replaced lavender slag glass shade featuring foliate overlay, electrified

Overall: 24” H x 15” W x 15” D; Shade height: 8.5”

$800-1,200

Literature: This model base illustrated: Crist, Paul. ‘’Mosaic Shades Volume II.” (Santa Fe Springs: Paul Crist Studios, 2005), p. 265

A Puebloan wearing blanket

Circa 1900; Southwestern United States

Woven with natural brown, blue/grey, and natural cream handspun wool with evenly spaced striped banding

56” H x 46” W

$2,000-3,000

Provenance: Dr. & Mrs. Leon F. Rosenberg, New Haven, CT, Yale

74

A large Navajo Moki weaving Late 19th/early 20th century, Diné Woven in red, purple, black, and cream wool with a serrated conjoined zigzag diamond motif floating over a thinly banded field of purple and black 103” H x 70” W

$2,500-3,500

75

A Navajo Second Phase chief’s blanket

Early 20th century, Diné With banded motifs woven in red, indigo, and cream wool

69.5” H x 54” W

$1,500-2,500

76

A Navajo Third Phase chief’s blanket

Late 19th century, Diné

Woven in alternating bands of dark brown/black and natural cream wool with red and purple banding and crosses 41.5” H x 57” W

$2,000-3,000

Provenance: Dr. & Mrs. Leon F. Rosenberg, New Haven, CT, Yale

A Navajo Third Phase chief’s blanket Late 19th century, Diné

A banded blanket woven in cream, light and dark brown, red, dark blue, turquoise, and purple wool, with columns of checkered diamonds

58” H x 63.5” W

$2,000-3,000

Provenance: Gerhardt Tribal Art, Lebanon, OH

Notes: This lot accompanied by a copy of a purchase receipt from Gerhardt Tribal Art, Lebanon, OH, dated November 1993.

Owner’s notes indicate ex-collection Paul Gray, Lebanon OH.

78

A Navajo Third Phase-style wearing blanket

Early 20th century, Diné

Woven in red, blue, black, cream, and ochre wool with alternating stepped diamond and striped banding

42” H x 41.5” W

$800-1,200

Provenance: Dr. & Mrs. Leon F. Rosenberg, New Haven, CT, Yale

79

A Navajo transitional blanket

Late 19th century, Diné

Woven in red, yellow, cream, dark brown, and green wool with serrated banding and a central band of elongated diamonds

71.5” H x 49” W

$1,000-1,500

Provenance: Charles H. Gerhardt, Antiques and Tribal Art, Lebanon, OH

Notes: This lot accompanied by a copy of a purchase receipt from Charles H. Gerhardt, Antiques and Tribal Art, Lebanon, OH, dated October 1993.

Owner’s notes indicate ex-collection Edna Kelly, Centerville, OH.

80

A Navajo small dress panel

Circa 1900, Diné

The panel comprising one half of a dress, finely woven in red and brown wool with alternating stepped and striped banding

36.5” H x 24.5” W

$700-900

Provenance: Dr. & Mrs. Leon F. Rosenberg, New Haven, CT, Yale

81

A Navajo transitional weaving Circa 1900, Diné Woven in natural cream, red, and blue handspun wool with floating stepped diamonds and crosses, with areas of lazy lines

58.75” H x 44.25” W

$1,000-1,500

Provenance: Dr. & Mrs. Leon F. Rosenberg, New Haven, CT, Yale

Notes: Attached retail tag indicates “c. 1885-90; Blue is all indigo.”

82

A Navajo saddle blanket

Late 19th/ early 20th century, Diné

With a stepped cross center, sawtooth border to short ends, and fringe to one long edge, woven in multicolored wool

35” H x 27.75” W

$400-600

A Germantown saddle blanket

Late 19th century century, Diné

With two columns of stacked and serrated diamonds and chains to border, woven in red, green, cream, and purple wool

42.25” H x 23” W

$400-600

84

A Navajo eyedazzler blanket

Late 19th century, Diné

Woven in red, cream, grey-brown, and dark brown wool in an all-over serrated diamond motif with a band of floating crosses at each end

75.5” H x 52” W

$800-1,200

Provenance: Charles H. Gerhardt, Antiques and Tribal Art, Lebanon, OH

Notes: This lot accompanied by a copy of a purchase receipt from Charles H. Gerhardt, Antiques and Tribal Art, Lebanon, OH, dated November 1993.

This lot with attached tag: Ex Edna Kelly, Centerville, OH. #53.

85

A Navajo regional rug

Early 20th century, Diné

Woven in red, cream, brown, and dark grey wool with a central conjoined diamond motif and floating serrated diamonds

63” H x 45.5” W

$800-1,200

86

A Navajo regional rug

Mid-20th century, Diné

Woven in red, cream, brown, black, and turquoise wool with three rows of various diamonds and an elaborate turquoise border

63” H x 54” W

$700-900

87

A Navajo single saddle blanket

Circa 1920, Diné

Woven with red, natural grey, brown, and white wool with a central panel and banded border, with lazy lines throughout 32.75” H x 30” W

$700-900

Provenance: Dr. & Mrs. Leon F. Rosenberg, New Haven, CT, Yale

88

A Navajo double saddle blanket

Early 20th century, Diné

Woven in cream, red, and brown wool with two ghost squares to center and diagonal serrated corners

46” H x 27” W

$500-700

Provenance: Dr. & Mrs. Leon F. Rosenberg, New Haven, CT, Yale

89

A Navajo regional rug

Circa 1920, Diné

Woven in red, dark brown, light brown, grey, and cream handspun wool with an open center, floating X elements, and a hooked border

63.5” H x 36” W

$700-900

Provenance: Dr. & Mrs. Leon F. Rosenberg, New Haven, CT, Yale

90

A Navajo double saddle blanket

Circa 1920-1950, Diné

Woven with natural undyed cream wool with black and red woven accents at each corner, and with lazy lines throughout the center

60” H x 28” W

$500-700

Provenance: Dr. & Mrs. Leon F. Rosenberg, New Haven, CT, Yale

91

A Navajo regional rug

Circa 1920, Diné

Woven in natural brown, tan, and dark brown handspun wool with an open center and elongated terraced stepped border

59” H x 35.5” W

$700-900

Provenance: Dr. & Mrs. Leon F. Rosenberg, New Haven, CT, Yale

92

A Navajo double saddle blanket Circa 1920-1930, Diné Woven in light brown, dark brown, red, and pink handspun wool with various alternating bands and hooked ends 55” H x 30.5” W

$500-700

Provenance: Dr. & Mrs. Leon F. Rosenberg, New Haven, CT, Yale

93

A Stickley “Morris Manual Recliner,” no. 89-406 and ottoman 2004; Manlius, NY

Each with piecrust Stickley burn mark and metal tag bearing the shop mark [joiner’s compass]; chair dated and marked: 89-406 / #35; ottoman dated and marked: 89495 / #35

The contemporary wood chair from Stickley’s nostalgic “Mission” collection, with bowed, corbeled, and slatted arms and ladder back with manually adjustable recline at four settings, all atop four square legs joined by a box rail, featuring “Blackberry” leather upholstered drop-in seat and back cushion, with matching ottoman, 2 pieces

Chair: 41” H x 34.5” W x 40” D; Ottoman: 15.75” H x 19” W x 15” D

$800-1,200

A Stickley “Mission Settle,” no. 89-208 2004; Manlius, NY

With piecrust Stickley burn mark and metal tag bearing the shop mark [joiner’s compass]; dated and marked: #35; further marked: 89-208

The wood settle from Stickley’s nostalgic “Mission” collection, based on Gustav Stickley’s 1902 design, with four posts and mortis and tenon construction and slatted arms and back, all joined by a box rail, featuring “Blackberry” leather upholstered cushions and two throw pillows

29.75” H x 77.5” W x 33.75” D

$700-900

95

A Navajo regional rug/saddle blanket Mid-20th century, Diné With two central serrated diamonds and a sawtooth border to two sides, woven in red, dark brown, grey, and cream wool

46.5” H X 37.5” W

$150-250

96

A Navajo regional rug

Early 20th century, Diné

Woven in cream, red, light and dark grey, and dark brown wool with two central conjoined stepped hooked diamonds and a red cross motif border

91” H x 51” W

$1,000-1,500

97

A large Navajo regional rug

Early 20th century, Diné Woven in cream, grey, tan, and dark brown wool with a central stepped conjoined column motif and stepped border 110” H x 63” W

$1,000-1,500

98

A Navajo regional rug

Mid-20th century, Diné With two columns of stacked diamonds and an elaborate stepped border woven in red, brown, grey, and cream wool

85” H x 55” W

$500-700

99

A Navajo regional rug

Mid-20th century, Diné With two columns of conjoined serrated diamonds and floating interior elements woven in cream, red, black/dark brown, and grey wool

60.5” H x 41.5” W

$300-500

100

A Navajo regional rug

Early 20th century, Diné Woven in cream, grey, and dark brown wool with a central X motif

80” H x 60” W

$800-1,200

101

A Navajo regional rug

Early/mid-20th century, Diné

A stepped concentric diamond motif to center woven in red, orange, cream, dark and light brown wool

64” H x 47.5” W

$600-800

102

A Navajo regional rug

Early-20th century, Diné

Woven in red, cream, grey, and dark brown wool in a stylized stepped X motif and with banded ends

56.5” H x 42” W

$500-700

103

A Navajo regional rug

Mid-20th century, Diné

Woven in red, cream, brown, natural grey, and black wool with two central conjoined sawtooth diamonds and banded ends

57.5” H x 43” W

$500-700

104

A large Navajo regional rug

Mid-20th century, Diné

With two central stepped diamonds, hooked cross motifs, and an elaborate sawtooth border woven in red, cream, dark brown, and grey/brown wool

129.5” H x 66.5” W

$1,000-2,000

105

A Navajo regional rug

Mid-20th century, Diné

Woven in red, cream, light and dark brown wool with a central stepped diamond, red sawtooth motif to sides, and an elaborate stepped border to two sides

67.5” H x 37” W

$300-500

106

A large Navajo regional rug

Early 20th century, Diné

Woven in cream, red, tan, light and dark brown wool with two large central stepped diamonds and floating motifs including loom weaving beater forks and wool carding combs

96.5” H x 60.5” W

$1,000-1,500

Provenance: Charles H. Gerhardt, Antiques and Tribal Arts, Lebanon, OH

Notes: This lot accompanied by a copy of a purchase receipt from Charles H. Gerhardt, Antiques and Tribal Arts, Lebanon, OH, dated October 1993.

Owner’s notes indicate ex-collection Edna Kelly, Centerville, OH.

107

A Navajo regional rug

Early/mid-20th century, Diné

Woven in red, cream, light gray, and dark brown wool with a central conjoined serrated diamond motif and hooked border

69.5” H x 39” W

$500-700

108

A Navajo regional rug

Mid-20th century, Diné

Woven in red, cream, ochre, light and dark brown wool with two central conjoined stepped diamonds and floating feather motifs to ends and sides, with red and brown banded border

58.5” H x 44.5” W

$600-900

109

A Navajo picoriall rug

Mid-20th century, Diné

Woven in cream, dark brown, and tan wool with a central stacked diamond motif, floating feathers, and an elaborate border

39.5” H x 32.5” W

$200-400

A Navajo storm pattern rug

Mid-20th century, Diné

Woven in red, cream, light grey, and black wool with a stepped conjoined central diamond, sawtooth edges, stepped corners, and a complex border to two sides

55” H x 36.5” W

$400-600

111

A Navajo Red Mesa rug

Early 20th century, Diné

Woven in grey, brown, cream, red, tan, and yellow wool with a central column of graduated serrated diamonds with a complex stepped border on two sides

76” H x 54.5” W

$700-900

A Navajo regional pictorial rug

Early 20th century, Diné

Woven in dark and light brown, red, orange, tan, and cream wool in a Storm pattern with bow, arrow, and waterbug motifs

59.5” H x 36” W

$500-700

Provenance: Charles H. Gerhardt, Antiques and Tribal Art, Lebanon, OH.

Notes: This lot accompanied by a copy of a purchase receipt from Gerhardt Tribal Art, Lebanon, OH, dated October 1998.

113

A Lizzie Yazzie Navajo pictorial storm textile

Elizabeth Yazzie (b.1947, Diné)

Mid/late 20th century

Attributed to Lizzie Yazzie, woven in black, brown, cream, dark blue, red, and multicolored wool in a Storm pattern variation with figures, animals, structures, and landscape motifs

66.5” H x 40.5” W

$700-900

Notes: Artist’s attribution from consignor’s inventory records.

A Navajo regional rug

Mid-20th century, Diné

Woven in red, cream, light grey, and black wool in a graphic double stepped motif

44” H x 26” W

$300-500

A Navajo regional rug

Mid-20th century, Diné

Featuring an eyedazzler motif with two conjoined serrated diamonds woven in red, black, grey, and cream wool

47” H x 32” W

$300-500

116

A Navajo regional rug Mid-20th century, Diné With central stacked diamonds to center and stepped border woven in red, cream, dark brown, light brown, and grey wool 95” H x 57” W

$700-900

117

A Navajo regional rug

Mid-20th century, Diné

With a radiating serrated diamond motif woven in red, cream, grey and dark brown wool

61” H x 41.5” W

$300-500

A Susie Begay Navajo regional textile

Susie Begay (b. 20th century, Diné)

Late 20th century

Attached tag with artist attribution from: Crownpoint Rug Weavers Association

A moki-style weaving in red, blue, black and white wool

36” H x 21.75” W

$200-400

119

A Navajo regional rug

Mid-20th century, Diné

With multiple whirling log motifs woven in red, brown, dark and light grey wool

91” H x 50” W

$800-1,200

A Navajo regional rug

Early/mid-20th century, Diné

With an elongated central diamond and floating letter elements on a linked fret border woven in cream, dark and light brown wool with lazy lines

57.5” H x 42” W

$700-900

121

A Navajo regional rug

Early/mid-20th century, Diné

A barbed zigzag motif woven in dark brown and grey on cream wool

87” H x 56” W

$800-1,200

A Navajo regional rug

Mid/late 20th century, Diné

Woven in natural colors of cream, tan, ochre, and light blue/gray wool with a central column of stepped diamonds, and half columns to each side

72” H x 35.5” W

$400-600

A Navajo regional rug

Late 20th century, Diné

Woven in natural yellow, ochre, and tan colors with conjoined hooked crosses to center

59.5” H x 30.75” W

$400-600

A Navajo regional rug

Mid-20th century, Diné

With floating diamond motifs woven in vegetal dyes of gold, cream, grey, and tan wool

68” H x 41” W

$400-600

A Navajo Chinle blanket

Late 20th century, Diné

With alternating diamond and stripe banded motifs in vegetal dyes of yellow, ochre, and cream wool

76” H x 55.5” W

$700-900

A Navajo Chinle textile

Early 20th century, Diné

A banded blanket woven in ochre, tan, salmon, orange, brown, and grey wool with alternating bands of floating round elements

60” H x 37.5” W

$600-800

Notes: This lot accompanied by a Certificate of Authenticity from The Native American Art Gallery, Venice CA, dated May 2001.

127

A Navajo regional mat

Early/mid-20th century, Diné

With two variations of diamond motifs to each end in orange, brown, and grey wool

47.5” H x 25.5” W

$300-500

128

A Navajo regional rug

Mid/late 20th century, Diné

The sampler with alternating woven in multicolor wool

57” H x 43” W

$500-700

A Navajo regional rug

Mid-20th century, Diné

Woven in cream, red, black, orange, and grey-brown wool in an allover geometric star pattern with banded ends

56” H x 32.5” W

$200-400

A Navajo regional rug

Mid-20th century, Diné

Woven in grey, ochre, and dark brown wool in an optical geometric motif

50.5” H x 37.5” W

$400-600

A Navajo pictorial textile

Early 20th century, Diné

Woven in red, light brown, grey, black, cream, and beige wool with a central conjoined figural motif, feathers, and a complex diamond banded border

75.5” H x 44” W

$3,000-5,000

132

Marjorie Reed (1915-1996)

“The Stage is Here!” 1975 Oil on canvasboard

Signed lower right: Marjorie Reed; signed again, titled, and dated in black pen, verso 16” H x 20” W

$2,000-3,000

Marjorie Reed (1915-1996)

“Across the Colorful West -Old Staging Days” Oil on canvas

Signed lower right: Marjorie Reed; signed again and titled on a label affixed to the stretcher 24” H x 36” W

$2,000-3,000

134

Marjorie Reed (1915-1996)

“The Arrival of the Freight Wagon at Pinon” Oil on canvasboard

Signed lower left: Marjorie Reed; titled and inscribed, verso: Sketch for the Trading Post Series

8.75” H x 12” W

$800-1,200

135

Marjorie Reed (1915-1996)

Nocturnal stagecoach Oil on canvas

Signed lower right: Marjorie Reed 20” H x 24” W

$2,000-3,000

136

Peter Hurd (1904-1984)

“A Cumulous Cloud Bank” Watercolor on sketchbook paper

Signed lower left: Peter Hurd; titled on the verso of the backing board

7.75” H x 9.75” W

$2,000-3,000

Fred Fellows (b. 1934)

“Melita Island Looking West to the Mission Range” Oil on Masonite

Signed lower left: Fellows, and with the Cowboy Artists of America affiliation abbreviation; signed again, titled, and inscribed, all verso: First Snow Nov. 1992 24” H x 36” W

$2,500-3,500

A Navajo Two Grey Hills pictorial textile

Likely Esther Etcitty (b. 1944, Diné)

Late 20th/21st century, Diné

Woven in grey, cream, black, and tan wool with multiple Kokopelli and rock art figures and an elaborate pictorial border 45” H x 57” W

$1,000-1,500

A Treva Peshlakai Navajo Yei pictorial textile

Treva Peshlaki (b. 20th century, Diné)

Late 20th century

Attributed to Treva Peshlakai, woven in grey, blue, green, red, cream, and multicolored wool in a tapestry weave, depicting eight Yei dancers flanked by two Yei figures with pelts, with exaggerated sawtooth borders to two sides

30” H x 47.5” W

$400-600

Notes: Artist’s attribution from consignor’s inventory records.

140

A Navajo Yei textile Mid-20th century, Diné

With three Yei dancers and alternating corn stalks, woven in multicolored wool

40.5” H x 52” W

$400-600

A Tabitha Bitah Navajo pictorial rug

Tabitha Bitah (b. 20th century, Diné)

Mid/late 20th century

Attributed to Tabitha Bitah, woven in red, green, tan, cream, and yellow wool with a central stepped diamond and sunflower motif surrounded by feather, flower, and butterfly elements centering a stepped border

56.5” H x 36” W

$400-600

Notes: Artist’s attribution from consignor’s inventory records.

143

A large Mexican area rug

Mid/late 20th century, Diné

A Chimayo-style rug woven in red, tan, black with alternating diamond and striped banding with knotted fringe at each end 103” H x 77” W

$300-500

142

A Navajo Yei pictorial textile

Early/mid-20th century, Diné

Woven in ochre, grey, brown, red, black, and multicolored wool with four figures alternating with mirrored sawtooth columns and feather motifs, with banding to each end 21.5” H x 48” W

$300-500

144

Two Navajo regional rugs

Mid-20th century, Diné

Two textiles comprising a narrow rug woven in cream, red, and brown wool with a central conjoined serrated diamond and red banding to ends (58” H x 30.5” W), and a small rug woven in red, brown, tan, grey, and cream wool with a central stepped diamond with “centipede” motif and floating diamonds to each corner (34” H x 30” W), 2 pieces

$300-500

145

Three Navajo saddle blankets

Mid-20th century, Diné

Each woven in wool, comprising a cream and brown banded blanket (45” H x 24” W) a red, grey and black banded blanket (42” H x 26” W), and a blanket with serrated multicolor bands (54.5” H x 37” W)

3 pieces

$800-1,200

146

Two Navajo textiles

Mid-20th century, Diné

One with elongated concentric cross motif woven in grey, brown, and orange wool (38” H x 20” W), the other with four serrated stacked half diamonds woven in grey, brown, and cream wool (36.75” H x 18.25” W)

2 pieces

$300-500

A large Acoma Pueblo polychrome pottery olla

Mid-20th century

Possibly later marked in pencil to underside: 1955 / Acoma / P-107

The three-color pottery jar with black and orange rain cloud and lightning motifs on a white slip glaze above a terracotta wash and puki indentation to underside 9.125” H x 11.875” Dia.

$800-1,200

148

A Laguna/Acoma Pueblo polychrome pottery olla

Early 20th century

Unmarked

The four-color olla form jar with parrot, rainbow, and sky band motifs on a white slip glaze above a puki indentation to underside 9.25” H x 12.25” Dia.

$800-1,200

149

Patricia Dobson (b. 1947)

Pottery vessel

Mixed media on paper, on Strathmore paper

Signed lower right: Patricia Dobson

Sight: 29.5” H x 29.5” W

$700-900

150

An Acoma/Laguna pottery olla

Early 20th century

The small three-color olla with banded diamond geometric motifs on white slip glaze

4.875” H x 6.25” Dia.

$200-300

151

Lorencita Naranjo Tafoya (1899-1987)

A blackware pottery jar, early/mid-20th century

Incised to underside: Lorencita Naranjo / Santa Clara Pueblo

The jar with black arrow motif on black buff glaze

5.375” H x 5.25” Dia.

$200-400

A Casas Grandes badger effigy pottery vessel

Mid/late 20th century; Chihuahua, Mexico

Stamped to underside: INAH / MEXICO

The INAH reproduction jar decorated with badger form spout above stepped, swirl, and storm motifs to body on a white slip above a terracotta wash

7” H x 6” W x 6.5” D

$300-500

153

Dick Sorenson (20th century)

“Illumination,” 1988 Oil on canvas

Signed and dated lower right: Sorenson ©; titled in black pen on the upper portion of the stretcher, verso 20” H x 16” W

$400-600

154

John Phelps (b. 1949)

Pioneers on horseback, 1995 Oil on board

Signed, dated, and with the artist’s device lower right: Phelps © 9” H x 12” W

$1,000-1,500

155

Hernando Villa (1881-1952)

“Off to the Herd,” 1945 Oil on canvas laid to board Signed and dated lower left: Hernando Villa; titled by repute 9” H x 13” W

$1,000-1,500

Gene Speck (b. 1937)

“Wind River Country,” 1993 Oil on panel

Signed and dated lower right: Gene Speck; titled verso 9” H x 12” W

$1,500-2,500

157

Gene Speck (b. 1937)

“Country Autumn,” 1993 Oil on panel

Signed and dated lower left: Gene Speck; signed again and titled in pencil on the frame’s backing paper 8” H x 10” W

$800-1,200

158

Gene Speck

(b. 1937)

A quiet day on the ranch, 1993

Oil on panel

Signed and dated lower left: Gene Speck

9” H x 12” W

$800-1,200

159

Signed lower right: Gene Speck 12” H x 16” W

$800-1,200

Gene Speck

(b. 1937)

Fence post and barn Oil on Masonite

Gene Speck (b. 1937)

Fenced-in barn, 1972

Oil on Masonite

Signed lower left: Gene Speck, dated, possibly in another hand, on the frame, verso 5” H x 7” W

$600-800

161

William Zaner (1930-2015)

“San Juan September,” 2002 Oil on Masonite

Signed lower left: Zaner; signed again, titled, dated, and inscribed, all verso: S.W. Colorado 16” H x 20” W

$700-900

162

Bill Bender (1919-2016)

“In Navajo Country,” 1973 Oil on Masonite

Signed and dated lower center: Bill Bender; titled and inscribed, verso 18” H x 24” W

$1,000-1,500

164

163

Cynthia Rigden (1943-2018)

Longhorn

Patinated bronze Edition: 4/12

Signed and numbered in the casting: Cynthia Rigden / [heart] 12” H x 15” W x 7.25” D

$1,500-2,000

Asa Lynn “Ace” Powell (1912-1978)

“Napi and the Mice People”

Patinated bronze on wood base Edition: 15/35

Stamped number and signed in the casting: [artist’s cipher] / Powell ©; titled by repute

Overall: 7.5” H x 7.75” W x 6.75” D

$400-600

166

Alexander Phimister Proctor (1862-1950)

“Pony Express”

Patinated bronze on wood backing

165

Asa Lynn “Ace” Powell (1912-1978)

“Ceramis”

Patinated bronze on wood base

Edition: 7/24

Stamped number and signed in the casting: [artist’s cipher] / Powell © / Powell Foundry

Overall: 6.25” H x 15.75” W x 6.5” D

$400-600

Signed and titled in the casting: © A. Phimister Proctor / Sc Commissioned in 1910 by Wells Fargo to commemorate the 50th Anniversary of the Pony Express Bronze: 16.75” Dia.; Overall: 22” Dia. x 1.875” D

$3,000-5,000

Notes: Wells Fargo Co. commissioned this plaque for the 50th anniversary of the Pony Express in 1910. The plaque shows a cowboy on horseback riding on a fast galloping horse going to the next relay station. The plaque is signed lower center by Proctor under the Pony Express logo. The plaque was made to mark 60 of the original 190 Pony Express stations that had been built between St. Joseph, Missouri and Sacramento, California. Each monument would be decorated with a commemorative bronze plaque mounted into the building, rock plinth, or some other suitable base. The bronze plaque is listed in the Bergmann books on bronzes, volume 4 on pages 11841185 and 4759. This is a great depiction of an era in communications that lasted only 15 months in time. The plaque measures 17 inches in diameter and weighs 12 pounds. Mounted on the original circular Oak American Arts and Crafts wood base plaque.

167

Hernando Villa (1881-1952)

Cowboy with cigarette Oil on panel

Signed lower left: Hernando Villa 21” H x 18” W

$5,000-7,000

168

Susan Shatter (1943-2011)

“River Canyon,” 1983

Lithograph in colors on wove paper Edition: 16/40

Signed, dated, and numbered in pencil lower right: Shatter

Sight: 40.75” H x 18.375” W

$700-900

169

Arthur William Best (1859-1935)

“Grand Canyon,” circa 1925

Oil on canvas laid to board

Signed lower right: A W Best; signed again, titled, and inscribed faintly in pencil, verso: 4270 Piedmont Ave. / Oakland

10” H x 14” W

$1,500-2,000

170

Gary Niblett (b. 1943)

Cowboys near a stream Oil on canvas

Signed lower right: Gary Niblett ©; and with the artist’s bird device and the Cowboy Artists of America insignia, lower right

30” H x 24” W

$2,000-4,000

Gary Ernest Smith (b. 1942)

“Wyatt Berry Stapp Erp”

Patinated bronze on wood plinth

Signed and titled in the casting: © Gary Ernest Smith

Overall: 23.5” H x 11.75” W x 8.625” D

$2,000-3,000

172

James Regimbal (b. 1949)

“Highway to Home,” 1998

Patinated and cold-painted bronze on a wood base Edition: 17/75

Signed, dated, titled, and numbered in the casting: Jim Regimbal / © 1998; titled and attributed to metal plaque applied to base 14.5” H x 50.25” W x 7” D

$5,000-7,000

173

(b. 1957)

“The Stare” Oil on canvas

Signed lower right: D.Whitehead; titled and inscribed on the stretcher bar

36” H x 24” W

$1,500-2,500

Diane Whitehead

174

Charles E. Showalter (1932-2017)

“Hawaii Paniolo,” 1981 Oil on canvas

Signed and dated lower right: C.E. Showalter; signed again, titled, and inscribed with the artist’s copyright on the stretcher, all verso 16” H x 20” W

$400-600

Artist’s Studio Private Collection, acquired from the above

175

Charles E. Showalter (1932-2017)

“Hawaii Pa’u Rider,” 1981 Oil on canvas

Signed and dated lower right: C.E. Showalter; signed again, titled, and with the inscribed artist’s copyright on the stretcher 16” H x 20” W

$400-600

Provenance: Artist’s studio Private collection, acquired from the above

176

Gary Niblett (b. 1943)

“Adobe Window”

Watercolor on paper

Signed lower left: Gary Niblett; titled on the frame’s backing paper

Sight: 9.875” H x 12.25” W

$800-1,200

Provenance: Mittry’s Art Gallery, Tarzana, CA

Private collection, acquired from the above

177

Gary Niblett (b. 1943)

“Ransburg Shack” Oil on canvas

Signed lower right: Gary Niblett; titled in pencil on the upper portion of the stretcher, verso 14” H x 18” W

$800-1,200

Provenance: Mittry’s Art Gallery, Tarzana, CA The Redfern Gallery, Encino, CA

178

Carolus Verhaeren (1908-1956)

“Tucson Mountains from River Road” Oil on canvas

Signed lower right: Carolus Verhaeren; titled on the stretcher 28” H x 33” W

$2,000-3,000

179

Bill Chappell (1919-2010) Rider on horseback Oil on board

Signed and with the artist’s device, lower right: Bill Chappell 6” H x 8” W

$500-700

Notes: An inscription on the back of the frame reads: To Brian / Christmas 1983 / Ann-Marie

180

Walt Gonske (b. 1942)

“Rio Pueblo N.M.”

Watercolor on board

Signed and titled lower right: Walt Gonske 22” H x 30” W

$1,000-2,000

181

Walt Gonske

(b. 1942)

“Down in the Valdez Valley,” 1972

Watercolor on board

Signed, titled, and dated lower right: Walk Gonske

30” H x 40” W

$1,000-2,000

182

Curt Walters (b. 1950)

California landscape

Oil on canvas

Signed lower right: Curt Walters 34” H x 50” W

$10,000-15,000

183

Curt Walters (b. 1950)

“Guadalupe Peak” Oil on canvas

Signed lower left: Curt Walters; titled in black pen on the upper portion of the stretcher

11” H x 14” W

$1,000-1,500

184

Curt Walters (b. 1950)

Southwest home with garden Oil on board

Signed lower right: Curt Walters

10” H x16” W

$800-1,200

185

Curt Walters (b. 1950)

“Plum Blossom” Oil on Masonite

Signed lower right: Curt Walters; titled verso and on the back of the frame

10” H x 10” W

$600-800

186

An Arts & Crafts leaded glass hanging light fixture Early 20th century Appears unmarked The four-light ceiling light fixture with leaded glass shade in a green foliate motif supported on four metal chains issuing from a conforming mounting plate, electrified

Shade: 12.75” H x 23” W x 23” D; Hanging height: 34.5” H

$1,000-2,000

187

A rustic wood harvest table

Late 19th century

The wood table with peg joints, a full surround apron, a pull-out surface to one side, and modern reworked elements

30.125” H x 84.25” W x 38” D

$1,000-1,500

188

A Stickley-style Arts & Crafts settle

Early 20th century

Unmarked

The two-to-three-seater box settle with four posts and slatted arms and back above a box rail apron, featuring an emerald leather seat cushion

36.25” H x 60” W x 26.5” D

$700-900

189

A pair of oak sectional barrister’s bookcases

Mid-20th century

Each appears unmarked

Each wood bookcase comprising two stacked larger units below three smaller units, each with glazed door articulated by swinging up and pushing in to stow, all raised on a base with four legs, 12 pieces

Each overall: 74.5” H x 35.75” W x 17.75” D

$1,000-1,500

190

Edgar Alwin Payne (1883-1947)

“California Sierras” Oil on canvas laid to Masonite Estate stamped lower right: Edgar Payne; titled on the frame plaque

7.25” H x 9.25” W

$2,000-3,000

191

George Spangenberg (1907-1964)

“Mountain Mist” Oil on canvas laid to board

Signed lower left: G.Spangenberg; signed again and titled verso 15” H x17” W

$1,000-1,500

192

John William Hilton (1904-1983)

“Spring Wears a Royal Oil on board

Signed lower right: © twice in pencil, verso 24” H x 36” W

$1,000-1,500

Notes: A biography of affixed to the verso of

Robe”

© John William Hilton; titled

of artist John William Hilton is of the board.

Eyvind Earle (1916-2000)

Unique, inspiring, and influential, Eyvind Earle remains Earle has made his mark on everything from fine Disney Animation remain some of the most sought-after

Eyvind Earle was born into a creative family. His Often overbearing and demanding, when Earle painting every day. Earle took the up the challenge,

In 1937, fleeing abuse from his father, Earle bicycled He exhibited those watercolors in New York City

In the late 1930s Earle began taking on commercial began producing Christmas cards, something he After taking odd jobs and exhibiting work in the Earle’s unique modernist style gained the admiration masterpiece “Sleeping Beauty,” released in 1959.

After almost 16 years working in animation, Earle produced paintings, scratchboards, drawings, and working multiple applications of color over dark, and midcentury abstraction to create images of McCay Lifetime Achievement Award in 1998 and

“For 70 years, I’ve painted paintings, nature. Wherever I turn and look, there – Eyvind Earle

remains one of the most popular of American artists. In an astonishing artistic career, fine art, to animation, to greeting cards. His original paintings and work done for Walt sought-after pieces by collectors.

mother was a concert pianist, and his father, Ferdinand Earle, a well-known artist. was only 10 his father gave him a choice ñ either read 50 pages of a book or make a challenge, and did both, exhibiting his first solo show of artwork at the age of 14 in France. bicycled across the United States, painting watercolors and writing in a diary as he went. City in 1938.

commercial work, designing magazine covers for AT&T and architectural publications. He also he would continue to create for the rest of his life (making over 800 individual designs). the 1940s, Earle landed a position as a background painter at the Walt Disney Studios. admiration of Walt Disney, who made him the production designer and color stylist for the 1959.

Earle returned to his distinctive style of landscape painting. Until the end of his life Earle and screenprints, of which this lot is curated from. Earle’s luminous style derived from dark, often black, shapes of underpainting. He melded American Regionalist, Medieval, intriguing, and often mysterious, scenes of nature. He was awarded the Windsor and became a Disney Legend in 2015.

paintings, and I’m constantly and everlastingly overwhelmed at the stupendous infinity of there I see creation. Art is creating... Art is the search for truth.”

193

Eyvind Earle (1916-2000)

Untitled, barn, 1966 Oil on board

Signed and dated lower right: Eyvind Earle 15” H x 30” W

$5,000-7,000

194

Steve Kestrel (b. 1947)

“Passageway for Grizzly” Patinated bronze Edition: 1/21

Signed and numbered: S Kestrel / [swirl cipher]; interior of each side of base incised: 5595

11.875” H x 21.75” W x 6.25” D

$1,000-1,500

195

A rustic wood console table

Late 19th/early 20th century

The green painted wood single drawer table with a ceramic pull above a white painted box stretcher

32.5” H x 39.5” W x 25.5” D

$400-600

196

Paul Grimm (1891-1974)

“Passing Clouds” Oil on canvasboard

Signed lower left: Paul Grimm; titled in ink, verso 12” H x 16” W

$1,000-1,500

197

Paul Grimm (1891-1974)

“Sentinel of the Desert” Oil on canvasboard

Signed lower left: Paul Grimm; signed again and titled, verso 16” H x 20” W

$1,000-1,500

198

Ferdinand Earle (1878-1951)

“A Palm Scene,” 1926 Oil on canvas

Signed and dated lower right: Ferdinand Earle; titled in ink on the upper portion of the stretcher 18” H x 18” W

$800-1,200

199

R. Brownell McGrew (1916-1994) Desert canyon Oil on board

Signed lower right: R. Brownell McGrew 18” H x 24” W

$2,000-3,000

Notes: A flyer with reviews of the artist’s work by noted authors and art critics is affixed verso.

Emil Bisttram (1895-1976)

Emil Bisttram was a visionary artist whose work left spiritual abstraction. Born in Hungary in 1895, Bisttram’s through various artistic movements.

After moving to New York City with his family at expelled from school for fighting teachers and tousling professional boxing, going by the name of “Battling work for his studio. Bisttram would attend night and The Art Student’s League. His talent with artmaking pursue in conjunction with his craft.

In 1930, Bisttram headed to Taos, New Mexico, Bisttram won a Guggenheim Fellowship to study fellowship ended Bisttram returned to Taos and Bistrram began his career as a figurative artist, but style, he began to incorporate those stylistic movements Realism-dominated Taos artist community, inciting out of Taos for bringing in that crazy modern art.”

Throughout his career, Bisttram experimented with found in public buildings across the United States, experimentation with medium also included experimentation incorporating a desire to create a spiritual connection Painting Group in Santa Fe and continued his passion

Despite facing criticism during his lifetime, Bisttram to the art world were recognized with numerous Mexico Arts Hall of Fame. Emil Bisttram passed exploration. His work continues to inspire artists through the language of abstract art.

left an indelible mark on American art, particularly in the realms of modernism and Bisttram’s journey to becoming an influential artist took him across continents and at a young age, Bisttram became immersed in the youth gangs of the city. After being tousling with gangs on the streets of the Lower East Side, Bisttram turned to “Battling Bennett.” The owner of a commercial art firm saw him box and hired Bisttram to classes at the National Academy of Art and Design, then at Cooper Union, Parsons, artmaking in classes soon translated into teaching, something Bisttram would always and began painting images of the people and landscapes around the pueblo. study muralism, which brought him to Mexico to study under Diego Rivera. When the founded the Taos School of Art, teaching students during the summer months. but after his studies with Rivera and discovering Wassily Kandinsky’s stark Modernist movements into his work. However, Bisttram’s Modernist style ruffled feathers in the inciting one local artist to comment: “Bisttram should be tarred and feathered and wheeled art.”

with various mediums, including painting, printmaking, and muralism. His murals can be States, showcasing his commitment to bringing art to a wider audience. Bisttram’s experimentation with style. Bisttram began to focus on abstracted artmaking, connection between the work and the viewer. In 1938 he founded the Transcendental passion for teaching a new generation of artists.

Bisttram remained dedicated to his vision of art as a transformative force. His contributions numerous awards and honors, especially in New Mexico, including induction into the New away in 1976, leaving behind a rich legacy of artistic innovation and spiritual artists and viewers alike, inviting them to contemplate the deeper dimensions of existence

200

Emil Bisttram (1895-1976)

“Rocks and Trees” Oil on Masonite

Signed and with the artist’s device, lower right: Bisttram; titled on a label affixed verso 26” H x 34” W

$2,000-3,000

Provenance: Gallery A, Santa Fe, NM

201

Emil Bisttram (1895-1976)

“The Line Storm” Oil on canvas

Signed lower right: Bisttram; titled in pencil on the upper portion of the stretcher 18” H x 24” W

$1,000-1,500

Larry Pirnie (b. 1940)

“I’ve Got Ya Surrounded,” 1987

Acrylic and mixed media on two canvases

Signed in the lower left corner of the left canvas: Pirnie; each canvas signed again, copyrighted, titled, dated, and inscribed, all verso

2 pieces

Each: 28” H x 22” W

$1,000-2,000

203

Larry Pirnie (b. 1940)

“Cowboy at Sunset,” 1991

Acrylic on wove paper

Signed lower right: Pirnie; signed again, copyrighted, titled, and dated in pencil, all verso; titled again on a label affixed to the frame’s backing board

Image/Sheet: 22.625” H x 30.375” W

$800-1,200

Provenance: Sierra Gallery, Tahoe City, CA

Notes: A handwritten ink notation on the frame’s backing board states: Larry Pirnie / Montana / Purchased Sierra Gallery / Tahoe City, CA.

204

A rustic reclaimed wood cabinet

Early 20th century

The cabinet constructed from repurposed wood and hardware with modern elements, featuring two upper drawers and opposed hinged cabinet doors, each revealing a single shelf

36” H x 42” W x 19” D

$400-600

205

A stag horn deer antler chandelier

Early/late 20th century

Carved into one antler: H55

The circular hanging ceiling fixture composed of deer antlers with twelve blackened metal candle holders

27.25” H x 52” Dia.; Including hook: 34” H

$800-1,200

Provenance: Estate of Dr. Sanford Kaufman and Dr. P. Waverly Davidson

206

A group of tobacco paraphernalia

Late 19th/early 20th century

One marked in the casting: Dean’s Havanas / The Beam-Dean Co. Makers Guarantee; another marked: Flor De Manuel / 10 Cents and up / Allen R. Cressman’s Sons Makers, Philadelphia; another marked: Smoke Woodruff’s XXXX Cigar / another marked: Smoke Poet Cigars; another marked: The Wizard / Use Gasoline Only

Comprising one cigar lamp lighter with red glass shade, a gasoline cigar lighter, and three cigar cutters, 5 pieces

Largest: 11.25” H x 5.25” W x 4.625” D; Smallest: 3.875” H x 5.25” W x 4.75” D

$400-600

207

A group of tobacco paraphernalia

Late 19th/early 20th century

Lighter marked: Smoke-A-Princivalle 10¢ Cigar / N.Y. Havana Cigar Co.; another marked: Hoffman House Cigar; another marked: WM A. Stickney Cigar Co / Stickney / Segars / St. Louis / Chancellor Cigars; another marked: The Burt Zaiser Co / Burlington Iowa

Comprising one tabletop cigar lighter, three cigar press cutters, one with rolling tray, and one tobacco plug cutter, 5 pieces

Largest: 8.375” H x 8” W x 5.625” D; Smallest: 2.875” H x 3.875” W x 5.625” D

$400-600

208

A group of tobacco paraphernalia

Late 19th/early 20th century

One marked: Poet / None Better / Joseph F. McGreenery, Maker / Boston, Mass.; another marked: Captain Marryat Cigars / Harburger Homan & Co. Makers N.Y.; another marked: MF’d by the Oneida Specialty Co / Oneida N.Y.; another marked: The Runhof Mfg. Co.

Comprising six cigar cutters, one with lamp lighter, one with rolling tray, 6 pieces

Largest: 20” H x 8.75” W x 5.25” D; Smallest: 2” H x 4.5” W x 2.375” D

$400-600

209

A group of tobacco paraphernalia

Late 19th/early 20th century

One marked: King Oscar / Always Good; another marked: Boston Trade; another marked: Acker Merrall & Condit Co’s Imported, Key West and Domestic Cigars Sold Here; another marked: Grauley’s Golden Rule / H.B. Grauley Maker Phila.; another marked: Banghart Bros. / Fine Cigars / Chicago Ills.

Comprising six cigar cutters, one with attached rolling tray, one including a lamp lighter, 6 pieces Largest: 12.5” H x 10” W x 5.5” D; Smallest: 4.125” H x 4.375” W x 5” D

$400-600

210

A group of tobacco paraphernalia

Late 19th/early 20th century

One marked: Charles Derby Cigar / Made Right Taste Right; another marked: F.F.V. / My Favorite Smoke For Sixty Years; another marked: The New Currency / P. Lorillard Co. Makers / Donovan & Bressler Distributors / Williamsport, PA; another marked: Pommery Sec and Champagne Nature (Vin Brut) / Compliments of Henry Atkins & Co

Comprising three tabletop cigar cutters and a cigar lamp lighter with blue glass shade and a rolling tray, 4 pieces

Lamp: 8.75” H x 10.75” W x 6.25” D

$400-600

211

A group of cast iron tobacco tools

Late 19th century

One marked in the casting: Wilson & McCallay Tobacco Co. / Middletown Ohio; another marked: Lorillards Climax Plug / Chew Climax Plug; clock advertisement marked: Durham Cigar / Hettermann Bros. Co. / Louisville, NY

Comprising two countertop tobacco plug cutters and a (Bull) Durham Cigar advertisement clock surround, 3 pieces

Longest: 6.5” H x 17.375” W x 4.25” D; Bull: 9.375” H x 12” W x 2.625” D

$400-600

212

Three cast iron tobacco plug cutters

Late 19th century

One marked in the casting: “Old Kentucky” / “Burr Oak” / Harry Weisinger Tobacco Co. / Louisville, NY; another marked: Wilson & McCallay Tobacco Co. / Middletown Ohio; another marked: Good Chew / coolest smoke ever put in a pipe / 16031

Comprising three variations of countertop tobacco plug cutters, 3 pieces

Largest: 6.875” H x 19” W x 4.625” D; Smallest: 3.25” H x 12” W x 6.25” D

$400-600

213

Three cast iron tobacco plug cutters Late 19th century

One cutter marked: Star / Save the tags / 5837 / Made by Enterprise MFG Co. Phila. USA / Pat Jan 20 1885; another marked: P.J Sorg Co. / Spear the Head / Made by the Rogers Iron Co / Springfield Ohio; another marked: Peace and Good Will

Comprising three tobacco plug cutters from Star, P.J. Sorg, and an unknown maker, 3 pieces Largest: 7.125” H x 19” W x 4.5” D; Smallest: 3” H x 10” W x 2.5” D

$400-600

214

A group of cast iron tobacco plug cutters

Late 19th century

One marked in the casting: Champion knife / Enterprise Mfg. Co. Philada; another marked: Venable’s Ole Varginy; another marked: The Prize Cutter By E. Lee.; another marked: Good Chew / Coolest Smoke ever put in a pipe; another marked: Ranney-Davis Mercantile Co / Arkansas City Kans.

Comprising six variations of countertop tobacco plug cutters, 6 pieces Largest: 7.5” H x 15.25” W x 4” D; Smallest: 3” H x 10” W x 2.375” W

$400-600

215

Four cast iron fluting irons

Late 19th century

One marked in the casting: Geneva.Ill / Geneva Hand Fluter; another marked: Dudley Fluter / Pat Nov 14 1976 / another marked: American / Pat Aug 19 1979; another marked: Patd Augt 21. 1886. / Heat This

Comprising four variations of fluting irons, one with brass rollers, each used to create fluted trim in garments, 4 pieces

Largest: 11.5” H x 11.75” W x 5.125” D; Smallest: 2.875” H x 7.25” W x 3.5” D

$400-600

216

A group of tin tobacco advertisement containers

Late 19th/early 20th century

Biscuit tin stamped to underside: NBC / Trademark / Uneeda

The tin containers advertising tobacco plug companies, comprising a George Washington lunch pail with handle, a Union Leader lunch pail with handle, a J.G. Dill’s cut plug tobacco container, an Osterloh’s lidded tobacco container, a Twin Oaks pocket hinged tobacco tin, and an unmarked container, together with a National Biscuit Company biscuit tin, 7 pieces

Largest: 4.5” H x 8” W x 5.5” D; Smallest: 4.125” H x 3.375” W x 1.25” D

$100-300

Provenance: The Estate of John Simpson McKaughan Jr.

217

Velma Adams (1902-1990)

“Navajo Woman Dance” Lithograph on laid Arches paper

Signed twice, titled, and inscribed in pencil at the lower margin: Velma Adams / To LR Kistler / with appreciation of his kindness; Lynton Richards Kistler, Los Angeles, CA, prntr.; and with Kistler’s device in pencil to the left of the title in the lower margin

Image: 11.625” H x 13.25” W; Sheet: 16” H x 20.625” W

$300-500

218

Mary Louise Finley Fry (1908-1964)

Native dancers, circa 1950

Lithograph on wove paper

A printer’s proof aside from the edition of unknown but presumably small size

Signed in pencil in the lower margin, at right: Mary L. Finley Fry; inscribed “Printer’s Copy” and with the printer’s device, all in pencil in the lower margin, at left; Lynton Richards Kistler, Los Angeles, CA, prntr.

Image: 9.75” H x 12.75” W; Sheet: 12.5” H x 17.75” W

$300-500

219

Arthur Lonergan (1906-1989)

“Colorado Landscape” Lithograph on wove paper Edition: 10/11

Signed and numbered in pencil in the lower margin: Arthur Lonergan; titled twice, on the printer’s information card and again on an exhibition label, both affixed to the verso of the mat; Lynton Richards Kistler, Los Angeles, CA, prntr.; and with his blindstamp in the lower margin, at left Image: 9.125” H x 12.75” W; Sheet: 13.25” H x 17.75” W

$300-500

Exhibited: Brooklyn, New York, NY, The Brooklyn Museum, “The Brooklyn Museum National Print Exhibition, 4th Annual,” March 23-May 21, 1950

220

Frank B Hoffman (1888-1958)

Resting buffalos

Ink on onion-skin type paper

Unsigned, but with the artist’s device in ink directly underneath the standing buffalo at left

Sight: 10.5” H x 13.5” W

$300-500

221

Elbridge Ayer (E.A.) Burbank (1858-1949)

Five works:

“Oleary,” 1925

Charcoal on paper

Signed in pencil on the lower edge, at right: E.A. Burbank; titled and dated in pencil on the upper edge, at left Sheet: 9.5” H x 6.25” W

“Beauty,” 1932

Charcoal, graphite, and colored pencil on paper

Signed in pencil on the lower edge, at right: E.A. Burbank; titled and dated in pencil on the upper edge, at left Sheet: 3.875” H x 7.375” W

“Judy,” 1932

Conte crayon on paper

Signed on the lower edge, at right: E.A. Burbank; titled and dated on the upper edge, at left Sheet: 6.125” H x 6.875” W

“A Tribute to the Dog - By Senator Vest,” 1933

Conte crayon, colored pencil, and graphite on paper

Signed and dated near the center: E.A. Burbank; titled at upper center; inscribed with the famous eulogy about a dog as delivered by George Graham Vest Sheet: 10.125” H x 12.125” W

Untitled, shepherd dog, 1937

Charcoal on paper

Signed and dated in pencil on the lower edge, at right: E.A. Burbank Sheet: 5.25” H x 10.125” W

5 pieces

$500-700

Notes: The work, “A Tribute to the Dog - By Senator Vest,” 1933, is a visual homage to the famous eulogy delivered by Senator George Graham Vest in September of 1870. In his earlier career and before becoming a Senator, he practiced law in a small Missouri town. From 1869 to 1870, he represented Charles Burden and his dog, Old Drum, in the case of Burden v. Hornsby.

Charles Burden’s hunting dog, a foxhound named Old Drum, was killed by Leonidas Hornsby, a sheep farmer, who had previously relayed that he would kill any dog found on his property. Burden sued Hornsby for damages up to the maximum penalty, which was $150. During Vest’s closing argument, he delivered a eulogy about Burden’s dog to the jury, and it is known as “one of the most enduring passages of purple prose in American courtroom history.” Following that speech and the jury’s deliberation, Vest won the case, and in 1958, a bronze life-sized statue of a dog and a plaque with the famous eulogy was placed on the Johnson County lawn.

222

Elbridge Ayer (E.A.) Burbank (1858-1949)

Five works:

“Sport,” 1929

Charcoal, graphite, and red colored pencil on paper

Signed in pencil on the lower edge, at right: E.A. Burbank; titled and dated in pencil on the upper edge, at left; inscribed in pencil, verso Sheet: 4” H x 7.5” W

Untitled, tramp dog

Charcoal and graphite on paper

Signed in pencil on the lower edge, at right: E.A. Burbank; signed again and inscribed in pencil, verso Sheet: 4” H x 7.5” W

“Eatie Airedale Terrier”

Colored pencil on paper

Signed in colored pencil on the lower edge, at right: E.A. Burbank; titled in colored pencil on the upper edge, at left; inscribed in colored pencil, verso Sheet: 4” H x 7.5” W

Untitled, Bobby the bear

Conte crayon on paper

Initialed in conte crayon on the lower edge, at right: E.A.B; inscribed in conte crayon in the upper edge, at right Sheet: 4” H x 7.5” W

Untitled, cat and dog

Charcoal and graphite on paper

Initialed and inscribed in pencil on the lower edge, at left: E.A.B Sheet: 4” H x 7.25” W

5 pieces

$400-600

223

A Zuni Pueblo silver and turquoise necklace

Mid-20th century

Etched to naja verso: Wytsalucy / Zuni

A double-strand sterling silver squash blossom necklace with delicate petit point set turquoise blossoms and row-set central naja

21” L x 2.125” H

81.4 grams gross

$600-800

224

A group of Southwest-style silver and turquoise jewelry

Mid-20th century

Unmarked

A single strand sterling silver squash blossom necklace with tiny set turquoise cabochon blossoms and central naja (23.5 x 1.625” H), together with a pair of matching earrings (each: 1.75” H), and a small silver bead extender link (7” L), 4 pieces 101.8 grams gross

$700-900

225

A set of Roy Vandever Navajo silver and turquoise jewelry

Roy Vandever (1936-2009, Diné)

Mid/late 20th century

Naja signed in etched script: By Roy Vandever

Three works comprising an elaborate double-strand squash blossom necklace with turquoise and silver overlay “blossoms” with a central two-wire naja (25.25” L x 3.5” H), together with a matching four-wire cuff bracelet with set turquoise and incised silver and silver wire overlay (6.25” total inner C x 2” H, with a 1.125” gap) and a matching ring (ring size: 8; 1.75” H), 3 pieces

279.7 grams gross

$800-1,200

226

A Southwest silver and turquoise squash blossom necklace

Early/mid-20th century

Appears unmarked

A double strand sterling silver necklace with ten set turquoise shadowbox style blossoms and a central naja with multiple set turquoise floral motif plaques

27.5” L x 3.5” H

246.0 grams gross

$700-900

227

A Navajo silver and turquoise “Peyote bird” necklace Late 20th century, Diné Stamped: HC [conjoined]

A double strand sterling silver squash blossom-style necklace with ten turquoise mosaic chip inlay bird “blossoms” and a central bird naja

29.5” L x 2.75” H

237.4 grams gross

$700-900

A Navajo silver and turquoise squash blossom necklace

Mid/late 20th century, Diné

Appears unmarked

A sterling silver and set turquoise necklace with fourteen stamped butterfly “blossoms” and a central naja with teardrop dangle

26.25” L x 2.75” H 135.1 grams gross

$700-900

229

A Southwest coin silver squash blossom necklace

Early/mid-20th century

Appears unmarked

The Mercury head single strand bead necklace accented with twelve “Walking Liberty” silver dollars each with set turquoise, suspending a naja with a central oblong turquoise stone and two 1920s quarters (1925 and 1929) at the terminals

26” L x 2.5” H

520.1 grams gross

$600-900

230

A Ray Tracey Navajo 14K gold and stone inlay pendant

Ray Tracey (b. 1953, Diné)

Late 20th century

Etched verso: Tracey / [above a feather]; chain stamped: 14 KT / Italy

A gold pendant in the form of a stylized katsina face with turquoise, lapis and spiney oyster inlay and textured gold accents, on an associated 14k gold chain

18” L x 2.25” H x 1.875” W

26.4 grams gross

$600-800

Provenance: The Estate of Eleanor Koffler

A Kewa/Santo Domingo Pueblo turquoise necklace

Mid/late 20th century

Appears unmarked

A two-strand graduated necklace with shell and turquoise discs, coral bead accents, and jacla pendants

32” L x 4.5” H

$700-900

232

A Kewa/Santo Domingo Pueblo turquoise jacla necklace

Mid/late 20th century

Appears unmarked

A four strand necklace composed of extended jaclas in turquoise and spiney oyster combined with multiple jacla looped pendants, all on a fine braided cord 38” L x 4.5” H

$800-1,200

A Kewa/Santo Domingo-style turquoise necklace

Mid/late 20th century

Clasp stamped: A. Ring / 925S

A double strand of tapering rolled turquoise beads spaced with jet, mother-of-pearl and finished with coral and mother-of-pearl drops, with associated sterling silver clasp, likely Danish

25.25 “ L x 3” H

351.6 grams gross

$400-600

234

A Kewa/Santo Domingo Pueblo-style necklace

Mid/late 20th century

Appears unmarked

A single strand necklace with graduated turquoise and jet discs with a large turquoise and black jet teardrop pendant

31” L x 2.5” H

$500-700

235

A Puebloan-style turquoise necklace

Mid-20th century; Southwestern United States

A single strand of turquoise nuggets suspending a pair of turquoise, shell and coral jaclas, with silver cone clasp and heishi spacers

25” L x 6.5” H 147.4 grams gross

$300-500

A Zuni Pueblo-style multistrand carved fetish necklace

Mid/late 20th century, Southwestern United States

Appears unmarked

A three-strand carved multistone and shell fetish necklace with kachina figures, bears, and birds including hummingbirds, all in graduated sizes and with silver cone clasp 27” L

$400-600

237

A Puebloan multi-stone carved fetish necklace

Mid/late 20th century; Southwestern United States

A single strand necklace with various finely carved diminutive animals such as bears, turtles, birds, rabbits, and frogs, all in different stones including turquoise, coral, shell, lapis, and amber, with fine heishi spacers and silver metal cone terminals

31” L

$400-600

238

A Pueblo-style multistrand heishi necklace

Mid/late 20th century; Southwestern United States

Appears unmarked

Comprising a nineteen strand fine shell bead necklace with a traditional wrapped neck cord 32” L

$500-700

239

A Southwest-style turquoise and coral necklace

Mid/late 20th century

Appears unmarked

A delicate three-strand necklace with alternating turquoise cylinder beads and coral and shell beads and stamped silver cone terminals 27” L

$200-400

240

A Southwest-style turquoise necklace with silver stars

Late 20th century

Appears unmarked

A mulitstrand necklace of fine disc turquoise and stylized silver star motifs

23” L x 1.5” H 99.5 grams gross

$500-700

241

A Victor Beck Navajo turquoise pendant necklace

Victor P. Beck, Sr (1941-2022, Diné)

Etched signature verso

A single strand turquoise necklace with alternating barrel and disc beads with a delicate stone set sterling silver pendant 16.25” L x 1” H

44.2 grams gross

$500-700

Notes: Award-winning artist Victor P. Beck took great pride in sharing his culture. As a Diné of the Navajo Nation he identified himself as a member of the Many Goat Clan and Born for the Salt - Ashii Clan. He credits the guidance of his parents as influential in maintaining his cultural beliefs to find his path in life.

Considered a master jeweler, Victor happened upon his jewelry making while taking a required course to fulfill his ceramics study in 1975. A later internship in silver and metal smithing with the Museum of Northern Arizona, in conjunction with Northern Arizona University, led to a scholarship to attend the State University of New York In New Paltz. There he studied jewelry making techniques, and subsequently dedicated almost 50 years to his craft and mastery of contemporary silversmith work, creating elegant, classic jewelry known for its clean, simple lines. His late wife Eleanor Beck was also a silversmith and for much of their lives together they attended native art shows across the country while simultaneously raising their three children.

Beckís many awards included the Ted Charveze Memorial Award, Best of Division and Best of Classification in Jewelry from the Heard Museum in Phoenix, Arizona. He was featured in the May 2003 Arizona Highways and was selected as an Arizona Living Treasure in October 2003 for his contribution in preserving his culture through his artwork.

Source: www.victorpbeck.com

242

A pair of Gail Bird and Yazzie Johnson stone set gold earrings

Gail Bird (b. 1949, Santo Domingo/Laguna Pueblo) and Yazzie Johnson (b.1946, Navajo/Diné)

Late 20th/21st century

Each stamped: GY [conjoined]

A pair of narrow modernist-style 18K gold pierced earrings each with set agate and onyx, 2 pieces

Each: 2.5” H x 0.625” W

19.5 grams gross

$1,500-2,500

243

A Gibson Nez Navajo/Apache stone inlay silver cuff bracelet Gibson Nez (1947-2007, Jicarilla Apache/Diné)

Late 20th/21st century

Stamped: GZN

A chunky modernist sterling silver cuff with multistone channel inlay including coral, spiny oyster, sugilite, and lapis lazuli, and with an extended sugilite cabochon 6.125” total inner C x 1.875” H, with a 1.125” gap 104.9 grams gross

$1,000-1,500

A Duane Maktima Laguna/Hopi 14K gold tufa cast ring

Duane Maktima (b. 1954, Laguna Pueblo/Hopi Pueblo)

Late 20th/21st century

Stamped: DM [conjoined; with stylized parrot head] / 14K

A modernist 14 karat gold tufa cast ring with set charoite

Ring size: 6.75; 1.125” H x 0.75” W 14.2 grams gross

$800-1,200

245

A Navajo silver, turquoise and coral box

Mid/late 20th century, Diné Appears unmarked

A narrow sterling silver box with elaborate applied leaf motifs and stamping amid bezel set turquoise to one side and with set coral verso, with removable lid 3.625” H x 2.25” W x 1.375” D 105.5 grams gross

$200-400

246

A Navajo sterling silver katsina bolo

Attributed to Helen Long (b. 20th century, Diné)

Appears unmarked

A winged silver katsina figure bolo with set turquoise, mounted to a braided leather cord and finished with silver cone and ball tips

Bolo: 4.5” H x 4.75” W; Cord with tips: 40” L 94.2 grams gross

$600-800

247

A Navajo sterling silver and turquoise concho belt

Mid/late 20th century, Diné

Buckle stamped: L / Sterling

A belt with ten darkened sterling silver rectangular conchos and a matching buckle, each with repoussé center, stamping and central set turquoise and all mounted to a black leather strap

Buckle: 2.75” H x 3” W; Each concho: 2.25” H x 2.5” W; Strap: 41.25” L x 1” H

500.3 grams gross

$600-900

A Bernard Dawahoya Hopi Pueblo silver link pictorial belt

Bernard Dawahoya (c. 1935-c. 2011, Second Mesa)

Mid/late 20th century

Each concho stamped with artist’s snow cloud cipher

A sterling silver overlay link belt with oval conchos designed with various figural motifs including birds, antelope, rabbits, antelope, sheep, bear, spider, butterfly, lizard, and frog Belt: 44.25” L; Each concho: 1.5” H x 2” W 343.0 grams

$1,000-1,500

Notes: Master silversmith Bernard Dawahoya was born in 1935 in the Second Mesa village of Shungopavi. A member of the Snow Clan, his Hopi name is Masaqueva, which means “Wings of the Sun” or “Little Sun”.

A master of many traditional Hopi arts, he focused on silversmithing in the 1950s, learning from his uncles, Washington Talayumptewa and Sidney Sekakuku, and taking classes at the Hopi Silver Craft Cooperative Guild. Bernard returned to Shungopavi, opened his own shop, and continued to exhibit at arts and craft shows. His pieces are known for their precise texturing, heavyweight silver, crisp designs, and bold traditional symbols that reflect Hopi history, culture, and beliefs, including Mudheads, Hopi Snake Dancer, Crow Mother, eagles, and roadrunners. As well as his skills with silver overlay, he created textiles, paintings, Katsina dolls, and leatherwork. “He recorded traditional Hopi dance songs in 2004, and was known as a prolific storyteller, regaling admirers with the stories behind his designs. His creations are included in the collection at Harvard Universityís Peabody Museum of Archaeology and Ethnology as well as various other museums and many private collections. In 1998 he was designated an Arizona Living Treasure and enjoyed that distinction until his passing in 2011.”

Source: Mark Sublette, Medicine Man Gallery; www.medicinemangallery.com

249

Two Southwest Pueblo necklaces

Two works:

Stuart Quandelacy (b. 20th century, Zuni Pueblo)

Late 20th/21st century

Pendant etched verso: Stuart Quandelacy / Zuni; Chain marked: GLO / 925 / Italy

Comprising a carved turquoise maiden figure with multistone accents, suspended from an associated silver chain, 2 pieces

Pendant: 2.375” H x 0.75” W; chain: 20” L

A Pueblo-style turquoise and coral jacla necklace

Appears unmarked

A small necklace of graduated turquoise bead double-strand jaclas with shell accents and coral beads, with an added chain and clasp

21” L

2 pieces

69.0 grams gross

$300-500

250

A Zuni Pueblo-style carved bone fetish necklace

Mid/late 20th century; Southwestern United States

Appears unmarked

A single strand Quandelacy-style necklace with a variety of carved bone animals and a larger resin-like standing bear figure to center, with a traditional wrapped neck cord 31” L x 2” H

$200-300

251

A Paul Livingston Navajo sterling silver coin cuff bracelet

Paul Livingston (b. 20th century, Diné)

Mid/late 20th century

Stamped: Paul Livingston / Sterling

A five-wire sterling silver cuff with three central set coins edged with cluster/row set oval turquoise cabochons

6.375” total inner C x 2.125” H, with a 1” gap

85.1 grams gross

$1,200-1,800

252

A Fidel Bahe Navajo sterling silver cuff bracelet

Fidel Bahe (b. 1949, Diné)

Late 20th/21st century

Etched: BAHE [stylized]; further faintly stamped: Sterling

A wide silver cuff bracelet with repoussé and stamped motifs

7” total inner C x 1.625” H, with a 1.125” gap 93.5 grams

$400-600

253

A Southwest-style sterling silver and stone inlay cuff bracelet

Late 20th/21st century

Stamped: JM / Sterling [within a decorative stamped cartouche]

Comprising a cuff with overlay side panels supporting a raised multistone mosaic channel inlay table and sides, including turquoise, lapis lazuli and opal

6.5” inner C x 0.75” H, with a 1.125” gap

70.8 grams gross

$600-800

254

A Southwest silver and set turquoise cuff bracelet

Early/mid-20th century

Appears unmarked

A three-wire cuff with chunky cluster set turquoise on a scalloped plaque with silver ball accents

6.25” total inner C x 2.5” H, with a 1.125” gap

59.9 grams gross

$400-600

Southwest

four-wire

$400-600

A Southwest silver and turquoise cuff bracelet

Early/mid-20th century

Appears unmarked

A two-wire cuff with chunky nugget turquoise cluster-set to a round central panel and shoulders

6.75” total inner C x 1.75” H, with a 1” gap

68.6 grams gross

$300-500

Southwest silver and turquoise cuff bracelet

Early/mid-20th century

Appears unmarked

four-wire cuff with oblong central plaque with three set turquoise stones and silver overlay motifs

6.25” total inner C x 2.75” H, with a 1” gap

83.4 grams gross

$400-600 256

257

A Southwest silver and turquoise cuff bracelet

Early/mid-20th century

Appears unmarked

A small three-wire cuff with a shadowbox set turquoise stone flanked by stamped silver bar accents

6.25” total inner C x 2” H, with a 1.125” gap

89.7 grams gross

$400-600

258

A Southwest silver cuff bracelet

Mid/late 20th century

Appears unmarked

A three-wire cuff with large petit point plaque and shoulders, with set turquoise-colored stones

6.5” total inner C x 3” H, with a 1” gap 78.0 grams

$400-600

259

A Southwest silver and turquoise cuff bracelet Early/mid-20th century

Appears unmarked

A three-wire cuff with a cluster set turquoise central round plaque and shoulders

6.375” total inner C x 1.875” H, with a 1.25” gap 60.2 grams gross

$400-600

260

A Southwest silver and turquoise cuff bracelet

Mid-20th century

Appears unmarked

A chunky silver cuff with central set turquoise and silver feather overlay motifs and triangular wire edges

6.75” total inner C x 2.625” H, with a 1” gap

124.8 grams gross

$500-700

261

A Lloyd Oliver Navajo sterling silver and turquoise cuff bracelet

Lloyd Oliver (1923-2011, Diné)

Mid/late 20th century

Stamped: LO

A chunky four-wire cuff with a large central plaque with bezel set turquoise slabs and stamped edging and shoulders 7” total inner C x 4” H, with a 1.375” gap

229.4 grams gross

$700-900

Notes: Diné silversmith Lloyd Oliver was one of the original 29 Navajo Code Talkers of World War II. Lloyd grew up in Shiprock, New Mexico and graduated from Shiprock Agricultural High School in 1941. Enlisting in the Marines a year later at the age of 19, he became one of the first of an elite group later named the Navajo Code Talkers. Oliver served in the Marines as a code talker, scout and sniper until 1945, when he was discharged with the rank of corporal. He returned to Shiprock, and later moved to Phoenix to find work, where he learned silver- and metalsmithing, and developed a distinctive style as a jewelry maker. He supported himself selling his work through Atkinson’s Trading Post in Scottsdale, Arizona, continuing to work well into his 70s.

Oliver’s family knew nothing of the code talkers until their work was declassified and they were publicly recognized by President George W. Bush in 2001. As a member of the original 29, Oliver was awarded a Congressional Gold Medal. Remembered by family members as being industrious, active, and self-sufficient, some also recall his humble side, as a grandson recalls: “Fame and fortune is not what Lloyd was about,” he said. “He was humble in everything. He always said, ‘the more humble you are, the more beautiful you are ... and don’t be lazy.’”

262

A Southwest Navajo sterling silver and turquoise cuff bracelet Mid/late 20th century, Diné Stamped: FB / Sterling

A chunky wide cuff with set slab matrix turquoise and elaborate silver floral and feather overlay, with rows of stampwork motifs verso 7.25” total inner C x 2.75” H, with a 1.25” gap 190.6 grams gross

$600-800

263

A Fannie Bitsoi-Russell Navajo sterling silver ring

Fannie Bitsoi-Russell and Phil Russell Sr. (b. 1953 & b. 20th century, Diné)

Late 20th/21st century

Stamped: Bitsoi-Russell

A delicate sterling silver ring with incised bezel set cabochon turquoise and incised “concho” motifs to shoulders

Ring size: 8

6.9 grams gross

$300-500

264

A Southwest Zuni Pueblo-style petit point watch cuff bracelet

Mid/late 20th century

Appears unmarked

A three-wire silver cuff with row-set needlepoint turquoise and a central replaceable timepiece setting

6.625” total inner C x 1.875” H, with a 1” gap

59.3 grams gross

$300-500

A Grace Touchine Navajo silver and set stone watch cuff bracelet

Grace Touchine (1952-2005, Diné)

Late 20th/21st century

Stamped: G.T.

A heavy sterling silver watch cuff with cluster set turquoise and coral and with applied floral and feather motifs and incised and stamped edges

7.5” total inner C x 2” H, with a 1.25” gap

156.4 grams gross

$400-600

A Gilbert Secatero Navajo cluster set cuff bracelet Gilbert Secatero (b. 20th century, Diné)

Late 20th century

Stamped: Gilbert Secatero [along teepee icon] / Sterling

A sterling silver multi-stone cluster bracelet with central set turquoise 6.75” total inner C x 1.625” H, with a 1.125” gap 85.8 grams gross

$500-700

A large Southwest turquoise and coral cuff bracelet Mid-20th century

Appears unmarked

A large three-wire sterling silver cuff with three slab turquoise stones and branch coral all set to an oxidized silver plaque and with five-wire terminals 6.75” total inner C x 3.25” H, with a 1.25” gap 127.9 grams gross

$400-600

268

Two Southwest silver and stone cuff bracelets

Two works:

A Southwest-style sterling silver and turquoise cuff bracelet

Mid-20th century

Stamped: R

A freeform stamped silver cuff with spiral terminals featuring an oval turquoise cabochon and stamped and overlay motifs including a Yei figure

6.5” total inner C x 2” H, with a 1” gap

A Southwest-style sterling silver and set stone cuff bracelet

Mid/late 20th century

Appears unmarked

A chunky cuff with stone inlay to shoulders and topped with a large oval picture agate/jasper cabochon

6.25” total inner C x 1.5” H, with a 1” gap

2 pieces

159.2 grams gross

$300-500

269

A group of Southwest silver and stone set cuff bracelets

Mid/late 20th century

Three marked for sterling; further variously marked: AJB / AW / L; one unmarked

Four cuffs comprising an Alvin and Rose Boy Navajo/Diné cuff with central set turquoise flanked by coral-set concho motifs, an Anita Whitegoat Navajo/Diné cuff with cluster set branch coral, as well as a narrow tapered cuff with row set turquoise and repoussé terminals, and a wide cuff with central set turquoise and elaborately stamped terminals, 4 pieces

Largest: 7” inner C x 0.625” H, with a 1.125” gap; Smallest: 6.25” inner C x 1” H, with a 0.875” gap

135.3 grams gross

$400-600

A group of Southwest silver and stone set cuff bracelets

Mid-20th century

Four marked for sterling; one further stamped: Maisels

Comprising six sterling silver narrow cuff bracelets, each with set turquoise and with various stamped overlay motifs including thunderbirds and arrowheads, 6 pieces

Largest: 6.625” inner C x 0.75” H, with a 1” gap; Smallest: 6” inner C x 0.625” H, with a 1.125” gap

109.6 grams gross

$500-700

271

Two Navajo sterling silver cuff bracelets

Two works:

Dan Jackson (1944-2022, Diné)

Late 20th/21st century

Stamped: DA Jackson [within hogan]

A sterling silver cuff bracelet with cast raised textile motif

6.125” total inner C x 0.875” H, with a 1” gap

A Navajo sterling silver cuff bracelet

Early/mid-20th century, Diné

Appears unmarked

A narrow heavy gauge triangular wire cuff with stamped motifs

6.125” total inner C x 0.375” H, with a 1.125” gap

2 pieces 117.1 grams

$600-900

272

Two Southwest-style inlaid silver cuff bracelets

Mid/late 20th century

Each appears unmarked

Comprising a sterling silver Zuni-style tapered cuff with triangular wire edges and three multistone raised inlay katsina oval shell medallions (6.25” total inner C x 1.75” H, with a 1.25” gap), as well as a narrow sterling cuff with mother of pearl and turquoise inlay and stamped terminals (6.375” total inner C x 0.5” W, with a 1.25” gap), 2 pieces 112.9 grams gross

$400-600

273

A group of Southwest sterling silver and coral jewelry

Three works:

Clyde Davis (b. 20th century, Diné)

Mid/late 20th century

Stamped: C. Davis

A narrow Navajo sterling silver cuff bracelet with incised edges and row set branch coral 6.25” total inner C x 0.75” H, with a 0.75” gap

A group of coral jewelry

Mid/late 20th century

Each appears unmarked

Two works comprising a chunky shadowbox-style silver cuff bracelet with five set coral panels (6.5” total inner C x 1.125” H, with a 1” gap), and a large sterling silver set coral ring with silver ball accents (ring size: 7.5; 2” Dia.), 2 pieces

3 pieces total 127.2 grams gross

$600-800

274

A group of Southwest-style silver jewelry Mid/late 20th century

Four stamped for sterling; five further variously marked: PA Smith / Myrtle / JJM / M / Francisco; two unmarked Seven works comprising two Navajo/Diné set turquoise rings including one by Julia J. Martinez and one by P.A. Smith, as well as a large diamond-shaped sterling silver ring by Ellen Myrtle and two further set stone rings (largest: ring size: 9; smallest: ring size: 6.25), together with a pair of set turquoise and coral earrings (each: 1.125” H), and a watch with sterling silver tapered sections of inlaid stone to band including turquoise and opal, by Francisco (7” C x 0.875” W, inlay: 0.375” H x 1” W), 8 pieces 88.1 grams gross

$300-500

275

A group of Southwest silver and stone set rings

Seven works:

Alonzo Hustito (c 1910-1990, Zuni Pueblo)

Mid/late 20th century

Stamped: A.H. [with bear]

A sterling silver katsina ring with set turquoise accents

Ring size: 9.5; 2.125” H

A group of Southwest sterling silver and stone set rings

Each appears unmarked

Six works in various styles and sizes with various stones including set turquoise, coral and shell, 6 pieces

Largest: ring size: 9; Smallest: ring size: 6

7 pieces total 73.2 grams gross

$400-600

276

A group of Southwest silver and stone set rings

Mid/late 20th century

One stamped: P

Eight rings in various styles and sizes, each with set turquoise or turquoisecolored stones including petit-point, cluster and row-set turquoise, 8 pieces

Largest: ring size: 8; Smallest: ring size: 5.75

76.6 grams gross

$500-700

277

A group of Southwest silver and stone set rings

Eight works:

Johnson Largo (b. 20th century, Diné)

Mid-20th century

Stamped: JL [conjoined]

A large Navajo sterling silver ring with set turquoise and coral and elaborate silver overlay motifs

Ring size: 7.5; 2.125” H

A group of Southwest silver and stone set rings

Mid/late 20th century

Four unmarked; one stamped: P; one stamped G; one with etched marks: EJ 76

Seven rings in various styles including shadowbox, stone inlay, an Effie Calavaza-style Zuni snake motif and a bearpaw motif, each with set stones including turquoise and coral, 7 pieces

Largest: ring size: 11; Smallest: ring size: 4.5

8 pieces total 71.6 grams gross

$400-600

278

A group of Southwest silver and stone-set rings

Six works:

Allen Pooyouma (1922-2014, Hopi Pueblo)

Mid/late 20th century

Each stamped with corn motif cipher for Allen Pooyouma; further stamped: Sterling

Comprising two sterling silver rings, including a long oval ring with shadowbox set turquoise (Ring size: 7; 2.375” H) and an unusual “watch” ring with two set turquoise stones (Ring size: 7.5; 2.25” H), 2 pieces

Four Southwest silver, mixed metal and stone-set rings

Mid/late 20th century

One marked: JL [roughly]

A group of rings in various designs and sizes, most with set stones including turquoise, coral, and shell, 4 pieces

Largest: ring size: 9; Smallest: ring size: 7.5

6 pieces total 113.8 grams gross

$500-700

279

A group of Zuni Pueblo silver and turquoise jewelry

Six works:

Octavius and Irma Seowtewa (b. 20th century, Zuni Pueblo)

Late 20th/21st century

Each marked for Octavius and Irma Seowtewa; ring further marked: Zuni

Four works in sterling silver and set “petit point” turquoise comprising two cluster set turquoise necklaces, one with three roundels and silver dangles suspended on a paperclip chain (15” L x 2” H), as well as a round pendant/brooch with attendant sterling silver chain (17” L x 1.375” Dia.), together with a small cluster set pin/pendant (0.75” Dia.), and a row-set ring (ring size: 8.5), 4 pieces

Bryant Waatsa, Jr. (b. 1955, Zuni Pueblo)

Late 20th/21st century

Stamped: B. Waatsa / Sterling

A narrow row-set “Needlepoint” turquoise cuff with stamped accents to terminals 6.25” total inner C x 0.375” H, with a 1” gap

A pair of Southwest style silver toned metal “Bear paw” button covers with central set turquoise

Appear unmarked

Each: 0.75” Dia.

7 pieces total 81.2 grams gross

$800-1,200

Provenance: The Estate of Eleanor Koffler

A group of Southwest jewelry

Mid/late 20th century

Pendant etched verso: TB

Four Southwest necklaces comprising a sterling silver and set turquoise bolo tie on black braided leather cord, finished with sterling silver cone-and-ball tips (Bolo: 2” H x 1.75” W; cord: 34” L), a sterling silver necklace with silver beads and a set turquoise pendant (21.5” L x 2.25” H), a Pueblo-style necklace with graduated disc beads of catlinite, turquoise, shell, onyx, and silver (19.5” L), and a coral necklace of branch coral segments with silver ball spacers, (25” L), 4 pieces

151.4 grams gross

$400-600

A large group of Southwest jewelry

Mid/late 20th century

One stamped with corn motif cipher for Allen Pooyouma; further stamped: Sterling; one stamped: SD [with dropped D, for William Singer] / +

A large group including an Allen Pooyouma Hopi triangular sterling silver pendant with set turquoise on an associated chain (28” L x 1.625” H), a William Singer Navajo/ Diné peyote bird expandable watch band with turquoise chip inlay (7” inner C x 0.875” H), a sand cast silver naja with set turquoise (3” H x 2.75” W), three necklaces including a child’s necklace (12.75” L), a set stone pendant necklace (23” L x 2” H) and a macramÈ choker necklace with turquoise and carved bird fetish figures (16 L), a set turquoise pendant (2.5” H), as well as two silver and set turquoise plaques (2” H and 1” H); two diminutive brooches, one a round pendant/brooch with needlepoint turquoise and one roadrunner motif pin (1” H and 0.5” H), and various further items including four pairs of earrings, various single earrings, two button covers, a large set stone “kilt” pin (3” H x 0.75” W), and a silver thimble, 24 pieces approximately 260.2 grams gross

$400-600

282

Alex Tsethlikai (b. 20th century, Zuni Pueblo)

A large carved pink marble bear figure, late 20th century

With artist’s cipher incised to underside: AT

The bear figure with inlaid heart line of shell, turquoise, and other stones, surmounted by a stone and vibrant feathers bound by a sinew band strung with shells and stones

With feathers: 7.5” H x 13.75” W x 4” D

$200-400

Three Zuni & Diné carved stone fetish animal figures

Three works:

Terrence and Jessica Martza (b. 20th century, Zuni Pueblo)

A carved marble Six Directions corn maiden, early 21st century

Signed to underside: Terrence -N- Jessica Martza Depicting six conjoined corn maidens with inset turquoise and coral accents

3.25” H x 2.75” W x 2.125” D

Robert Weahkee (b. 20th century, Zuni Pueblo)

A carved bone corn maiden figure, early 21st century Incised signature to underside: RW

The figure with black stone and smaller stones including turquoise and coral, bound by a dyed black sinew band, surmounted by an inset stone feather 8.375” H x 1.75” W x 1.5” D

Stewart Alonzo (b. 20th century, Diné/Laguna Pueblo)

A carved Picasso marble mountain lion figure, late 20th/early 21st century Incised illegible signature to underside

The figure with inset turquoise heart line to left side proper and mounted shell with coral and turquoise bound by a sinew band 1.875” H x 6.875” W x 1” D

3 pieces

$300-500

284

A group of Zuni carved stone fetish animal figures

Four works:

Calvin J. Weeka (b. 20th century, Zuni Pueblo)

A carved stone lizard fetish, late 20th century

Incised signature: C.J. Weeka

The lizard with inset turquoise eyes

0.875” H x 3.125” W x 3.625” D

Jerrold Lahaleon (b. 20th century, Zuni Pueblo)

A carved serpentine Six Directions fetish, late 20th century

Incised signature to underside: Jerrold Lahaleon

The carving comprising an eagle, a bear, a mountain lion, a badger, and other animals, with inset turquoise eyes and domicile details

3.375” H x 2.25” W x 2” D

Rosella Lunasee and Loubert Soseeah (b. 20th century, Zuni Pueblo)

A carved stone badger fetish, late 20th century

Signed to underside: RL / LS/ Zuni, NM

The badger figure with inset turquoise eyes

1.25” H x 5.125” W x 1.875” D

Terrence and Jessica Martza (b. 20th century, Zuni Pueblo)

Three conjoined carved marble bear fetish, late 20th century

With incised signature: TJM

Comprising three fused stone bears surmounted by turquoise, shell, and likely coral bound by a sinew band

2.75” H x 2.5” W x 1.75” D

4 pieces

$300-500

A large group of Native American carved items

Twenty-six works:

An Amos Wallace Tlingit carved plaster cylinder Amos Wallace (1920-2004; Tlingit, of the Raven Moiety, Tíakdeintaan Clan of Hoonah)

Late 20th century

Marked to base: Amos Wallace / © / Griffiths / Alaska / 1964

A cast copy in a plaster-like compound of a carving by Tlingit carver Amos Wallace, manufactured by Griffinís Alaska, Edmonds, Washington in 1964 4” H x 2.75” Dia.

A group of Zuni carved fetish figures

Mid/late 20th century

Eleven variously marked for artist and Zuni: HL / A.C. / PN / DL / FL / JC / MM / LK / CY / 99

The large group of Southwest Zuni Pueblo fetish figures in various carved stones and shells such as turquoise, gaspeite, agate, amber, spondylus, mother-of-pearl, and antler, including a Lorvin Kiyite carved antler Corn Maiden, a Hayes Leekya pig, a Benjamin Jamon carved bear, a small Chris Yuselew gaspeite bear, as well as corn maidens, multiple heartline bears, a frog, a fish, a malachite horse, an owl, and a puma, 25 pieces

Largest: 3.625” H x 1.25” W x 2” D; Smallest: 0.5” H x 0.25” W x 0.75” D

26 pieces total

$300-500

286

A group of Hopi Koshare clown figures

Mid/late 20th century

Variously signed to undersides: John David Sr. / Finkle Sahmie Hopi Hano Clown / Wilbert Curby “91” Hano Clown / Hano Clown F. Begay / Sitting Hano [illegible signature]

The polychrome carved wood figures, some with leather pouches and accents, comprising a figure holding a chicken by John David Sr. (20th century, Hopi-Tewa), a standing figure holding two slices of watermelon by Finkle Sahmie Nampeyo (b. 1948, Hopi-Tewa), a seated figure holding a slice of watermelon, mouth agape by Wilbert Curby, a standing figure holding a farmer’s hoe and watermelon by F. Begay, a seated figure holding a large knife and straddling a watermelon, and a figure standing on a log, mouth agape, 6 pieces Tallest: 11.25” H x 4.75” W x 4.75” D; Shortest: 6.75” H x 4.75” W x 5” D

$300-500

287

A group of Hopi Koshare clown figures

Mid/late 20th century

Each variously signed and dated to underside: Leon Lalo “Clown” “Hopi” / Clown by V. White / Koshare V Wood / Koshare V Wood 1179 / Hopi Clown V. Wood “92” / Clowns, Sit Down Al [illegible]

The polychrome carved wood figures, some with leather pouches and accents, comprising a figure with arms crossed by Leon Lalo (20th century, Hopi-Tewa), a standing figure holding a watermelon slice and large knife by V. White, two figures seated facing each other over a drum, a standing figure holding a single watermelon, and three V. Wood figures including one struggling with a fishing line, one with three watermelons in its knapsack, and one seated holding slices of watermelon in each hand

Largest: 7” H x 6.75” W x 6.5” D; Smallest: 6.375” H x 3.5” W x 2.5” D

$300-500

288

Kellipalik Qimirpik (1948-2017, Inuit; Cape Dorset/Kinngait)

A carved stone hare figure, late 20th/early 21st century

Incised signature to underside: K. Qimirpik

The hare figure depicted seated on hind legs, with incised eye details

7.25” H x 10.75” W x 5.875” D

$600-900

289

Johnny Lee Pudlat (b. 1971, Inuit; Cape Dorset/Kinngait)

A carved stone dancing bear, 2001 With incised signature in syllabics under right foot proper The carved serpentine bear figure with incised details

10.125” H x 5” W x 4.5” D

$400-600

Notes: The lot is accompanied by a tag that reads “Hand made by a Canadian Inuk artist / Certified by the Government of Canada.” The tag also includes artist attribution, date, and informal title.

Johnny Kilabuk (b.1922, Inuit; Pannirtuq/Pangnirtung)

Three works:

A carved stone skiing bear figure, 2010

Incised signature to left ski proper: Jonny Kilabuk

The bear depicted with carved antler skis and poles

4.625” H x 3.25” W x 4.5” D

A carved stone snowboarding bear figure, 2010

Incised signature to board underside: Jonny Kilabuk

The bear depicted standing on a carved antler snowboard

4.375” H x 3.75” W x 2.75” D

A carved stone walking bear figure, 2009

Incised signature and date: Johnny Kilabuk / 2009

The soapstone bear with incised facial features

5.25” H x 8.75” W x 3.5” D

3 pieces

$500-700

Notes: Each piece accompanied by a tag that reads “Hand made by a Canadian Inuk artist / Certified by the Government of Canada.” Each tag also includes artist attribution, date, and informal title.

291

Karoo Ashevak (1940-1974, Inuit; Spence Bay/Taloyoak)

A carved whalebone bird figure, mid-20th century

Annotated in pen to underside, possibly by another hand: Karoo Ashevak The bird depicted standing with wings outstretched 9.5” H x 12.875” W x 9.5” D

$700-900

Provenance: Marion Scott Ltd., Vancouver, British Columbia Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, circa 1990

This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

292

Alvin Kayouktuk (1934-1997, Iñupiat)

A carved stone figure of a man and seal, circa 1972

Incised signature to underside: Alvin Kayouktuk

The stone sculpture depicting a man cradling a baby seal in his arms, with incised details

6.5” H x 3.75” W x 5” D

$200-400

Provenance: Gift of Lura Gard Newhouse

293

An Inuit carved stone figure of a woman giving birth Circa 1970-1985

Incised to underside possibly reading: Eli / 109592; with applied sticker: canada / eskimo art

The carved stone nude woman depicted giving birth standing 9” H x 4.75” W x 3.5” D

$300-500

Provenance: Gift of Lura Gard Newhouse Palm Springs Art Museum

294

Mina Mannuk (b. 1934, Inuit; Belcher Islands/Sanikiluaq)

A carved stone bird sculpture, mid/late 20th century Incised signature to underside: Mannuk The bird with incised eyes and nose

4.625” H x 6.875” W x 2” D

$100-200

Provenance: Gift of Lura Gard Newhouse Palm Springs Art Museum

295

Two Inuit carved stone bird figures

Two works:

Jimmy Iqaluq (b. 1947, Inuit; Belcher Islands/Sanikiluaq)

A carved stone loon figure, 2007

Incised signature in syllabics and English and with artist’s disc number: E9-159 / Jimmy Iqaluq / Sanikiluaq / NU / © 07; with sticker to underside: canada / eskimo art esquimau / 95000315

The bird with sgraffito feather and other details

4.25” H x 10.75” W x 3.75” D

Josie Ohaituk (b. 1952, Inuit; Belcher Islands/Sanikiluaq)

A carved stone bald eagle figure, early 21st century

Signed and marked syllabically: Josie Ohaituk

The bird with sgraffito feather and facial details

3.125” H x 8.5” W x 3.75” D

2 pieces

$300-500

Notes: The loon piece accompanied by a tag that reads “Hand made by a Canadian Inuk artist / Certified by the Government of Canada,” and includes artist attribution, date, and informal title.

297

An Inuit carved stone polar bear figure 1973

Incised signature and date near base: Ayek / 73 Possibly Sylvester Ayek (20th century, Inuit), the bear head with long neck craned to the left

7.125” H x 5.5” W x 5.375” D

$100-200

Provenance: Gift of Lura Gard Newhouse Palm Springs Art Museum

296

An Inuit carved stone seal figure Mid/late 20th century

Incised signature to underside possibly reading: © Jerome Koezunr / 170 The seal with incised facial features and flipper details

2.125” H x 10” W x 2.875” D

$300-500

Provenance: Gift of Lura Gard Newhouse Palm Springs Art Museum

298

Two Inuit carved stone figures

Two works:

Possibly Jimmy Pitaloosie (b. 1961, Inuit; Cape Dorset/Kinngait)

A double-headed figure of a polar bear and walrus, 1985

Signed syllabically to underside and dated

The two-sided animal busts with incised and sgraffito details, the walrus with carved bone tusks

4.5” H x 7.875” W x 2.5” D

A carved stone man and fish, late 20th century

Incised signature to underside: Q. Jaw

The figure of a man with a large fish on his back

6.25” H x 7.5” W x 2.75” D

2 pieces

$400-600

299

Three Inuit carved stone animal figures

Three works:

Noah Nowrakudluk (b. 1916, Inuit; Port Harrison/Inukjuak)

A carved stone walrus figure, 1978

Signed syllabically and dated to underside and with partial sticker; further marked: 5-91424

The walrus with incised whiskers

5.5” H x 10.25” W x 3.5” D

Sima Tuki (1911-1967, Inuit; Port Harrison/Inukjuak)

A carved stone seal figure, mid-20th century

Signed syllabically and with artist’s disc number: E9-927

The seal with sgraffito whiskers, eyes, and flipper details

1.75” H x 6.75” W x 3” D

A carved stone walrus figure, 2009

Signed syllabically to underside, with date: AD 2009

Possibly Alivaqtu Pitulusi (b. 20th century, Inuit; Iqaluit, Nunavut), the seated walrus with bone tusks and sgraffito whiskers

3.625” H x 6.125” W x 2.75” D

3 pieces

$600-900

300

Three Inuit carved stone figures

Three works:

Johnassie Eyaituq (b.1944, Inuit; Belcher Islands/Sanikiluaq)

A carved stone swimming loon figure, late 20th/early 21st century

Signed syllabically to underside

The bird with sgraffito feather and facial details

4.625” H x 9.625” W x 1.75” D

Charlie Eyaituq (b. 1967, Inuit; Belcher Islands/Sanikiluaq)

A small carved stone seal figure, early 21st century

Incised signature to underside: Charlie Eyaituq; with sticker: NS17 / canada / eskimo / art esquimau / 3

The seal with sgraffito facial and flipper details

2.75” H x 5.75” W x 1.625” D

Josie Iqaluq (b. 20th century, Inuit; Cape Dorset/Kinngait)

Two carved seal figures, early 21st century

Signed syllabically and in English: Josie Iqaluq

Depicting two seal figures in play, with sgraffito spots and facial details

6.25” H x 5.625” W x 2.5” D

3 pieces

$400-600

301

Three Inuit carved stone marine animal figures

Three works:

Jacob Uppik (b. 1951, Inuit; Belcher Islands/Sanikiluaq)

A carved stone white whale figure, 2001

Signed syllabically and in English: Jacob Uppik; with sticker: canada / eskimo / art esquimau / 4 / 99213120

The whale with inset black stone eyes

2.375” H x 12.125” W x 4.75” D

Kellypalik Etidloie (b. 1966, Inuit; Cape Dorset/Kinngait)

A carved stone white whale with young, 2011

Incised signature to underside: Kelly Etidloie

The larger whale with back to the sea floor holding her calf

3.375” H x 7.75” W x 2.375” D

Mina Mannuk (b. 1934, Inuit; Belcher Islands/Sanikiluaq)

A carved stone seal figure, mid-20th century

Signed in syllabics and with artist’s disc number: E9-52; further marked: B2577; with sticker: canada / eskimo art / 4

The seal with incised and sgraffito facial details

3.375” H x 8.625” W x 3.25” D

3 pieces

$400-600

Notes: Two pieces accompanied by a tag that reads “Hand made by a Canadian Inuk artist / Certified by the Government of Canada.” Each tag also includes artist attribution, date, and informal title.

302

Three Inuit carved stone animal figures

Three works:

Mina Eyaituq (b. 1951, Inuit; Belcher Islands/Sanikiluaq)

A carved stone bird figure, 2005

Incised signature to underside: Mina Eyaituq; with sticker: canada / eskimo / art esquimau / 99245251

The resting bird with incised eyes

3.625” H x 9.375” W x 2” D

Lucassie Meeko (b. 1962, Inuit; Belcher Islands/Sanikiluaq)

A carved stone seal figure, early 21st century

Signed syllabically to underside; further incised: c. 4830; with sticker: canada / eskimo art / 4; attributed by previous dealer’s sticker

The seated seal with incised eyes and flipper details

3.625” H x 7.25” W x 2.75” D

A carved stoned seal figure, early 21st century

Signed syllabically to underside

The seal with incised facial features

2.625” H x 6” W x 3.375” D

3 pieces

$300-500

Notes: The Mina Eyaituq piece accompanied by a tag that reads “Hand made by a Canadian Inuk artist / Certified by the Government of Canada.” Tag also includes artist attribution, date, and informal title.

303

Sii Manning (b. 20th century, Inuit; Cape Dorset/Kinngait)

Two carved stone owl figures, circa 2007

Each with incised signature to underside: Sii Manning; one with sticker: NS17 / canada / eskimo / art esquimau / 3

Comprising two seated owl figures with incised eye details, one with wings outspread, one with wings tucked back

2 pieces

Taller: 6” H x 2.875” W x 1.75” D; Shorter: 3.625” H x 4.375” W x 2.625” D

$200-400

Notes: Each piece accompanied by a tag that reads “Hand made by a Canadian Inuk artist / Certified by the Government of Canada.” Each tag also includes artist attribution and origin. One informally titled “Hibou.”

304

Conrad Buff (1886-1975)

“Westward”

Oil screenprint in colors on board

Signed in the lower edge, at center: C Buff; titled by repute 23.5” H x 29.5” W

$800-1,200

305

Conrad Buff (1886-1975)

“American Pioneers,” circa 1935

Lithograph on Saxon Japan paper Edition: 12/31

Signed and numbered in pencil in the lower margin: Conrad Buff; Lynton Richards Kistler, Los Angeles, CA, prntr.; and with his device in pencil to the left of the title in the lower margin Image: 9.25” H x 12.5” W; Sheet: 13” H x 19” W

$500-700

Literature: Ebria Feinblatt and Bruce Davis, “Los Angeles Prints: 1883-1980” (Los Angeles, CA: Los Angeles County Museum of Art, 1980), 48.

306

Conrad Buff (1886-1975)

“Chilly Morning”

Lithograph on wove paper Edition: 36/200

Signed, titled, and numbered in pencil in the lower margin: Conrad Buff Image: 9.875” H x 14.125” W; Sheet: 12” H x 16.125” W

$400-600

307

Conrad Buff (1886-1975)

“Pools in the Desert,” 1932 Lithograph on Umbria Italia paper Edition: 13/200

Signed in black pen in the lower margin, at right: Conrad Buff; titled, dated, numbered, and inscribed indistinctly in pencil in the lower margin, at left Image: 7.875” H x 16” W; Sheet: 12.5” H x 20.25” W

$400-600

September 10, 2024

SINCE 1969 A Clarence Lee Sterling Silver Story Teller Necklace Price Realized: $9,240

Consignment and Auction Inquiries: info@johnmoran.com

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Condition Reports

1

Overall good condition. Not examined out of the frame.

Framed under glass: 21.5” H x 17.5” W x 2.5” D

2

Overall good condition. Not examined out of the frame.

Framed under glass: 36” H x 28” W x 2” D

3

Overall good condition. Not examined out of the frame.

Framed under glass: 17.5” H x 19.5” W x 1.5” D

4

Overall good condition. Not examined out of the frame.

Framed under glass: 17” H x 16” W x 1.25” D

5 Visual: Overall good condition. Strips of masking tape along the edges, verso.

Blacklight: No evidence of restoration.

Unframed

6

Overall good condition. Pale mat staining along the outer edges. Remnants of old masking tape along the verso of each sheet edge, and a small band of surface skinning at the verso of the lower right sheet corner.

Framed under glass: 24” H x 20” W x 2” D

7

Overall good condition. The board is attached to the overmat with long pieces of tape along the verso of each edge.

Framed under glass: 21.25” H x 19.75” W x 1.25” D

8

Overall good condition. The colors good. The sheet is dry mounted to the back mat.

Framed under glass: 23” H x 26” W x 1” D

9

With margins. A good impression with velvety burr. An “L-shaped” section is torn away along the upper right margin edges, ending right at the platemark, and the tear does not affect the image, and cannot be seen through the window of the overmat. The sheet is hinged to the overmat with three pieces of brown tape from the verso of the upper margin edge.

Unframed

10

Overall good condition. With margins. A rich impression with velvety burr. Very pale light-staining showing along the outside of the plate edges. A pinhead-sized foxmark in the lower left margin. The sheet is hinged to the back mat with two pieces of tape at each upper margin corner.

Unframed

11

Overall good condition. With margins. Not examined out of the frame.

Framed under glass: 19.5” H x 21.5” W x 1.5” D

12

Overall good condition. With margins. A rich and velvety impression. Possible uneven trimming to the extreme margin edges. The sheet is hinged to the back mat with two pieces of tape from the recto of the upper margin corners.

Unframed

13

Overall good condition. With margins. Not examined out of the frame.

Framed under glass: 16” H x 16.5” W x 1” D

14

Overall good condition. With wide margins. A rich, velvety impression. Possible uneven trimming along the extreme margin edges. The sheet is hinged to the overmat in two places with pieces of brown tape from the verso of the upper margin edge.

Unframed

15

Overall good condition. With margins. Not examined out of the frame.

Framed under Plexiglas: 17” H x 15.75” W x 1.5” W

Overall good condition. Very pale light staining. Not examined out of the frame.

Framed under glass: 30.5” H x 20.5” W x 1” D

17

Overall good condition. Pale light staining. A ricesized indentation to the sheet near the upper edge, at right. Not examined out of the frame.

Framed under glass: 26.5” H x 30.5” W x 2” D

18

Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Several feather tips with chipped losses, the largest measuring 0.5” long. Loss to whip held in left hand proper.

19

Overall good condition with shelf wear, minor soiling, scattered scuffs, scratches, nicks, and indentations commensurate with age. Two upper figures with rubbed wear and losses to the paint. Some feathers are distressed with general wear. Verso with hole from mounting hardware. String detached and retained with the lot.

20

Overall good condition.

Framed under glass: 15.75” H x 31.25” W x 1.25” D

21

Overall good condition. Not examined out of the frame.

Framed under glass: 15.75” H x 17.25” W x 1.75” D

22

Visual: Overall good condition. An approximately 1.5” H x 5.5” W area of thinner pigment in the background of the lower left quadrant, possibly by the hand of the artist. An unobtrusive, nickel-sized pressure mark in the red pigment of the lower right quadrant, visible primarily in raking light.

Blacklight: No evidence of restoration.

Frame: 73” H x 69” W x 2” D

23

With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Oxidation to metal components. Scattered older chipped losses throughout. The cabinet door sticks to the ground slightly. Two panels surrounding cabinet door loose.

24

Overall good condition with scattered scuffs, scratches, indentations, and dust accumulation commensurate with age. Three corners missing a component 8.5” long. The wood possibly previously painted with scattered remnants of stripped paint. Mirror in good condition with scattered scratches throughout.

25

Overall good condition. Not examined out of the frame.

Framed under Plexiglas: 30.25” H x 34.75” W x 1.5” D

26

Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. General wear to juncture of stone and bronze figure. Sticker ghost and felt pads applied to underside, one of which is obtrusive to ‘W’ of signature. Previous dealer’s tag removed and retained with the lot.

27

Visual: Overall generally good condition. A few scattered specks of grime. A very faint stretcher bar crease along the lower edge. A 2” diagonal surface scratch to the left of the right-most figure’s head. Two 1” H x 2” W areas of wear to the pigment along the lower edge, at center. A small cluster of thin and unobtrusive surface scratches in the upper left corner. A pea-sized pressure mark near the lower edge, at right.

Blacklight: No evidence of restoration.

Frame: 27.5” H x 39.5” W x 2.5” D

28

Overall good condition. The full sheet with deckled edges. The colors good. The sheet is framed floating and hinged to the back mat. Not examined out of the frame.

Framed under Plexiglas: 36.5” H x 29.5” W 2.5” D

29

Overall good condition. A pea-sized unobtrusive area of craquelure in the black pigment of the top figure’s hair. Occasional, scattered and minor surface scuffs in the black and pink pigments. Very slight abrasions in places at the tips or extreme edges of the cut paper features that extend beyond the window opening of the mat. The sheet is attached to the overmat with various small pieces of tape in places along each of the sheet edges, verso.

Framed under glass: 30.5” H x 10.5” W x 0.75” D

Overall good condition. Very pale light-staining. Narrow black tape affixed along all of the sheet edges, verso. The work is hinged to the overmat with two small pieces of white hinging tape at the verso of the upper sheet edge.

Framed under glass: 21” H x 26” W x 1.5” D

31

Overall good condition with minor general wear commensurate with age. Mild cracking to hide dress. Scattered scratches to acrylic base.

32

Visual: Overall generally good condition. Soft stretcher bar creases along the left and right edges, with attendant hairline and occasional splits in the canvas along the stretcher bar crease to the left edge.

Blacklight: No evidence of restoration.

Unframed

33

Visual: Overall good condition. The sheet is framed floating and mounted to the back mat. Not examined out of the frame.

Blacklight: No evidence or restoration.

Framed under glass: 21” H x 25” W x 1.5” D

34

Visual: Overall good condition. Fine craquelure scattered throughout the figure, with very occasional areas of unstable craquelure, with attendant flecks of unobtrusive pigment loss. An unobtrusive rice-sized indentation in the upper portion of the extreme left edge.

Blacklight: No evidence of restoration.

Unframed

35

Visual: Overall good condition. Slight dust accumulation. As stated, the canvas is laid to board.

Blacklight: No evidence of restoration.

Framed under glass: 12.5” H x 11” W x 1” D

36

Visual: Overall good condition. Specks of grime scattered throughout. An approximately 1” area of very small and minor pigment losses in the lower right quadrant.

Blacklight: No evidence of restoration.

Unframed

37

Visual: Overall good condition. Occasional areas of minor surface abrasion scattered along the extreme edges and corners. Two pinhead-sized pressure marks in the extreme upper edge, at right. Occasional areas of grime scattered in the upper and lower right quadrants.

Blacklight: No evidence of restoration.

Unframed

38

Visual: Overall good condition. A nickel-sized, very soft, reverse pressure mark in each of the upper corners, visible primarily in raking light. Occasional minor craquelure. An unobtrusive 1” H x 3” W crosshatched area of apparently delicate pigment loss in the purple background, left of center, possibly attendant with the artist’s working methods.

Blacklight: No evidence of restoration.

Frame: 67.5” H x 55.5” W x 3” D

39

Visual: Overall good condition. A few pea-sized spots of grime in the upper left quadrant.

Blacklight: No evidence of restoration.

Frame: 51” H x 53” W x 5” D

40

Visual: Several lines of apparent restoration, each approximately 8” long and converging at thirty degree angles in the sky behind the horserider, visible primarily in raking light. Occasional scattered flecks of grime and unobtrusive surface scratches in the upper and lower left quadrants, each approximately 1” long, visible only in raking light. The canvas has been relined and has a masking varnish.

Blacklight: No evidence of restoration.

Frame: 27” H x 19.5” W x 2” D

Visual: Overall good condition. Two unobtrusive, approximately quarter-sized repairs in the rocky background, to the right of center, primarily visible from the related patches, verso.

Blacklight: Two irregularly shaped touch-ups, each approximately quarter-sized, attendant with the repairs mentioned-above.

Framed: 22.5” H x 27” W x 1” D

42

Overall good condition. A thin band of old glue residue along the lower edge. Not examined out of the frame.

Framed under glass: 20” H x 16” W x 1” D

43

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 13.75” H x 18.75” W x 1” D

44

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 23” H x 27” W x 3.5” D

45

Overall good condition. Not examined out of the frame.

Framed under glass: 20” H x 23” W x 1.5” D

46

Visual of each: Overall good condition. Grime and varnish discoloration throughout. One with a 0.5” H vertical surface abrasion with light attendant pigment loss in the upper right quadrant.

Blacklight of each: No evidence of restoration.

Frame of each: 5.5” H x 7.5” W x 1.25” D

47

Visual: Overall good condition. Fine craquelure scattered throughout, soft stretcher bar creases along each of the sides, and occasional specks of grime, all commensurate with age.

Blacklight: No evidence of restoration.

Frame: 18” H x 22” W x 3.5” D

48

Visual: Overall generally good condition. Occasional scattered areas of fine, stable craquelure throughout, showing primarily in the larger tree in the background. Occasional frame abrasion along the upper edge, at left, and along the upper portion of the left edge.

Blacklight: No evidence of restoration.

Frame: 31” H x 41.25” W x 2” D

49

Overall good condition. Not examined out of the frame.

Framed under glass: 29.5” H x 37.5” W x 1.5” D

50

Visual: Overall good condition. Dust accumulation and scattered pea-sized or smaller areas of grime and staining commensurate with age. Unobtrusive flecks of pigment loss near the right edge of the lower right quadrant.

Blacklight: No evidence of restoration.

Frame: 59.5” H x 52.5” W x 2” D

51

Visual: Overall generally good condition. An approximate 16” surface scratch along the right edge. Occasional and scattered rice-sized or smaller spots of pigment loss, showing primarily in the lower left quadrant. A few scattered, soft, unobtrusive scuff marks primarily showing in the right half of the work.

Blacklight: Scattered quarter-sized or smaller spots of touch-ups throughout, primarily in the left half and upper right quadrant.

Frame: 32” H x 38” W x 1.5” D

52

Overall good condition. Full sheet with deckled edges. The colors good. The sheet is framed floating and hinged to the back mat. Not examined out of the frame.

Framed under glass: 38.25” H x 30.75” W x 1” D

53

Overall good condition with dust accumulation and light wear commensurate with age and use. A couple of scattered stitch losses to exterior.

54

Overall good condition with dust accumulation and light wear commensurate with age and use. Slightly out of round. Scattered minor faint white flecks to one side of exterior. Light shelf wear to base, with a couple of stitch losses.

55

Overall good condition with dust accumulation and light wear commensurate with age and use. Scattered stitch losses to rim, largest area: 0.375”. A small area of minor wear to exterior stitches near base.

56

Overall good condition with dust accumulation and wear commensurate with age and use. Slight fading to interior base. A couple of stitch losses to rim near terminal. A few scattered single stitch losses to exterior. Two small spots of label residue to exterior. With attached wire hanging loop.

57

With scattered stitch losses to rim and multiple breaks to foundation rods at rim and a few rows below the rim. Scattered single stitch losses to exterior, with shelf wear to base.

58

Each in overall good condition with dust accumulation and wear commensurate with age and use. A few with scattered stitch losses to rim. Most with areas of darkening and with shelf wear to base. One Papago bowl with white marks to exterior of one side. Globular bowl with fading to exterior sides.

59

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 12” H x 15” W x 1.5” D

60

Visual: Overall good condition. A soft reverse pressure mark in the upper right corner, most likely attendant from a stretcher key.

Blacklight: No evidence of restoration.

Frame: No evidence of restoration. Some light pigments fluoresce under blacklight.

61

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 18” H x 21” W x 1.5” D

62

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 15.5” H x 17.5” W x 2” D

63

Overall good condition with scattered scuffs, scratches, and dust accumulation commensurate with age. An ovoid loose piece of knotted wood measuring 4” x 2” separated and retained with the lot.

64

Each overall good condition with scattered scuffs, scratches, and nicks commensurate with age. The taller with a 0.625” long chipped loss to rim. The smaller with scattered areas of loose burl material and subsequent very small unobtrusive losses. Each with felt applied to undersides.

65

Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Lower doors with three chipped losses to the wood at corners, the largest measuring 1.5” long. Left side edge with a few nicks/small chips. Dust accumulation and minor soiling to cabinet interiors. Minor scattered scratches to glass panels with some soiling.

66

Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. File side with one 3” long nick/shallow chipped loss and three more pea-sized nicks/shallow chips. Leather top with 6” x 6” area of staining, spotting, a pea-sized burn mark, fading to one corner, and localized areas of deeper scratches. Dust accumulation and soiling to cabinet and drawer interiors.

67

Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. The top with localized area of staining or soling, the largest measuring 8” x 3” and a few deeper scratches, the longest measuring 3” long. As well, front edge of top with darkening to the finish. Cabinet and drawer interiors with dust accumulation and minor soiling. Top rail slightly loose from its mounting.

68

Overall good condition with scattered minor scuffs, scratches, and nicks commensurate with age. Two pea-sized indentations to front right leg and a few scuffs and scratches to front left.

Overall good condition with scattered minor scuffs, scratches, and nicks commensurate with age. Left arm with 3.5” long older scratch, possibly inherent. As well, three half-moon quarter sized older scratches in the top of crest rail and right arm. Top of front box rail with 2.5” long area of loss and possible re-touch to finish.

70

Overall good condition with scattered scuffs, scratches, dust accumulation, and oxidation commensurate with age. The shade with scattered indentations, verdigris to interior, and bending to finial mounting area. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

71

Overall good condition with scattered scuffs and scratches commensurate with age. Please note: original shade not included and replaced by the current. Dust accumulation throughout. Glass in good condition. Oxidation to metal components; the finial cap with rust to interior. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

72

Each overall good condition with scattered minor scuffs and scratches, light soiling, and oxidation commensurate with age.

73

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few scattered minor marks and a couple of faint stains.

74

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few scattered spots and faint stains, primarily to one side, scattered areas of light moth grazing, and wear to tassel at one corner.

75

With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered extensive areas of moth damage including holes and grazing, scattered small breaks to selvage cord with attendant loose weave, and areas of possible reweaving/repairs.

76

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to side A, a few scattered areas of minor dye migration, a few scattered faint stains/spots, scattered small breaks to selvage cords with a couple of areas of loose weave, and scattered moth damage including grazing and small holes, primarily to side A.

77

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: slight fading to side A, scattered small faint stains and spots to each side, a few scattered small single holes, a couple of areas of loose weave to one edge, and wear and loss to corner tassels, with loose weave at one corner.

78

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. With a couple of scattered faint spots.

79

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few scattered small stains and spots, scattered areas of faint dye transfer, scattered areas of loose weave and a few discreet small holes, and textile out of square.

80

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered areas of minor moth damage with minor grazing and a couple of small holes.

81

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: slight fading to side A, a couple of scattered faint spots, a few scattered small holes with attendant areas of loose weave, each side with scattered areas of thinning to weave, and small strips of Velcro stitched to center and two corners of one edge.

82

With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to one side, scattered moth damage, mostly to one corner, with grazing and small holes, loosening to the selvage cords and loose weave to one corner, a couple of minor surface spots, and general wear to corners.

83

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered small areas of repairs including possible reweaving, one corner with soiling and subsequent dye transfer, a few small areas of moth grazing, and slight uneven fading to both sides.

84

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: very slight fading to side A, some scattered small holes or areas of loose weave, a few scattered areas of reweaving near center and near one end, and one short end with rewoven three-color banding.

85

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered faint stains and small spots and a few scattered small areas of shallow moth grazing.

86

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few scattered areas of small stains/spots to center of side A, with a few faint stains to side B.

87

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: side A with fading and a few scattered faint stains, scattered areas of minor moth damage with a larger area in grey wool to one end with loose weave, and a small hole measuring 0.5” x 0.5.”

88

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered areas of moth damage including grazing and small holes and an area of loose weave with a couple of small holes.

89

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a couple of corners with breaks to selvage cords with attendant loose weave, scattered areas of moth damage with grazing, small holes and breaks to selvage cords and weave loss at one end, and a short Velcro strip attached at two corners.

90

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few scattered areas of minor shallow moth grazing and a few scattered pulled single threads.

91

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: side A with slight fading and a minor mark near one corner, scattered minor breaks to selvage cords with wear and minor loss to weave at two corners, and a couple of areas of loose weave near one long edge, near a small area of reweaving.

92

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered areas with breaks to selvage cords and attendant loose weave and minor loss, an area of shallow moth grazing near one corner, and one corner with an area of repair stitching.

93

Overall good condition with scattered minor scuffs, scratches, and nicks commensurate with age. With a 2.5” diameter area of light staining to box stretcher verso. Left arm rest with 4” dia. area of darkening to the finish. Some sun fading to the wood. Upholstery in good condition with scattered minor scratches, creasing, and spotting.

94

Overall good condition with scattered minor scuffs, scratches, and nicks commensurate with age. With a 2.5” diameter area of light staining to box stretcher verso. Some sun fading to the wood. Upholstery in good condition with scattered minor scratches, creasing, and spotting.

95

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few minor breaks to selvage cords of one long end, an area of dye transfer to one side at center, scattered areas of moth damage including grazing and small holes, and a few scattered small stains.

96

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: side A with slight fading and a few scattered small spots and faint stains to each side.

97

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few scattered faint spots and minor stains and a few minor pulled stitches.

98

With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered staining and general soiling to each side throughout, a few scattered small breaks to cords with attendant loose weave, a few scattered small holes with possible repairs, and a few areas of minor dye transfer.

99

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few scattered breaks to selvage cords with attendant loose weave, a few scattered areas of moth damage including grazing and small holes, and a few small spots to each side.

100

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered minor spots, faint stains, and a couple of dark marks, a couple of minor single breaks to side selvage cords, and a few scattered areas of possible reweaving.

101

Overall fair condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered stains, areas of moth grazing concentrated to one side with a few small holes, small areas of repairs throughout including reweaving, areas of dye transfer, and even fading to both sides.

102

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered small spots and stains to each side, with darker stains to side B.

103

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered small spots and faint stains to each side, scattered areas of dye transfer, one side with a few breaks to selvage cord with attendant areas of loose weave, and a couple of areas of minor loose weave to two corners.

104

Overall fair to good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered spots and yellowish stains throughout, a few areas of reweaving repairs, and one short end with multicolored stitching, possibly reweaving.

105

With major loss to one corner, and minor loss/loose weave to two additional corners. Issues include but not limited to: multiple scattered areas of loose weave, small holes, and minor breaks to cords, with scattered spots and stains to each side.

106

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few scattered small spots and faint stains to each side and a couple of scattered areas of loose weave/small holes.

107

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered small spots/flecks to cream wool on each side and wear to tassels.

108

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered small areas of faint staining, including a small red mark, a few small scattered areas of loose weave, and partial replacement selvage and edge cords and tassels.

109

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a couple of minor spots of dye transfer to one corner.

110

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a couple of scattered small faint spots.

111

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few scattered small holes and small areas of loose weave, likely shallow moth grazing, and side B with scattered areas of raised nap to weave, especially near one end.

112

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a couple of breaks to one selvage cord, wear to tassels, with loss of one tassel, and a couple of scattered minor areas of loose stitches.

113

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use.

114

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered faint stains/spots to one side and a couple of areas of dye transfer to center of one end.

115

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered spots and stains to each side and wear and loss to three corners with attendant loose weave.

116

With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: multiple patches, reweaving, and stitched repairs, staining, spotting, and dye transfer throughout both sides, scattered moth damage including grazing and holes, and scattered breaks to selvage cords to sides and one short end.

117

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a large area of ringed staining/discoloration to center of each side, a few scattered spots to one end, a couple of small holes, and one corner with an area of loose weave.

118

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use.

119

With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: multiple areas of stitched repairs and some reweaving, a few scattered areas of loss with a few small holes with a larger hole to one end with breaks to warps, some areas of moth grazing, a few small breaks in the cording, and areas of dye transfer to each side throughout.

120

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered small repairs including reweaving, scattered areas of moth grazing with a few small holes, and scattered faint spots to one side.

121

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered stains, a few minor breaks to selvage cording, and a few small stitched repairs, concentrated to one short end.

122

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few scattered faint stains to each side, a small area of loose weave to one corner, and a couple of areas of minor superficial moth grazing to one side.

123

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: slight fading to side A, slight fluffiness to the weave, each side with a few scattered areas of minor moth damage with light grazing and a few shallow holes, a couple of small stains to side B, mild soiling overall, and one short end with break to selvage cord and an area of loose weave with a small hole. Fabric pole sleeve stitched to one short end for display.

124

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered breaks and loss to selvage edge of one short side with attendant loose weave and possible reweaving, scattered faint stains, and scattered moth damage overall including grazing and small holes.

125

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered faint grey staining and a few other stains including a drink ring, a small area of reweaving repair, a couple of minor small areas of moth grazing, and fading to one side.

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: very slight fading to side A, a few scattered minor areas of loose weave and single small holes, including at one end, and ravelling to one corner tassel, with loss of a second tassel.

127

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few scattered breaks to selvage cords, with minor areas of loose weave, orange dye transfer to each side throughout, and a quarter-sized area of re-weaving to one end.

128

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: overall fluffiness to weave and a few scattered small areas of moth damage.

129

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a small area of faint soiling to center of one motif.

130

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few scattered faint spots to one side.

131

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: slight fading to side A, scattered faint spots and stains to each side, a few minor areas of dye transfer, scattered minor breaks to selvage cords on three edges, with attendant small areas of loss and loose weave, and a couple of scattered small holes.

132

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 25” H x 29” W x 2.25” D

133

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 32.25” H x 44.25” W x 2.25” D

134

Visual: Overall good condition. Light dust accumulation, grime, and varnish discoloration throughout.

Blacklight: No evidence of restoration.

Frame: 13” H x 16.25” W x 1.25” D

135

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 26” H x 30” W x 1.25” D

136

Overall good condition. The sketchbook binding holes are still fully intact along the left edge. The sheet is hinged to the back mat with three pieces of clear tape from the verso of the left and right sheet edges.

Frame: 13.25” H x 15.25” W x 1.5” D

137

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 35.5” H x 47.5” W x 4” D

138

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few scattered spots and faint stains to each side.

139

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered faint spots to each side and a faint linear mark to top edge on one side.

140

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered small spots to each side and a couple of larger stains, scattered areas of shallow moth grazing damage, a small hole to the center, one long edge with a break to selvage cord and attendant loose weave, an area of pilling to the weave at center, and two corners with slight dye migration.

141

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered flecks of chaff to surface and fluffiness to the weave overall.

142

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: loss of tassel fringe to one corner.

143

Overall good condition with dust accumulation, light soiling, and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered small spots and faint staining to each side, a few scattered small holes and minor areas of loose weave, and a couple of areas of minor moth grazing.

144

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: the larger with scattered areas of faint staining/darkening and areas of dye migration to each side, a few minor areas of loose weave to each side edge, and loss of a tassel to one corner; the smaller with a break to selvage of one side edge with attendant loose weave, further areas of loose weave to each side edge with overstitched repairs, and wear to tassels.

145

Each overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: each with faint stains throughout; the two smallest with a few scattered areas of small repairs; the largest with scattered small breaks to long edges, scattered areas of light moth damage and fading to one side.

146

Each overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: each with fabric sleeve stitched to one end; the larger with slight fading to side A, two corners showing minor breaks to cords with attendant loose weave, dye transfer to each side, and side B with scattered drink ring spots and a few scattered small holes from moth damage; the smaller with slight fading to side A and a few areas of loose weave at the edge, with previous stitch repairs.

147

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The rim with scattered fleabites, a few small pea-sized shallow chips, and a 1” long crack. Rubbed wear to the polychrome throughout, the largest area measuring 1” diameter. Fire clouding near the base.

148

Overall good condition with shelf wear, scattered scuffs, and inherent firing flaws commensurate with age. Rubbed wear and soiling to the polychrome throughout. The rim with scattered fleabites. Interior with dust accumulation and a moisture ring.

149

Overall good condition. Not examined out of the frame.

Framed under glass: 33” H x 33” W x 1.25” D

150

With multiple breaks and repairs throughout. Shelf wear, scattered scuffs, soiling, and inherent firing flaws commensurate with age.

151

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With a pea-sized chip to rim. A more pronounced 0.75” long scratch to the body.

152

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Scattered crazing with a few subsequent rice-sized losses to the glaze. The badger effigy with a few scuffs to nose, the largest measuring 0.5” long.

153

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 25” H x 21” W x 2.5” D

154

Visual: Overall good condition. Very fine, stable craquelure throughout the dark pigments in the lower half.

Blacklight: No evidence of restoration.

Frame: 14” H x 17” W x 2” D

155

Visual: Overall good condition. Fine craquelure throughout, and some areas of unstable craquelure with attendant flecks of pigment loss, primarily in the upper half of the work. Two unobtrusive pea-sized pigment losses in the upper right corner.

Blacklight: No evidence of restoration.

Frame: 13” H x 17” W x 2” D

156

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 18” H x 21” W x 2.5” D

157

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 16” H x 18” W x 2.25” D

158

Visual: Overall good condition. Very unobtrusive specks of wear to the varnish in the upper right corner.

Blacklight: No evidence of restoration.

Frame: 17.75” H x 20.75” W x 2.5” D

159

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 18.25” H x 22.25” W x 3” D

160

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 12.5” H x 14.5” W x 2.5” D

161

Visual: Overall good condition. Occasional, scattered, faint scuff marks in the sky of the upper left quadrant. Occasional slight frame abrasions at the extreme upper and left edges.

Blacklight: No evidence of restoration.

Frame: 17.25” H x 21.25” W x 1.25” D

162

Visual: Overall generally good condition. Occasional, stable craquelure showing primarily in the lower half of the work. A soft 1” diagonal surface scratch near the upper portion of the right edge. A 3” diagonal scratch in the Masonite with attendant pigment loss in the upper left corner.

Blacklight: No evidence of restoration.

Frame: 26.75” H x 32.75” W x 2.5” D

163

Overall good condition with scuffs, dust accumulation, and darkening/oxidation to bronze commensurate with age.

164

Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age.

165

Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. The wood base with uneven refinishing. Some of the wood refinishing has spattered onto the bronze figure.

166

Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. Minor soiling to wood backing.

167

Visual: Overall good condition.

Blacklight: Occasional pea-sized spots of touch-up scattered throughout, showing primarily in the scarf of the cowboy.

Frame: 21.5” H x 24.5” W x 2” D

168

Overall good condition. Specks of unobtrusive foxing scattered throughout. Not examined out of the frame.

Framed under Plexiglas: 48” H x 25.25” W x 3” D

169

Visual: Overall good condition. An approximately 0.5” H x 1” W area with flecks of pigment loss to the darker blue-grey pigment in the sky, along the upper edge, at left. A small band of indentations to the pigment along the upper edge, possibly attendant with the pigment not dried to completion before the work was then set into its frame. Artist pinholes in places at the extreme upper edge.

Blacklight: No evidence of restoration.

Frame: 13.5” H x 17.5” W x 2” D

170

Visual: Overall good condition.

Blacklight: A 1” H x 0.75” H area of touch-up in the center to the right of the horse-rider in profile.

Frame: 39.5” H x 33.5” W x 4” D

171

Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age.

172

Overall good condition with minor scuffs, dust accumulation, and darkening/oxidation to bronze commensurate with age.

173

Visual: Overall good condition. A few minor pinheadsized areas of surface abrasion with attendant pigment loss in the extreme upper left and right corners.

Blacklight: No evidence of restoration.

Unframed

174

Visual: Overall good condition. A few scattered, pale, pea-sized or smaller spots of grime throughout the background.

Blacklight: No evidence of restoration.

Frame: 21.25” H x 25.25” W x 2” D

175

Visual: Overall good condition. Occasional pinheadsized spots of stray black pigment scattered in the lower right quadrant.

Blacklight: No evidence of restoration.

Frame: 21.25” H x 25.25” W x 2” D

176

Overall good condition. Not examined out of the frame.

Framed under glass: 15” H x 17.5” W x 0.75” D

177

Visual: Overall good condition. Minor dust accumulation. Occasional, small areas of slightly darkened varnish, scattered primarily in the sky.

Blacklight: No evidence of restoration.

Frame: 21” H x 25” W x 2” D

178

Visual: Overall good condition. Minor dust accumulation and specks of grime commensurate with age.

Blacklight: No evidence of restoration.

Frame: 27.75” H x 32.75” W x 2” D

179

Visual: Overall good condition. A few soft, faint, approximately 1” scuff marks in the sky of the upper left quadrant.

Blacklight: No evidence of restoration.

Frame: 12.25” H x 14.25” W x 1.25” D

180

Overall good condition. The board is attached to the overmat with long pieces of brown tape along the verso of each edge.

Unframed

181

Overall good condition. The board is attached to the overmat with long pieces of brown tape along the verso of each edge.

Unframed

182

Visual: Overall good condition.

Blacklight: Occasional pea-sized or smaller areas scattered throughout the sky fluoresce under blacklight.

Frame: 40.25” H x 56.25” W x 1.5” D

183

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 19.5” H x 22.5” W x 4.5” D

184

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 12.5” H x 18.5” W x 1.25” D

185

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 14.5” H x 14.5” W x 1.5” D

186

Overall good condition with scattered scuffs and scratches commensurate with age. Dust accumulation throughout. Glass in good condition. Oxidation to metal components. Fraying and wear to the cord. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

187

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The tabletop slightly loose on one end and with scattered soiling and drink rings.

188

With scattered scuffs, scratches, and nicks commensurate with age. Under-cushion surface with four chipped losses to the joining pegs. Subsequently, the right side proper is loose. The underside with modern reinforcements and with evidence of re-finishing throughout. The front right proper post with 4” long crack fill repair. Upholstery in fair condition with staining, creasing, and areas of sunning/lightening to the leather.

189

Each overall good condition with scattered scuffs, scratches, dust accumulation, nicks, indentations, and separation at joints commensurate with age. The top surface of each upper larger unit with a few drink rings. One larger unit lacking glass panel, with scattered minor scratches to present glass panels. Two missing a joint peg. Each unit with bits of tape and penciled markings verso. Some lacking mounting pegs or with variations of mounting pieces, subsequently one unit is unmounted and set onto the stack.

190

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 10.75” H x 12.75” W x 1.5” D

191

Visual: Overall good condition. Minor specks of grime and varnish discoloration scattered throughout, primarily showing in the sky.

Blacklight: No evidence of restoration.

Frame: 16.75” H x 18.875” W x 1” D

192

Visual: Overall good condition. A hairline diagonal surface scuff in the sky of the upper left quadrant.

Blacklight: Occasional rice-sized or smaller areas of touch-up along the peaks of the mountains and in the background of the upper and lower left quadrants.

Frame: 30.75” H x 42.5” W x 1.75” D

193

Visual: Overall good condition. Light dust accumulation, specks pf grime, and minor varnish discoloration scattered throughout.

Blacklight: No evidence of restoration.

Frame: 25” H x 40” W x 1.5” D

194

Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age.

195

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Evidence of older wood worm. Rubbed wear and small older losses throughout. Soiling to legs and stretcher.

196

Visual: Slight varnish discoloration and occasional flecks of grime. There are approximately a dozen rice-sized (or smaller) surface nodes scattered horizontally across the center of the work, primarily visible in raking light.

Blacklight: No evidence of restoration.

Frame: 21” H x 24.5” W x 1.5” D

197

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 21” H x 25” W x 2” D

198

Visual: Overall good condition. Occasional areas of very fine, stable craquelure showing primarily in the darker green pigments of the foliage. A few pinheadsized areas of pigment loss scattered in the lower corners.

Blacklight: No evidence of restoration.

Frame: 22.75” W x 22.75” W x 2.25” D

199

Visual: Overall good condition. Minor grime and varnish discoloration throughout, and with occasional rice-sized spots of darker grime scattered in the upper half of the work.

Blacklight: A few small areas of touch-up scattered throughout the mountain and bushes in the lower half of the work.

Frame: 27.5” H x 33.25” W x 1.5” D

200

Visual: Overall good condition. Minor dust accumulation and specks of grime scattered throughout.

Blacklight: No evidence of restoration.

Frame: 30.5” H x 38.25” W x 1.5” D

201

Visual: Overall generally good condition. Very fine, stable craquelure primarily showing throughout the center, and a soft stretcher bar crease along the left edge. Occasional riced-sized areas of pigment loss scattered in the upper right quadrant. Artist pinholes at each of the extreme corners.

Blacklight: No evidence of restoration.

Frame: 25” H x 31” W x 3” D

202

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame of each: 28” H x 23” W x 2” D

203

Visual: Overall good condition. The full sheet with deckled edges. Six areas with remnants of hinging tape and attendant minor surface skinning along the verso of the upper and lower sheet edges. The sheet is framed floating and secured to the back mat with four clear archival corners.

Blacklight: No evidence of restoration.

Framed under glass: 32.5” H x 39.5” W x 2” D

204

Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. More concentrated newer scratches to top surface.

205

Overall good condition with scuffs, scratches, chips, dust accumulation, wax residue, and inherent abrasions/wear commensurate with age. Oxidation and rust to original hardware. Break and losses to two antler tips at the top near suspension hook. Further repaired elements to the same area. Not electrified.

206

Each with scattered scuffs, scratches, losses to paint, dust accumulation, soiling, and oxidation to metal commensurate with age. Some with previous dealer’s tags to underside. One with detached wick/match holder, retained with the lot. Working condition for each unknown.

207

Each with scattered scuffs, scratches, losses to paint, dust accumulation, soiling, and oxidation to metal commensurate with age. Some with previous dealer’s tags to underside. Working condition for each unknown.

208

Each with scattered scuffs, scratches, losses to paint, dust accumulation, soiling, and oxidation to metal commensurate with age. Captain Marryat lacking key. Some with previous dealer’s tags to underside. Working condition for each unknown.

209

Each with scattered scuffs, scratches, losses to paint, dust accumulation, soiling, and oxidation to metal commensurate with age. Some with previous dealer’s tags to underside. Working condition for each unknown.

210

Each with scattered scuffs, scratches, losses to paint, dust accumulation, soiling, and oxidation to metal commensurate with age. Some with previous dealer’s tags to underside. Working condition for each unknown.

211

Each with scattered scuffs, scratches, losses to paint, dust accumulation, soiling, and oxidation to iron commensurate with age. Some with previous dealer’s tags to underside. Working condition for each unknown.

212

Each with scattered scuffs, scratches, losses to paint, dust accumulation, soiling, and oxidation to iron commensurate with age. One with large chipped loss to the blade. Some with previous dealer’s tags to underside. One with old tape residue to the arm. Working condition for each unknown.

213

Each with scattered scuffs, scratches, losses to paint, dust accumulation, soiling, and oxidation to iron commensurate with age. Some with previous dealer’s tags to underside. Working condition for each unknown.

214

Each with scattered scuffs, scratches, losses to paint, dust accumulation, soiling, and oxidation to iron commensurate with age. One with blade disconnected. Ranney-Davis with losses to the iron. Some with previous dealer’s tags to underside. Working condition for each unknown.

215

Each with scattered scuffs, scratches, losses to paint, dust accumulation, soiling, rust, and oxidation to metal commensurate with age. Working condition for each unknown.

216

Each with scattered scuffs, scratches, nicks, indentations, soiling, dust accumulation, and oxidation commensurate with age. Scattered loss to the paint and rust throughout. Some components bent out of original shape. Two with lids stuck closed and interiors not inspected.

217

Overall good condition. Full margins with deckled edges. A soft 2.5” diagonal crease in the upper right margin corner. Two pale pinhead-sized areas of foxing in the upper portion of the extreme right margin edge. The sheet is loose, not matted.

Unframed

218

Overall good condition. Full margins with deckled edges. Soft handling creases primarily scattered in the upper margin edge and corners. A few pale specks of unobtrusive foxing in the upper left margin corner and the upper margin edge, at right. A pea-sized area of pale staining near the lower left margin corner, and primarily showing on the reverse and in raking light. The sheet is loose, not matted.

Unframed

219

Overall good condition. Full margins with deckled edges. The slightest pinpoint-sized area of foxing directly above the image in the upper margin, right of center. Other occasional pinhead-sized or smaller areas of foxing scattered on the verso. Two remnants of old hinging tape on the verso of the upper margin edge. The sheet is loose and affixed to the back mat with four clear archival corners.

Unframed

220

Overall good condition. Light-staining throughout and with it most apparent along the edges of the mat window. Two very pale pea-sized areas of foxing near the upper edge, at left, primarily visible in a raking light. A minor 3” diagonal crease in the upper portion of the left edge, and other soft handling creases scattered primarily in the outer edges. The verso of the left edge is mounted to the back mat.

Unframed

221

Each overall good condition. “Oleary,” with creases at the upper right and lower left corners and a small band of surface skinning along the upper edge, verso. “Beauty,” with a very small crease in the extreme upper right corner and a pinpoint-sized foxmark at the upper portion of the extreme left edge, verso. “Judy,” with two areas of toned paper remnants adhered to the lower left and right corners, verso. “A Tribute to the Dog - By Senator Vest,” with a 0.375” vertical tear in the extreme upper edge, at center, scattered areas of handling creases primarily in the outer edges, and a small band of old paper tape remnants along the left edge, verso. The untitled work with a crease in the lower right corner and a piece of thin paper taped from the lower edge, verso. Each sheet is loose, not matted.

Each unframed

222

Each overall good condition. Occasional, soft, and unobtrusive abrasions and handling creases primarily scattered in the extreme outer edges and corners. “Sport” and Untitled, tramp dog, with a few very pale flecks of foxing scattered in the outer edges. Cat and dog, and Bobby the bear, with paper remnants on the verso of the sheets. Each sheet is loose, not matted.

Each unframed

223

Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. Tests for sterling.

224

Each in overall good condition with tarnishing and light scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures. Tests for sterling.

225

Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions. surfacereaching fractures, and visible inclusions. A couple of necklace stones with hairline fractures.

226

Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions. surface-reaching fractures, and visible inclusions. Tests for sterling.

227

Overall good condition with light tarnishing and scratches commensurate with age and use. Inlay with scattered light abrasions. Tests for sterling.

228

Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Tests for sterling.

229

Overall good condition with tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Some stones with hairline fractures and with a few minor chips.

230

Overall good condition with light wear and scratches commensurate with age and use. Scattered stones with light abrasions and a few tiny hairlines. Tests for 14k gold.

231

Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. A few beads with scattered minor single chips.

232

Overall good condition with light wear and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.

233

Overall good condition with light wear, tarnishing, and scratches commensurate with age and use. Stones with scattered light abrasions. surfacereaching fractures, and visible inclusions. A few scattered beads with minor chips.

234

Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Adhesive residue to pendant stone edge.

235

Overall good condition with light scratches and wear commensurate with age and use. Stones and shells with scattered light abrasions and surface reaching fractures. Scattered jacla beads with a few single minor chips.

236

Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.

237

Overall good condition with scratches and wear commensurate with age and use. Stones and shells with scattered light abrasions and surface reaching fractures.

238

Overall good condition with light wear and scratches commensurate with age and use. Beads with scattered light abrasions.

239

Overall good condition with light tarnishing and scratches commensurate with age and use. Stone beads with scattered abrasions and surface reaching fractures. Scattered beads with heavy matrix.

240

Overall good condition with light tarnishing and scratches commensurate with age and use. Stone beads with scattered abrasions and surface reaching fractures. Tests for sterling.

241

Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Tests for sterling.

242

Each in overall good condition with light wear and faint scratches commensurate with age and use. Stones with scattered light abrasions.

243

Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Tests for sterling.

244

Overall good condition with light wear commensurate with age and use. Stone with scattered light abrasions and faint scratches.

245

Overall good condition with light tarnishing and scratches commensurate with age and use. Silver with a few scattered minor dents. Scattered stones with light abrasions and surface reaching fractures. Tests for sterling.

246

Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface-reaching fractures. Light wear to leather cord. Tests for sterling.

247

Overall good condition with light tarnishing and scratches commensurate with age and use. Light wear and faint white marks to leather.

248

Overall good condition with light tarnishing, light scratches and wear commensurate with age and use. Lacking joining loop to one end. Tests for sterling.

249

Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.

250

Overall good condition with light wear and scratches commensurate with age and use. Carved bone with scattered abrasions and surface reaching fractures.

251

Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.

252

Overall good condition with light tarnishing and scratches commensurate with age and use.

253

Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions, surface-reaching fractures, and visible inclusions.

254

Overall good condition with tarnishing, light scratches and wear commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.

255

Overall good condition with tarnishing, light scratches and wear commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.

256

Overall good condition with tarnishing, light scratches and wear commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.

257

Overall good condition with tarnishing, light scratches and wear commensurate with age and use. Stone with scattered abrasions and surface reaching fractures.

258

Overall good condition with light scratches and wear commensurate with age and use. Scattered stones with abrasions.

259

Overall good condition with tarnishing, light scratches and wear commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.

260

Overall good condition with tarnishing, light scratches and wear commensurate with age and use. Stone with scattered abrasions and surface reaching fractures.

261

Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Tests for sterling. Sources: Jan-Mikael Patterson, “Final Reveille: Code Talker, Silversmith Lloyd Oliver Left His Mark History,” “The Navajo Times,” March 24, 2011. https://prologue.blogs.archives. gov/2020/11/24/remembering-lloyd-oliver-u-s-marinenavajo-code-talker/

262

Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.

263

Overall good condition with light tarnishing and scratches commensurate with age and use. Stone with scattered light abrasions and surface-reaching fractures.

264

Overall good condition with tarnishing, light scratches and wear commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Working condition of watch unknown; watch face easily replaceable. Moran’s does not guarantee the working condition of clocks and watches.

265

Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions. surface-reaching fractures, and visible inclusions. Tests for sterling.

266

Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.

267

Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Tests for sterling.

268

Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions. surfacereaching fractures, and visible inclusions. Inlay with scattered areas of loss and later infill to these areas. Each tests for sterling.

269

Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface-reaching fractures. Unmarked cuff with minor chip to stone at one end, and does not test for sterling.

270

Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Unmarked items test for sterling.

271

Each in overall good condition with light tarnishing and scratches commensurate with age and use. Narrow cuff tests for sterling.

272

Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Zuni cuff with a minor area of loss to inlay to headdress of one figure. The narrow cuff with a minor fracture at one corner. Each tests for sterling.

273

Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered coral stones with light abrasions and surface reaching fractures. Each tests for sterling.

274

Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.

275

Each in overall good condition with tarnishing, light scratches and wear commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Each tests for sterling.

276

Each in overall good condition with tarnishing, light scratches and wear commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. A few scattered stones with hairline fractures. One small cluster set ring with loss of one stone. Seven test for sterling.

277

Each in overall good condition with tarnishing, light scratches and wear commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Seven test for sterling.

278

Each in overall good condition with tarnishing, light scratches and wear commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Oval shadowbox ring with hairline across one end. Working condition of watch unknown. Moran’s does not guarantee the working condition of clocks and watches. Three test for sterling.

279

Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions. Most test for sterling.

280

Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones and beads with scattered abrasions and surface reaching fractures. Silver tests for sterling.

281

Condition: Each in overall good condition with tarnishing, light scratches and wear commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. One pair of shell bird earrings lacking clasp. Three single wire and stone bead earrings/dangles with two lacking hooks. Working condition of watch unknown; watch face easily replaceable. Moran’s does not guarantee the working condition of clocks and watches. Silver items not tested.

282

Overall good condition with shelf wear, dust accumulation, light scratches, and minor scuffs commensurate with age. With wear to the feathers.

283

Overall good condition with shelf wear and minor scuffs commensurate with age. The Weahkee with feather slightly loose from its mounting. Two with stickers applied to underside.

284

Each overall good condition with shelf wear, dust accumulation, and minor scuffs commensurate with age.

285

Each overall good condition with scuffs and scratches commensurate with age. The stones with typical, natural eye-visible inclusions, surface-reaching fractures, and abrasions. A few minor breaks/losses to bear medicine bundles, some retained. Large bear with minor chips to ears. Carved pillar with large chip to top and a few scratches to opposite edge. Pillar likely part of a candle holder originally.

286

Each overall good condition with shelf wear, scattered scuffs and minor scratches, and dust accumulation commensurate with age. One figure with repaired break to hand. Another figure with repair to arm held with tape verso and two watermelon slices unmounted and retained.

287

Each overall good condition with shelf wear, scattered scuffs and minor scratches, and dust accumulation commensurate with age. One figure missing a corn stalk headpiece.

288

Overall good condition with minor shelf wear, dust accumulation, and minor scuffs commensurate with age. With previous dealer’s attribution on paper taped to underside.

289

Overall good condition with minor shelf wear, dust accumulation, and minor scuffs commensurate with age.

290

Each overall good condition with minor shelf wear, dust accumulation, and minor scuffs commensurate with age.

291

Overall good condition with wear and minor scuffs commensurate with age. The bone with naturally occurring imperfections, inclusions, and weathering typical for the material. With large crack spanning from the neck to midsection of figure with attendant smaller cracks throughout.

292

Overall good condition with shelf wear and minor scuffs and scratches commensurate with age. With previous accession sticker to underside reading “R2011-5.10” and two previous dealer’s stickers, one dated “1-18-72.”

293

Overall good condition with shelf wear and minor scuffs and scratches commensurate with age. Peasized chipped loss to woman’s forehead. With previous accession sticker to underside reading “R2011-5.12.”

294

Overall good condition with shelf wear and minor scuffs and scratches commensurate with age. With previous accession sticker to underside reading “R2011-5.13.”

295

Each overall good condition with minor shelf wear, dust accumulation, and minor scuffs commensurate with age. Eagle with possible rice-sized conchoidal chip to feather tip, possibly inherent in the carving.

296

Overall good condition with shelf wear and minor scuffs and scratches commensurate with age, concentrated to underside, rear flipper, and neck. With previous accession sticker to underside reading “R2011-5.20.”

297

Overall good condition with shelf wear and minor scuffs and scratches commensurate with age. A rice-sized chipped loss to right ear proper, with a few small chipped losses to head and along base. With previous accession sticker to underside reading “R2011-5.24.”

298

Each overall good condition with minor shelf wear, dust accumulation, and minor scuffs commensurate with age. The two-sided with previous dealer’s sticker to side: 63. The bone tusks not mounted and retained with the lot.

299

Each overall good condition with minor shelf wear, dust accumulation, and minor scuffs commensurate with age. Sima Tuki with sticker bearing attribution to underside.

300

Each overall good condition with minor shelf wear, dust accumulation, and minor scuffs commensurate with age. Two with previous dealer’s sticker to underside.

301

Each overall good condition with minor shelf wear, dust accumulation, and minor scuffs commensurate with age. The Mina Mannuk with remnants of another older sticker to underside. The two whales with sticker to underside. The single whale with rice-sized fleabite chip to right side of tail fin.

302

Each overall good condition with minor shelf wear, dust accumulation, and minor scuffs commensurate with age. One with previous dealer’s sticker to underside.

303

Each overall good condition with minor shelf wear, dust accumulation, and minor scuffs commensurate with age. The shorter with previous dealer’s sticker to underside.

304

Overall generally good condition. Minor dust accumulation and specks of grime scattered throughout. A few approximately 1” vertical surface scratches to the board, and above the cliffs in the upper left quadrant. Small, scattered surface scuffs in the lower right corner.

Blacklight: No evidence of restoration.

Frame: 28.25” H x 34.25” W x 2” D

305

Overall good condition. Full margins with deckled edges. A good impression. A soft 6.25” diagonal crease along the upper portion of the extreme left margin edge. Two small areas of very pale and unobtrusive surface soiling in the upper left margin corner and the other in the lower margin, left of center. Occasional very pale and unobtrusive foxing near the outer margin edges. The sheet is loose, not matted.

Unframed

306

Overall good condition. Full margins with deckled edges. A good impression, with the impressed outline of the lithographic stone visible in the margins. With the soft lithography stone impression on the outer margin edges. A 1.25” H x 1.25” W area of very pale staining in the upper left margin corner, primarily visible in a raking light. An occasional minor foxmark and some stray printer’s ink in the margins and/or verso. A 1.75” slight pressure mark near the lower left margin corner, partly affecting the edge of the image. The sheet is loose, not matted.

Unframed

307

With margins and deckled edges. Uneven toning throughout, the darker areas of toning primarily throughout the outer margins edges, and corners. Two pea-sized holes near the lower portion of the right margin edge. A 1.5” diagonal area of paper loss in the upper right margin corner. A cluster of pinhead-sized areas of foxing near the lower margin edge, at left. A 1.25” H x 1.25” W tear in the lower margin edge, at center. Handling creases scattered throughout, the largest being a 6.5” diagonal crease running through the upper left quadrant of the image, primarily visible from the reverse. Pea-sized or smaller areas of foxing

John Moran Auctioneers, Inc

SPECIALISTS

President, Auctioneer Jeffrey J. Moran

Head of Sale, Vice President, Silver, Western & American Indian Art

Director, Fine Art

Associate Specialist, Fine Art

Associate Specialist, Fine Art

Department Administrator, Fine Art

Cataloguer, Silver, Western & American Indian Art

Cataloguer, Fine Art

Cataloguer, Fine Art

Cataloguer, Fine Art

Senior Specialist, Furniture & Decorative Art

Post-War & Contemporary Design Specialist

Department Administrator, Furniture & Decorative Arts

Cataloguer, Furniture & Decorative Arts

Director, Jewelry & Watches

Associate Specialist, Jewelry & Watches

TRUSTS & ESTATES

Senior Vice President, Director Trusts & Estates

Director, Appraisals

Associate Appraiser

Consignment Manager

CLIENT SERVICES

Office/HR Manager

Client Services

Finance Administrator

Client Services

OPERATIONS

Vice President, Business Director, Auctioneer

Controller

Consignment Coordinator

Warehouse Supervisor, Senior Art Handler

Transport Supervisor, Senior Art Handler

Art Handler

Art Handler

MARKETING

Director, Advertising & Marketing

PR Manager/Social Media

Graphic Designer

PHOTOGRAPHY

Photographer

Photographer

Photographer

Photography Assistant

FOUNDERS

Founder

Co-Founder

Maranda Moran

Jenny Wilson

Bobby Cullen

Ian Anderson

Lori Kassabian

Sally Andrew

Anne Spink

Madison Ari

Clark Silva

Angela Past

Matthew Grayson

Alek Ellis

Grant Stevens

Tom Burstein

Nikita Mehta

Morgana Blackwelder, ISA AM

Mariam Whitten, ISA AM

Shannon Dailey

Melissa Brownell

Mario Esquivel

Ella Fountain

Jamie Holthauser

Bryan Ortega

Stephen Swan

Joseph Scott

Jean Rapagna

Richard Corral

Joe Miranda

Joseph Corcoran

Romero Corral

Nathan Martinez

Brenda Smith

Brian Olivas

Keith Berson

Madison Torres

Matthew Mizerowski

Jacob Baer

John H. Moran (1942-2017)

Madeleine Moran

This catalogue is meant merely as a guide. The Auctioneers do not warrant the accuracy, genuineness, authenticity, description, weight, count or measure of any of the lots specified herein.

BUYER’S PREMIUMS:

BUYER’S PREMIUM is calculated at 27% on the first $1,000,000 of the hammer price, plus 21% on any amount between $1,000,001 - $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check or wire transfer.

Credit card payments will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards.

Buyers outside of the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside of the United States.

BIDDING INCREMENTS:

$100 - $475 @ $25 increments

$500 - $950 @ $50 increments

$1,000 - $1,900 @ $100 increments

$2,000 - $4,750 @ $250 increments

$5,000 - $9,500 @ $500 increments

$10,000 - $19,000 @ $1,000 increments

$20,000 - $47,500 @ $2,500 increments

$50,000 - $95,000 @ $5,000 increments

$100,000 - $190,000 @ $10,000 increments

$200,000 - $480,000 @ $20,000 increments

$500,000 & above @ $50,000 increments, or at Auctioneer's discretion.

View Illustrated Catalogue Online @ www.johnmoran.com

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These Terms and Conditions of Sale (“Terms“) set out the terms by which the sale or purchase of property at auction through John Moran Auctioneers, Inc. (“Moran”) will be governed. These Terms constitute a legal and binding agreement between You and Moran.

AUCTION HOUSE AS AGENT

Except as otherwise expressly stated in writing, Moran acts as an agent for the seller. Thus, any contract for the sale of property through Moran is made between the respective seller and buyer.

BEFORE THE AUCTION

(a) Public Preview. All property is available for inspection by public or private preview according to the auction information posted online and in the catalogue. In many cases, particular lots can be examined in advance by private appointment by contacting a customer service representative at info@johnmoran. com or by dialing 626-793-1833. Prospective buyers are strongly encouraged to personally examine any property in which they are interested.

(b) Buyer’s Responsibility. Buyers are responsible for determining to their own satisfaction the true nature and condition of any lot prior to bidding. Though buyers are not legally required to inspect lots prior to purchase, failure to do so may constitute a waiver of complaint that an item was not delivered in a condition equal to the existent condition at the auction.

(c) Property Sold “As Is”: Neither Moran nor the seller provides any guarantee in relation to the nature of the property, or to any errors or omissions in the catalogue or supplemental material, apart from the Limited Warranty stated in Section 5 below. ALL PROPERTY IS SOLD “AS IS.” Condition reports are offered as a courtesy and are typically published in Moran’s catalogue, or online, or can be made available upon request. The absence of a condition report does not imply that an item is free from defects or restoration, nor does reference to particular defects imply the absence of others.

AT THE AUCTION

(a) Admission. Moran’s auction is open to the public, although Moran reserves the right to, in its sole discretion, refuse admission or participation to anyone at any time. The auction may be recorded (visually, aurally, or otherwise) and all participants or attendees at the auction consent to such recording.

(b) Buyer Registration. Prospective buyers must register with Moran before bidding. Moran may, in its sole discretion, require identification, financial references, or a deposit in advance of buyer eligibility. Registered bidders accept personal liability to pay the purchase price, including the Buyer’s Premium, as described in Section 4(a) below, plus all applicable charges, unless Moran agrees in advance that the bidder is acting as agent on behalf of an identified third party that Moran, in its sole discretion, deems acceptable. In such case, Moran will look to the third party for payment. Successful bidders may be required to further verify their identity before property is released.

(c) Bidding Guidelines. Bidding, whether in person or by agent, absentee bid, telephone, or internet, constitutes a bidder’s acceptance of these Terms. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer retains the absolute right to reject any bid; withdraw, pass, or divide any lots; combine multiple lots; advance the bidding at their absolute discretion; and—in the case of error or dispute, whether during or after the sale—determine the successful bidder; continue the bidding; cancel the sale; or re-offer and sell the lot in question. Under no circumstances are sellers, or agents acting on their behalf, permitted to bid on their own property. In the event of any dispute after the auction, Moran’s sale record shall be conclusive as to the successful bidder and the price of the successful bid.

(d) Absentee, Telephone, and Internet Bidding. Moran offers absentee, telephone, and internet bidding as a convenience to clients and does not accept liability for errors or failures to execute bids. Absentee and telephone bids must be recognized by Moran prior to auction day. When identical absentee bids are submitted that become the highest bids at the auction, the bid first received by Moran shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure.

(e) Reserves. Unless Moran expressly indicates otherwise, lots may be offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve for any lot shall not exceed its published estimate. Moran shall act to protect the reserve by bidding through the auctioneer, who may open bidding on any lot below the reserve by placing a bid on the seller’s behalf. The auctioneer may continue to bid on behalf of the seller up to the reserve amount, either by placing consecutive bids or by placing bids in response to other bidders. Lots without reserves are typically opened for bidding at 50% of their low estimate. In the absence of a bid at that level, the auctioneer may proceed backward at their discretion or deem the lot unsold if a bid is not recognized.

AFTER THE AUCTION

(a) Payment and Title Transfer. The buyer agrees to pay the sum of the hammer price plus Buyer’s Premium, plus any applicable sales tax. The Buyer’s Premium will be calculated as follows: 27% on the first $1,000,000 of the hammer price, plus 21% on any amount between $1,000,001 and $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check, or wire transfer.

Successful bidders using Live Auctioneers or Invaluable platforms will be charged a Buyer’s Premium calculated as follows: 32% on the first $1,000,000 of the hammer price, plus 26% on any amount between $1,00,001 and $5,000,000, and 20% on any amount above $5,000,000 when paying by cash, check, or wire transfer.

Credit card payments made directly to Moran will be subject to an additional 3% acceptance fee. This fee is not more than the cost of accepting these cards. The name and address associated with the credit card must match the name and address of the successful bidder. Credit Cards are not an accepted form of payment for buyers outside the United States.

Buyers are strongly encouraged to provide full payment at the auction. Payment must be received by Moran within five business days immediately following the auction. The buyer does not acquire title to and may not take possession of the lot until all amounts (including the hammer price, premium, and applicable taxes) due to Moran have been paid in full.

Unless alternate payment arrangements are made immediately following the auction, successful Live Auctioneers bidders will be automatically charged via Live Auctioneers’ LivePayments 24 hours after the auction. Payments made through Live Auctioneers LivePayments are subject to an additional processing fee and any applicable state sales tax.

(b) Collection: Buyers are strongly encouraged to collect purchased items from the sale site at the time of the auction. Packing material and labor are provided free of charge at the sale site during the auction. Packing and handling of purchased lots is undertaken by Moran solely as a convenience to customers. If a buyer opts to use this courtesy packing and handling service, Moran is not liable for damage to property, regardless of cause.

(c) Storage and Abandonment. Following the auction, uncollected lots shall be relocated to and stored in Moran’s warehouse. Moran shall retain possession of all purchases until full payment has been received from the buyer. Lots remaining uncollected after the fifth business day following the sale, regardless of payment status, are subject to a per-lot daily storage charge of $10.00. In addition to other remedies available by law, Moran reserves the right to impose upon delinquent buyers a separate 1% monthly charge (of the purchase price, or the maximum permitted by law) commencing on the sixth business day after the sale date. If a buyer fails to retrieve a purchased lot within thirty (30) days after the date of sale (the “Retrieval Period”), Moran may, without further notice, (a) continue to store the lot in Moran’s warehouse, or at the warehouse of a third-party, subject to the storage charge described above; (b) deliver the lot to the buyer at the buyer’s expense; or (c) sell the lot at auction without reserve at a place and time determined by Moran in its sole discretion.

(d) Consequences of Late Pick-Up/Abandoned Property. Notwithstanding the foregoing, Moran has no duty to store any lot indefinitely. Any purchased lot that remains in Moran’s possession sixty (60) days after the Retrieval Period (collectively, ninety (90) days) will be deemed abandoned (“Abandoned Property”) and title to it will pass to Moran. Moran may, in its sole discretion, discard or sell any Abandoned Property and may keep any proceeds from any such sale. Moran may not be held liable for any claims related to Abandoned Property. Moran is not responsible for damage or loss that occurs to Abandoned Property and Moran is not responsible for insuring Abandoned Property after the Retrieval Period.

(e) Shipping. As a courtesy to buyers, Moran provides a list of preferred shippers who are in the business of transporting antiques and works of art. Buyers are responsible for arranging their own shipping estimates and deliveries. Moran, in its sole discretion and as a courtesy to buyers, may arrange to have purchased lots packed, insured, and forwarded by a third-party shipper at the request, expense, and risk of the buyer. In circumstances where Moran arranges for such third-party services, Moran may apply an administration charge of 15% of that service fee. Moran assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers, even if recommended by Moran. Moran also assumes no responsibility for any damage to picture frames or to the glass therein.

(f) All Sales Final. Notwithstanding other terms mentioned herein, refunds may be given in Moran’s sole discretion. Refunds requested on the grounds of authenticity must be made within 180 days of the auction and accompanied by a supporting written statement from a recognized authority (defined as a person who has authored, edited, or substantially contributed to a monograph on the artist; a person who has curated, organized, or substantially contributed to a solo exhibition on the artist; or a person who has represented the artist’s estate or someone who represented or worked closely with the artist while they were alive and, in any of the foregoing instances, physically handled works of the period, medium, and subject matter in question during the course of their duties) stating that the object sold is incorrect or not the work of the artist. Dealers, appraisers, and representatives of other auction firms do not qualify as authenticators of individual artists unless they have had such specific involvement with that artist’s work, as specified above, in addition to their daily duties. Refunded lots must be returned to Moran in the same condition as when sold. Moran does not grant extensions to refund considerations based upon authenticity due to shipping delays. There are no exceptions to this refund policy.

LIABILITY AND LIMITED WARRANTY

(a) Liability. The buyer expressly agrees that (i) neither Moran nor the seller shall be liable, in whole or in part, for any special, indirect, or consequential damages, including, without limitation, loss of profits, and (ii) the buyer’s damages, if any, are limited exclusively to the original purchase price paid for the lot.

(b) Limited Warranty. ALL PROPERTY IS SOLD AS IS. Neither the seller nor Moran or its associates make any representation, express or implied, warranty (including merchantability and fitness), or guarantee in condition, age, size, provenance, medium, signature, inscription, exhibition history, importance, rarity, country of origin, genuineness, historical relevance, monetary or other value, framing or lack thereof, mounting, conservation, coloring, palette, inscription, edition, style, label, or other descriptor. No statement in the catalogue, brochures, website, bill of sale, invoice, any supplementary material, or statements by any Moran employee shall be deemed a warranty, representation or assumption of liability.

(c) Descriptions. No warranty, whether express or implied, is made with respect to any description contained in this auction or any second opinion. Any description of the items or second opinion is for the courtesy of identifying the items for those bidders who do not have the opportunity to view the lots in person, and no description of items has been made part of the basis of the transaction or has created any express warranty that the goods would conform to any description made by the auctioneer. Color variations can be expected in any electronic or printed imaging and are not grounds for the return of any lot.

(d) Estimates. All estimates provided are carefully considered opinions of Moran’s specialists and are merely suggested guidelines for interested buyers. Buyers must be aware that all property sold is subject to fluctuating values depending on the subjective interests of collectors and a wide variety of other uncontrollable factors. The lots auctioned may sell at prices above, within, or below estimate.

(e) Notices, Demands, and Refunds. Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be made (1) in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016 or (2) via email at info@johnmoran.com.

(f) Notices, Demands and Refunds: Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016.

ADDITIONAL MATTERS

(a) Copyright. The copyright on all images, illustrations, and written material produced by or for Moran for its auction is and will remain at all times the property of Moran. Moran and the seller make no representation or warranty that the buyer will acquire any copyright or reproduction rights to a purchased lot.

(b) Buyer’s Breach of Conditions. If a buyer fails to comply with any of these Terms, Moran may, in addition to asserting all remedies available by law, including the right to hold that buyer liable for the purchase price, (i) cancel the sale, retaining as liquidated damages any payment made by the buyer; (ii) resell the property without reserve at public auction or privately upon notice to the buyer; or (iii) take such other action as Moran deems necessary or appropriate. If Moran resells the property, the original defaulting buyer shall be liable for the payment of any deficiency between the original sale price and any subsequent mitigation sale, including warehousing, the expenses of both sales, reasonable attorney’s fees, commissions, incidental damages, and all other charges due hereunder. In the event that such buyer pays a portion of the purchase price for any property, Moran’s shall apply the payment received to such property that Moran, in its sole discretion, deems appropriate. Moran shall have the benefit of all rights of a secured party under the Uniform Commercial Code as adopted in the State of California.

(c) Governing Law. The rights and obligations of the parties with respect to these Terms and the conduct of the auction shall be governed and interpreted by the laws of the State of California.

(d) Arbitration. Any dispute, claim, or controversy arising out of or relating to these Terms or the breach, termination, enforcement, interpretation, or validity thereof, including the determination of the scope or applicability of this agreement to arbitrate, shall be determined by private arbitration before an arbitrator. The arbitration shall be administered by JAMS pursuant to its Comprehensive Arbitration Rules and Procedures. Judgment on the award may be entered in any court having jurisdiction.

This clause does not preclude the parties from seeking provisional remedies in aid of arbitration from a court of appropriate jurisdiction. The parties shall maintain the confidential nature of the arbitration proceeding and the award, including the hearing, except as may be necessary to prepare for or conduct the arbitration hearing on the merits, or except as may be necessary in connection with a court application for a preliminary remedy, a judicial challenge to an award or its enforcement, or unless otherwise required by law or judicial decision.

In any arbitration arising out of or related to these Terms, the arbitrator shall award to the prevailing party, if any, the costs and attorneys’ fees reasonably incurred by the prevailing party in connection with the arbitration. If the arbitrator determines a Party to be the prevailing party under circumstances where the prevailing party won on some but not all of the claims and counterclaims, the arbitrator may award the prevailing party an appropriate percentage of the costs and attorneys’ fees reasonably incurred by the prevailing party in connection with the arbitration.

(e) Severability. Should any of these conditions be deemed unenforceable, invalid, or illegal in any court having jurisdiction, that part shall be severed from these Terms and shall have no effect on the enforceability of the remaining provisions contained herein, which shall remain valid to the fullest extent permitted by law.