Native American Art + Design — February 24, 2026 | John Moran Auctioneers

Native American Art + Design Online Tuesday, February 24, 2026

SINCE 1969

AUCTIONEERS & APPRAISERS w w w. j o h n m o r a n . c o m

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Native American Art + Design Online Tuesday, February 24, 2026 | 12pm PST Sale 335 145 East Walnut Avenue, Monrovia CA 91016

This is an interactive catalogue.

Click on any item description or hyperlink for more information.

Please note: This catalogue only features lots 1-200.

The full sale can be viewed on johnmoran.com

Previews:

Limited preview or

By Appointment Tuesday, February 24th: Doors open 9am

Meet the Team

Maranda Moran Vice President m.moran@johnmoran.com Anne Spink Senior Cataloguer, Fine Art a.spink@johnmoran.com

Grant Stevens Cataloguer, Furniture & Decorative Art g.stevens@johnmoran.com

Sally Andrew Cataloguer, Silver Jewelry & Decorative Art s.andrew@johnmoran.com

Client Services Mario Esquivel Office Manager m.esquivel@johnmoran.com

Ella Fountain Client Services e.fountain@johnmoran.com

SINCE 1969

AUCTIONEERS & APPRAISERS

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A Navajo double saddle blanket

Early 20th century, Diné Woven in cream and dark brown wool with a sawtooth border 44.5” H x 30” W $500-700

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A Navajo saddle blanket

Early/mid-20th century, Diné Woven in red, cream, dark brown, tan, and ochre wool with two stacked stepped and sawtooth diamonds and banded borders 49” H x 34.5” W $400-600

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A Navajo double saddle blanket

Early 20th century, Diné Woven in red, cream, natural grey, and dark brown wool with three columns of stacked serrated diamonds 54” H x 30” W $500-700 Provenance: Acquired from Christie’s with auction tag attached

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A Navajo Transitional textile

Late 19th/early 20th century, Diné Woven in cream, orange, red, brown, and grey wool with a radiating central diamond and alpaca/goat fringe 20” H x 20” W; Fringe: 3” $500-700

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A Navajo optical rug

Mid/late 20th century, Diné Woven in red, cream, natural grey, and black wool, with concentric stepped diamonds and a stepped border 127” H x 78.5” W $800-1,200

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A Navajo regional rug

Early 20th century, Diné Woven in red, cream, grey, natural grey, dark brown, and tan wool, with hooked motifs within floating crosses 104” H x 63” W $800-1,200

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A Navajo regional rug

Early 20th century, Diné Woven in red, cream, grey, dark brown, and tan wool with a central Spider Woman cross within a stepped diamond, floating crosses to each corner, and a banded border 73” H x 43” W $600-800

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A Navajo regional rug

Early 20th century, Diné Woven in red, cream, light and mid-grey, tan, and dark brown wool, with stacked serrated diamonds and floating whirling logs 78” H x 54” W $600-800

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A Navajo regional rug

Early 20th century, Diné Woven in cream, grey, and dark brown wool, with stacked diamonds and floating whirling log motifs within a hooked border 85” H x 51” W $700-900 Provenance: Sold: Christie’s, New York, NY, “American Indian Art,” January 13, 2005, Lot 28

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A Navajo Ganado rug

Early 20th century, Diné Woven in red, cream, ochre, natural tan and grey, and black wool, with central cross motif and floating serrated diamonds 88” H x 43.5” W $1,000-1,500

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A Navajo regional rug

Early 20th century, Diné Woven in black, brown, natural brown, and cream wool, with a central diamond and stepped designs 83.5” H x 37.5” W $200-400

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A Navajo regional rug

Early 20th century, Diné Woven in cream, natural grey, black, and dark brown wool, with floating diamonds and a dark brown spirit line 80.5” H x 49” W $800-1,200

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A Navajo regional rug

Early 20th century, Diné Woven in red, cream, natural grey, dark brown, and tan wool, with central denticulated diamond and corner elements 78.5” H x 48.5” W $700-900

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A Navajo regional rug

Early 20th century, Diné Woven in cream, natural brown, ochre, red, and dark brown wool, with central stacked diamonds within a denticulated inner border 110” H x 49” W $800-1,200

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A Navajo regional rug

Early 20th century, Diné Woven in cream, natural grey, black, red, tan, and dark brown wool with stacked serrated diamonds and a crenellated border 65.5” H x 35” W $500-700

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A Navajo banded textile

Early 20th century, Diné Woven in red, cream, black, and dark brown wool, with bands of L-forms 75” H x 42” W $700-900

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A Navajo Transitional blanket

Late 19th/early 20th century, Diné Woven in red, cream, orange, pale blue, and black wool, with three conjoined serrated diamonds 88” H x 50” W $800-1,200

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A Navajo Transitional blanket

Late 19th/early 20th century, Diné Woven in red, cream, orange, pink, and dark brown wool, with stacked serrated diamonds 56” H x 82.5” W $800-1,200 Provenance: Sold: Christie’s, New York, NY, “American Indian Art,” June 13, 2005, Lot 45

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A Navajo Transitional blanket

Late 19th/early 20th century, Diné Woven in red, natural grey, and natural grey wool, with stacked stepped diamonds, floating serrated diamonds, and stepped long borders 95” H x 57” W $1,000-1,500

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A Navajo JB Moore Crystal rug

Early 20th century, Diné Woven in red, cream, ochre, dark brown, and natural grey/brown wool, with elaborate diamonds within a half X-form border 106” H x 55” W $1,500-2,000 Literature: A similar design illustrated: JB Moore, “The Catalogues of Fine Navajo Blankets, Rugs, Ceremonial Baskets, Silverware, Jewelry & Curios 1903 & 1911” (Albuquerque: Avanyu Publishing, Inc., 1987), Plate XXIV

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A Navajo Red Mesa rug

Mid-20th century, Diné Woven in red, cream, black, tan, and light grey wool, with six serrated diamonds within hooked and sawtooth borders, with two tan spirit lines 61.5” H x 42” W $1,000-1,500

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A Navajo regional rug

Early 20th century, Diné Woven in red, cream, natural grey and dark brown/black wool, with stacked stepped diamonds within an elaborate hooked border 83” H x 52.5” W $700-900

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A large Navajo regional runner

Early 20th century, Diné Woven in red, cream, natural grey, and dark brown wool, with alternating serrated vertical bands 124” L x 44” W $1,000-1,500

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A Navajo Germantown eye dazzler blanket

Late 19th/early 20th century, Diné Woven in Germantown wool of dark and mid-red, green, blue, and cream wool, with three conjoined serrated diamonds 83” H x 57.5” W $1,000-1,500

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A Navajo Third Phase woman’s wearing blanket

Late 19th/ Early 20th century, Diné Woven in red, blue, cream, and brown wool with striped banding alternating with bands of stepped diamonds with central cross motifs to each 51” H x 72” W $3,000-5,000

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A Navajo Second Phase wearing blanket

Late 19th/early 20th century, Diné Woven in orange, red, brown, cream, yellow, and black wool with striped banding alternating with multicolored sawtooth and striped panels 54” H x 73” W $2,000-4,000

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A Navajo Third Phase wearing blanket

Late 19th/early 20th century, Diné Woven in red, cream, and dark brown wool, with alternating bands and serrated diamonds 61” H x 74.5” W $2,000-4,000 Provenance: The Estate of Kenneth Donahue, the 2nd director of the Los Angeles County Museum of Art, LACMA By decent in the family, Glendale, CA

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A Navajo Yei pictorial textile

Late 20th century, Diné, Louise Maloney Woven in light grey, dark grey, purple, orange, ochre, white, and black wool with two figures and twelve Yei dancers, with an elaborate stepped and crenellated double border 50.5” H x 72.5” W $700-900 Provenance: Private Collection, Indian Wells, CA Collection assistance between 1988-1992 provided by Theda Bassman, author of numerous books on Native American subjects.

Notes: Tag indicates weaver as Louise Maloney.

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A Navajo Yei pictorial textile

Late 20th century, Diné, Lilly Lee Woven in multicolor wool, with Yei figures and a rainbow guardian within a stepped and hooked border 35.25” H x 61” W $600-900 Provenance: Private Collection, Indian Wells, CA Collection assistance between 1988-1992 provided by Theda Bassman, author of numerous books on Native American subjects.

Notes: Tag indicates weaver as Lilly Lee.

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A Navajo Humpbacked Yei pictorial textile

Late 20th century, Diné, Ruby White Woven in multicolor wool, depicting four seed-carrier Yei figures and four corn stalks 31.5” H x 25.5” W $400-600 Provenance: Private Collection, Indian Wells, CA Collection assistance between 1988-1992 provided by Theda Bassman, author of numerous books on Native American subjects.

Literature: Illustrated: Theda Bassman, “Treasures of the Navajo,” (New York: Cooper Square Publishing, LLC, 1997), 47 Notes: Tag indicates weaver as Ruby White.

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A Navajo Yei Bi Chei pictorial textile

Mid-20th century, Diné Woven in brown, tan, orange, purple, blue, and black wool, with one standing figure and six Yei dancers, with a stepped crenellated border to two sides 31.5” H x 57” W $500-700

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A Navajo pictorial Tree of Life textile

Late 20th century, Diné, Jean Monroe Woven in multicolored wool including cream, grey, and pink, with 96 birds and flowers either side of a large corn stalk Tree of Life, with a basket and cornsilk 61.5” H x 37” W $800-1,200 Provenance: Private Collection, Indian Wells, CA Collection assistance between 1988-1992 provided by Theda Bassman, author of numerous books on Native American subjects.

Literature: Illustrated: Theda Bassman, “Treasures of the Navajo” (New York, Cooper Square Publishing LLC, 1997), 52

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A Navajo Teec Nos Pos rug

Late 20th century, Diné, Daisy King Woven in grey, black, blue, maroon, salmon, and cream wool, depicting an elongated stepped diamond with central X-form motif and feathers, and elaborate X-form border 59.5” H x 41.5” W $700-900 Provenance: Private Collection, Indian Wells, CA Collection assistance between 1988-1992 provided by Theda Bassman, author of numerous books on Native American subjects.

Notes: Tag indicates weaver as Daisy King.

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A Navajo Teec Nos Pos rug

Late 20th century, Diné, Rose Nargo Woven in brown, black, red, turquoise, natural grey, and cream wool, with feather motifs and stacked diamonds within a stepped x-form border 85.5” H x 53.5” W $1,000-1,500 Provenance: Private Collection, Indian Wells, CA Collection assistance between 1988-1992 provided by Theda Bassman, author of numerous books on Native American subjects.

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A Navajo Teec Nos Pos rug

Late 20th century, Diné, Hazel Tom Taylor Woven in multicolor wool, with feather motifs, serrated diamonds, and geometric motifs within a stepped x-form border 76” H x 55.5” W $800-1,200 Provenance: Private Collection, Indian Wells, CA Collection assistance between 1988-1992 provided by Theda Bassman, author of numerous books on Native American subjects.

Notes: Tag indicates weaver as Hazel Tom Taylor.

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A Navajo Teec Nos Pos textile

Late 20th century, Diné, attributed to Gloria Nelson Woven in grey, black, tan, red, blue, and cream wool depicting central waterbug motif and elaborate X-form waterbugs on either side, within an elaborate border, with a’ch’ihónít’i’ or spirit line extending from one corner 47” H x 40.5” W $500-700 Provenance: Private Collection, Indian Wells, CA Collection assistance between 1988-1992 provided by Theda Bassman, author of numerous books on Native American subjects.

Notes: Owner’s notes indicate weaver.

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A Navajo Teec Nos Pos rug

Late 20th century, Diné, Mary White Woven in grey, black, blue, cream, pink, purple, blue, and pale orange wool with a central serrated diamond flanked by two elaborate X-form motifs and a zigzag border 64” x 38” W $600-800 Provenance: Private Collection, Indian Wells, CA Collection assistance between 1988-1992 provided by Theda Bassman, author of numerous books on Native American subjects.

Notes: Tag indicates weaver as Mary White.

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A Navajo Teec Nos Pos rug

Late 20th century, Diné, attributed to Mary King Woven in multicolored wool, with an elaborate central panel with multiple elaborate diamonds and serrated edges, and elaborate x-form motifs to border 48.25” H x 35” W $500-700 Provenance: Private Collection, Indian Wells, CA Collection assistance between 1988-1992 provided by Theda Bassman, author of numerous books on Native American subjects.

Notes: Owner’s notes indicate weaver.

Mary Ella King, often mentioned in association with her husband Rollin King, is known to Navajo weavers through her patronage at the School for Advanced Research (SAR). She is remembered for the Rollin and Mary Ella King Native Artist Fellowship, which supports Navajo artists in developing their textile work and advancing their weaving practices.

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A Navajo Teec Nos Pos rug

Late 20th century, Diné, Alice Yazzie (1923-2024) Woven in dark red, black, natural brown, natural grey, and cream wool, with corn stalks, feather motifs, and multiple geometric and pictorial elements within an x-form border 59” H x 37.25” W $600-900 Provenance: Private Collection, Indian Wells, CA Collection assistance between 1988-1992 provided by Theda Bassman, author of numerous books on Native American subjects.

Notes: Tag indicates weaver as Alice Yazzie.

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A Navajo regional rug

Mid-20th century, Diné Woven in grey, black, cream, tan, and brown wool with an elaborate stepped and sawtooth motif to center and with black borders 42” H x 29” W $300-500

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A Navajo regional textile

Late 20th century, Diné Woven in brown, cream, black, gray, and tan wool with radiating stepped diamond motifs on a striped field 27.5” H x 29” W $200-400 Provenance: The Schultheis Estate, WA

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A Navajo Ganado rug

Late 20th century, Diné, Vangie Wright Woven in red, black, cream, and natural grey wool, with an elaborate central stepped diamond within a stepped border, with red spirit line 66” H x 36” W $400-600 Provenance: Private Collection, Indian Wells, CA Collection assistance between 1988-1992 provided by Theda Bassman, author of numerous books on Native American subjects.

Notes: Tag indicates weaver as Vangie Wright.

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A Navajo Two Grey Hills rug

Late 20th century, Diné Woven in ochre, tan, brown, cream, black, and natural grey wool, with central stepped diamond and inner hooked border, within a stepped long border 71” H x 45.5” W $700-900 Provenance: Private Collection, Indian Wells, CA Collection assistance between 1988-1992 provided by Theda Bassman, author of numerous books on Native American subjects.

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A Navajo Teec Nos Pos textile

Late 20th century, Diné, Betty Tsosie Woven in natural grey, cream, ochre, and brown wool, with animal figures and stacked diamonds 31.75” H x 23.75” W $300-500 Provenance: Private Collection, Indian Wells, CA Collection assistance between 1988-1992 provided by Theda Bassman, author of numerous books on Native American subjects.

Notes: Tag indicates weaver as Betty Tsosie.

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A Navajo Coal Mine Mesa raised outline rug

Late 20th century, Diné, attributed to Evelyn Yazzie Woven in a raised outline style in pale brown, red, grey, yellow, cream, and black wool depicting multiple hooked step motifs and other elaborate designs, with a narrow border of diamond and stepped motifs 65” H x 39” W $600-900 Provenance: Private Collection, Indian Wells, CA Collection assistance between 1988-1992 provided by Theda Bassman, author of numerous books on Native American subjects.

Notes: Owner’s notes indicate weaver.

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A Navajo Coal Mine Mesa raised outline textile

Late 20th century, Diné, attributed to Frieda Scott Woven in pale multicolor wool, depicting feather motifs, serrated diamonds, and hooked step motifs 51.5” H x 36” W $500-700 Provenance: Private Collection, Indian Wells, CA Collection assistance between 1988-1992 provided by Theda Bassman, author of numerous books on Native American subjects.

Notes: Owner’s notes indicate weaver.

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A Navajo Burntwater raised outline textile

Late 20th century, Diné, Mary Ann Nez Woven in pale multicolor wool, with central concentric stepped and serrated diamond within a sawtooth border 56.5” H x 38” W $500-700 Provenance: Private Collection, Indian Wells, CA Collection assistance between 1988-1992 provided by Theda Bassman, author of numerous books on Native American subjects.

Notes: Tag indicates weaver as Mary Ann Nez.

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A Navajo Burntwater textile

Late 20th century, Diné, Esther Vanwinkle Woven in multicolor wool, with a central elaborate concentric diamond with hooked and sawtooth edges, with an elaborate stepped border 48.5” H x 34.25” W $400-600 Provenance: Private Collection, Indian Wells, CA Collection assistance between 1988-1992 provided by Theda Bassman, author of numerous books on Native American subjects.

Notes: Tag indicates weaver as Esther Vanwinkle.

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A Navajo Burntwater raised outline textile

Late 20th century, Diné, Orlinda Nez Woven in multicolor wool, with central double diamond and various hooked, stepped, and serrated motifs 24.5” H x 28” W $300-500 Provenance: Private Collection, Indian Wells, CA Collection assistance between 1988-1992 provided by Theda Bassman, author of numerous books on Native American subjects.

Notes: Tag indicates weaver as Orlinda Nez.

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A Navajo raised outline Storm Pattern textile

Late 20th century, Diné, Sally Begay (b. 1956) Woven in pale multicolor, grey, and brown wool, with a storm pattern and waterbug motifs within a stacked diamond border 54.5” H x 32” W $500-700 Provenance: Private Collection, Indian Wells, CA Collection assistance between 1988-1992 provided by Theda Bassman, author of numerous books on Native American subjects.

Notes: Tag indicates weaver as Sally Begay.

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A Navajo raised outline Storm Pattern textile

Late 20th century, Diné, Priscilla Nez Woven in pale multicolor, grey, and brown wool, with a storm pattern and waterbug motifs within a serrated border 43.5” H x 32.5” W $500-700 Provenance: Private Collection, Indian Wells, CA Collection assistance between 1988-1992 provided by Theda Bassman, author of numerous books on Native American subjects.

Notes: Tag indicates weaver as Priscilla Nez.

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A Navajo Storm Pattern rug

Late 20th century, Diné, attributed to Minnie Conn Woven in dark blue, pale blue, royal blue, red, cream, green, and ochre wool, with a central storm pattern, serrated diamonds, and a serrated border 61” H x 45” W $700-900 Provenance: Private Collection, Indian Wells, CA Collection assistance between 1988-1992 provided by Theda Bassman, author of numerous books on Native American subjects.

Notes: Owner’s notes indicate weaver.

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A Navajo double-faced twill saddle blanket

Late 20th century, Diné, Sally Becenji Woven in dark red, orange, cream, natural grey, and black wool, side A with floating stepped and geometric designs, each side with fine-line geometric motifs 42.5” H x 25” W $400-600 Provenance: Private Collection, Indian Wells, CA Collection assistance between 1988-1992 provided by Theda Bassman, author of numerous books on Native American subjects.

Notes: Tag indicates weaver as Sally Becenji.

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A Navajo Crystal textile

Late 20th century, Diné, Sally Scott Woven in red, turquoise, brown, pale red, and natural grey wool, with bands of hooked and stacked serrated diamonds 34” H x 25” W $300-500 Provenance: Private Collection, Indian Wells, CA Collection assistance between 1988-1992 provided by Theda Bassman, author of numerous books on Native American subjects.

Notes: Tag indicates weaver as Sally Scott.

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A Navajo Crystal rug

Late 20th century, Diné, attributed to Joan Weaver Woven in natural greys and browns, ochre, tan, and pale yellow wool, with bands of stacked chevrons 58.75” H x 37.75” W $300-500 Provenance: Private Collection, Indian Wells, CA Collection assistance between 1988-1992 provided by Theda Bassman, author of numerous books on Native American subjects.

Notes: Owner’s notes indicate weaver.

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A Navajo Wide Ruins textile

Late 20th century, Diné, Dorothy Harvey Woven in lavender, cranberry, mauve, cream, and grey/pink wool, with alternating bands of interrupted serrated diamonds 46.5” H x 32.5” W $300-500 Provenance: Private Collection, Indian Wells, CA Collection assistance between 1988-1992 provided by Theda Bassman, author of numerous books on Native American subjects.

Notes: Tag indicates weaver as Dorothy Harvey.

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A Navajo Wide Ruins textile

Late 20th century, Diné, Irma Frances Woven in pale multicolor lavender toned wool, with alternating bands of serrated stacked diamonds 44” H x 29” W $300-500 Provenance: Private Collection, Indian Wells, CA Collection assistance between 1988-1992 provided by Theda Bassman, author of numerous books on Native American subjects.

Notes: Tag indicates weaver as Irma Frances.

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A Navajo Wide Ruins textile

Late 20th century, Diné, Mary McCray Woven in burgundy, pale glue, mauve, brown, cranberry, and natural grey wool, with alternating bands of stacked serrated diamonds 42.5” H x 29.5” W $200-400 Provenance: Private Collection, Indian Wells, CA Collection assistance between 1988-1992 provided by Theda Bassman, author of numerous books on Native American subjects.

Notes: Tag indicates weaver as Mary McCray.

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A Navajo Wide Ruins textile

Late 20th century, Diné, Marie Chester Woven in multicolor wool, with alternating bands of stacked serrated diamonds 32” H x 20” W $200-300 Provenance: Private Collection, Indian Wells, CA Collection assistance between 1988-1992 provided by Theda Bassman, author of numerous books on Native American subjects.

Notes: Tag indicates weaver as Marie Chester.

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A Navajo Pine Springs textile

Late 20th century, Diné, attributed to Alice Tsosie Woven in multicolor earth-tone wool, with bands of elaborate X-form motifs 46” H x 29.5” W $200-400 Provenance: Private Collection, Indian Wells, CA Collection assistance between 1988-1992 provided by Theda Bassman, author of numerous books on Native American subjects.

Notes: Owner’s notes indicate weaver.

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A framed Navajo pictorial sand painting textile

Late 20th/21st century, Diné Woven in multicolored wool on a light brown field featuring directional Yei figures with attributes and a Rainbow Guardian Sight: 31” H x 36” W $400-600

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A framed Navajo pictorial Yei textile

Late 20th century, Diné Woven in blue, white, red, yellow, and brown wool on a tan field, with a large Yei figure with an ornate headdress and arrows, and with flying squirrel figures and a Rainbow Guardian Sight: 38” H x 36.5” W $400-600

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A framed Lula Brown Navajo regional sampler weaving

Lula Brown (b. 20th century, Diné) Mid/late 20th century A small four-in-one mat with alternating patterns including storm pattern and other regional variants with central diamonds and other motifs including waterbugs and X-forms, each with a different style border, all woven in black, red, cream, grey, brown, and blue wool Sight: 20” H x 23” W approximately $400-600 Provenance: Garland’s Navajo Rugs, Sedona, AZ Purchased from the above by the present owner Notes: With Garland’s tag identifying the weaver.

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R.C. Gorman

(1932-2005, Navajo/Diné) “Rio Grande,” 1982 Lithograph in colors on paper Edition: 110/200 (there were also 30 artist’s proofs) Signed, dated, and numbered in pencil along the lower edge: R.C. Gorman; Western Graphics Workshop, prntr. and pub., with their blindstamp, as well as the artist’s blindstamp in the lower edge, left of center Sight: 28” H x 32.5” W $200-400 Literature: Adams and Newlin p. 190

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A polychrome pictorial Navajo wedding basket

Late 20th century, Diné, attributed to the Holiday family A coiled tray with five central butterfly motifs surrounded by a stepped starburst band 2.75” H x 16.5” Dia. $400-600 Provenance: Private Collection, Indian Wells, CA Collection assistance between 1988-1992 provided by Theda Bassman, author of numerous books on Native American subjects.

Notes: Owner’s notes indicate weaver.

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A monumental polychrome pictorial Navajo wedding basket

Late 20th century, Diné, attributed to Nora Endichy An extra-large coiled tray with a central eagle and banded star motif and with butterfly motifs to edges 2.75” H x 30“ Dia. $200-400 Provenance: Private Collection, Indian Wells, CA Collection assistance between 1988-1992 provided by Theda Bassman, author of numerous books on Native American subjects.

Notes: Owner’s notes indicate weaver.

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A large polychrome pictorial Navajo wedding basket

Late 20th century, Diné, attributed to the Holiday family A large coiled tray with central stepped starburst surrounded by human and antlered deer figures, with an outer starburst band and checkered edges 3” H x 19.75” Dia. $400-600 Provenance: Private Collection, Indian Wells, CA Collection assistance between 1988-1992 provided by Theda Bassman, author of numerous books on Native American subjects.

Notes: Owner’s notes indicate weaver.

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A large polychrome Navajo wedding basket

Late 20th century, Diné, attributed to the Holiday family A coiled tray with a central starburst surrounded by concentric rings of stepped starburst motifs 3” H x 21.5” Dia. $400-600 Provenance: Private Collection, Indian Wells, CA Collection assistance between 1988-1992 provided by Theda Bassman, author of numerous books on Native American subjects.

Notes: Owner’s notes indicate weaver.

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A large polychrome pictorial Navajo wedding basket

Late 20th century, Diné, atrributed to Kathy Bryant A large coiled tray with central radiating hook motif and stylized stepped figural motifs to border 2.5” H x 21.5” Dia. $200-400 Provenance: Private Collection, Indian Wells, CA Collection assistance between 1988-1992 provided by Theda Bassman, author of numerous books on Native American subjects.

Notes: Owner’s notes indicate weaver.

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Late 20th century; Southwest United States, attributed to Grace Lehi A small coiled tray, in wedding basket-style, with a central star surrounded by a band of multiple butterfly motifs and and outer stepped sawtooth sunburst band and herringbone stitch rim 2” H x 13” Dia.

(1909-1982) “Old Indian and Wife Tra Oil on canvas Signed lower right: DeG Galván story,” and with t stretcher; dated by repu 18” H x 24” W

A polychrome pictorial San Juan Paiute butterfly basket

$300-500 Provenance: Private Collection, Indian Wells, CA Collection assistance between 1988-1992 provided by Theda Bassman, author of numerous books on Native American subjects.

Notes: Owner’s notes indicate weaver.

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Ted DeGrazia

$1,500-2,000

Notes: This piece was commissi soldier at Presidio San A

ade Three Loads of Meat (Chapter 2, Page 6),” 1961

Grazia; signed again and inscribed “Tucson Arizona / USA / The Juan the artist’s copyright statement, all verso; titled in pencil on the ute

ioned to illustrate an unpublished account of Juan Galván, a Spanish Antonio, Texas, in the 1720s.

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Ted DeGrazia

(1909-1982) “Herd of Cattle to Presidio San Antonio (Chapter 3, Page 6),” 1961 Oil on canvas Signed lower right: DeGrazia; signed again and inscribed “Tucson Arizona / USA / Galván’s story,” and with the artist’s copyright statement, all verso; titled in pencil on the stretcher; dated by repute 18” H x 24” W $1,500-2,000 Notes: This piece was commissioned to illustrate an unpublished account of Juan Galván, a Spanish soldier at Presidio San Antonio, Texas, in the 1720s.

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Ted DeGrazia

(1909-1982) “Juan Galvan Brings Indians in Band (Chapter 2, Page 4),” 1961 Oil on canvas Signed lower right: DeGrazia; signed again and inscribed “Tucson Arizona / USA / Juan Galván,” and with the artist’s copyright statement, all verso; titled in pencil on the stretcher; dated by repute 11.25” H x 18.75” W $1,000-1,500 Notes: This piece was commissioned to illustrate an unpublished account of Juan Galván, a Spanish soldier at Presidio San Antonio, Texas, in the 1720s.

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Ted DeGrazia

(1909-1982) “Roster San Antonio Began 1722 (Chapter 1, Page 1),” 1961 Oil on canvas Signed lower right: DeGrazia; signed again and inscribed “Tucson Arizona / USA / Juan Galván,” and with the artist’s copyright statement, all verso; titled in pencil on the stretcher; dated by repute 12” H x 18” W $1,000-1,500 Notes: This piece was commissioned to illustrate an unpublished account of Juan Galván, a Spanish soldier at Presidio San Antonio, Texas, in the 1720s.

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Ted DeGrazia

(1909-1982) “Two Apache Women Drive [Fifteen] Horses,” 1961 Oil on canvas Signed lower right: DeGrazia; signed again and inscribed “Tucson Arizona / USA / Galván,” and with the artist’s copyright statement, all verso; titled in pencil on the stretcher; dated by repute 24” H x 18” W $800-1,200 Notes: This piece was commissioned to illustrate an unpublished account of Juan Galván, a Spanish soldier at Presidio San Antonio, Texas, in the 1720s.

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Ted DeGrazia

(1909-1982) A nearly complete “Padre Kino” portfolio, 1962 19 offset lithographs in colors on wove paper From the edition of unknown size Each plate with the printed signature in the lower right image corner and with the printed title in the lower margin, at center; Tyler Printing Company, Phoenix, AZ, prntr.; DeGrazia Studios, Tucson, AZ, pub.; includes the title pamphlet and 19 loose plates (incomplete; the set originally comprised 20 plates); each loose, housed in the original cream-colored cloth portfolio, with the artist’s name and title printed in red on the front, and further enclosed in a matching cloth slipcase with the artist’s name printed in red in the upper left corner Smallest Image: 13.875” H x 10.875” W; Largest Image: 11.875” H x 17.625” W; Each sheet: 18” H x 22” W $800-1,200 Notes: The plates included in this lot are titled: “Father Campo greets Kino at New Mission Site,” “Fiesta at San Xavier,” “Heathen Indians Receive Kino with Arches and Crosses,” “Indians Very Very Silently Pray,” “Indian Water Maidens,” “Indian Wedding and Baptism,” “Kino’s Soldiers and Apaches Battle,” “Kino’s Soldiers and Pack Horses,” “Kino’s Soldiers Join Captain Coro and Indians in Celebration,” “La Compañía Valante,” “New Church--New Hope,” “Padre Kino at Casa Grande,” “Padre Kino Brings Cattle to the Altar Valley 1687,” “Padre Kino Crossing the River Colorado,” “Padre Kino Dies 1711,” “Padre Kino Enters Altar Valley 1687,” “Padre Kino Prays,” “Padre Kino Watching Over the Dead,” “Pima Indians Pick Cotton,” and “Raiding Indians Steal Horses from Kino’s Village.”

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Donald F. Montileaux

(b.1948, Oglala Sioux) Ledger painting, 2012 Colored pencil and ink on ledger paper with printed and typed text Signed and dated in ink, lower center: Montileaux 12 Sheet: 16.5” H x 27.75” W $800-1,200

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Jim Yellowhawk

(b. 1958, Itazipco Lakota) Ledger art, 2012 Colored pencil, acrylic, and ink on ledger paper Signed, dated, and with the artist’s device, all in ink lower right: J. Yellowhawk / 2012 © Sheet: 9.625” H x 15.5” W (irreg.) $500-700

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Johnny Benally Sr.

(20th century, Navajo/Diné) “Whirling Log” Navajo sandpainting in colors on board Signed lower right: Benally Sr.; signed again, titled, and inscribed in ink, all verso: “A sand painting made by the Navajo tribe and used in certain ceremonial rituals” Sight: 15.75” H x 15.75” W $300-500 Provenance: Private Collection, Indian Wells, CA Collection assistance between 1988-1992 provided by Theda Bassman, author of numerous books on Native American subjects.

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Johnny Benally Sr.

(20th century, Navajo/Diné) “Whirling Log” Navajo sandpainting in colors on board Signed, titled, and inscribed in ink, all verso: Benally S.R / “A sand painting made and used by the Navajo’s[sic] in certain ceremonial rituals” Sight: 11.625” H x 11.625” W $200-400 Provenance: Private Collection, Indian Wells, CA Collection assistance between 1988-1992 provided by Theda Bassman, author of numerous books on Native American subjects.

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Rosabelle Ben (20th century, Navajo/Diné) Three works:

“Father Sky & Mother Earth,” 1988 Navajo sandpainting in colors on Masonite Signed, titled, dated, and inscribed in red ink, verso: “88” Rosabelle Ben / “This is a Navajo religious ceremonial sandpainting desig 18” H x 18” W

“Yei Be Chia,” 1983 Navajo sandpainting in colors on Masonite Signed, titled, dated, and inscribed in blue ink, verso: ‘83 Rosia Ben / “This is a Navajo religious sandpainting design. This sandpain 16” H x 8” W “Hunch back yei-be-chai w/ corn,” 1988 Navajo sandpainting in colors on Masonite: Signed, titled, dated, and inscribed in ink, verso: “88” Rosabelle Ben / “This is a Navajo religion ceremonial sandpainting design.”

18” H x 18” W $400-600

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gn”

nting is made out of natural sandstones. / [indistinct] / Shiprock, N.M. / 87420”

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Tyler Herman Jr.

(20th century, Navajo/Diné) “Koshare Kachina with Fetish and Pottery” Navajo sandpainting in colors on board Signed and titled in ink, verso: H Tyler Sight: 17.5” H x 17.5” W $200-400

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A Navajo First Phase style sterling silver concho belt

Early 20th century, Diné Unmarked A chunky belt comprising a large oval buckle with stamped and repoussé motifs and seven oval stamped conchos with scalloped edges, all backed with leather and mounted to a narrow black leather strap Buckle: 3.5” H x 4.375” W; Each concho: 3.375” H x 3.75” W; Belt: 42.5” L x 0.75” H 804.7 grams gross $1,500-2,500

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A Joe H. Quintana Cochiti sterling silver and turquoise concho belt

Joe H. Quintana (1915-1991, Cochiti Pueblo) Mid/late 20th century Buckle stamped with artist’s cypher: JHQ A chunky belt in cast sterling silver and stamp work, with a butterfly concho bow-shaped buckle with central set turquoise and repoussé rosette motif, and eight matching oval conchos, each set with a central turquoise stone and all mounted to a wide black leather strap Buckle: 3” H x 3.75” W; Each concho: 3” H x 3.5” W; Belt: 36.25” L x 1.5” H 644.0 grams gross $1,500-2,500

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Two Mojave pottery dolls

In the manner of Annie Fields (1884-1971, Mojave) Each with horse hair, trade cloth, and beaded jewelry, molded in the form of a standing man and woman painted with white, cream, black, and red slip 2 pieces Each: 9.25” H x 4.5” W x 1.875” D approximately $1,000-1,500

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A Navajo cast sterling silver concho belt

Early/mid-20th century, Diné Unmarked Comprising a chunky filigree openwork buckle with five oval conchos and six narrow filigree spacers, each with copper backings, all mounted to a black leather belt strap Buckle: 3.25” H x 3.75” W; Each concho: 3.25” H x 3.875” W; Each spacer: 3.125” H x 1.75” W; Belt: 40” L x 1” H 611.3 grams gross $800-1,200

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A Navajo sandcast sterling silver and turquoise ketoh arm guard

Mid-20th century, Diné Unmarked A large cast silver openwork rectangular medallion with set central turquoise cabochon, attached to a shaped leather arm band and further set with five stamped silver pointed rivets Silver: 4” H x 2.25” W; Band: 4” H x 9.25” W 141.4 grams gross $600-800

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A Southwest silver sandcast and turquoise cuff bracelet

Mid-20th century Unmarked A chunky openwork curvilinear cuff with central set turquoise and onyx and with shaped terminals 7” total inner C x 2.125” H, with a 1.625” gap 94.2 grams gross $400-600

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Two Southwest sterling silver and turquoise jewelry items Two works:

Carl Allen Begay (d. 2015, Diné) Late 20th/early 21st century Stamped: C / [rising sun cypher] A Navajo cast silver feathered concho-style brooch with a central set turquoise cabochon 1.25” H x 2.75” W A Southwest sandcast sterling silver rectangular buckle Mid/late 20th century Unmarked A heavy openwork buckle with a central set turquoise stone and incised accents 2.5” H x 3.25” W 2 pieces total 111.3 grams gross $600-800

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A Delbert Delgarito Navajo sterling silver and turquoise concho belt

Delbert Delgarito (b. 20th century, Diné) Late 20th/early 21st century Buckle stamped to back: D. Delgarito [script] / Sterling A narrow belt with a row-set turquoise butterfly-style concho buckle and seven oval medallion conchos with cluster set turquoise as well as eight butterfly spacer half-conchos, all mounted to a black leather strap Buckle: 1.5” H x 2.5” W; oval conchos: 1.5” H x 1.75” W; butterfly conchos: 1.375” H x 1” W; strap: 34.25” L x 0.75” H 253.8 grams gross $1,000-1,500

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A Navajo sterling silver concho belt

Mid-20th century, Diné Unmarked Comprising twelve oval conchos and matching buckle, each with a silver overlay butterfly motif, and all mounted to a leather belt strap Buckle: 1.625” H x 2” W; Each concho: 1.5” H x 1.875” W; Belt: 36.5” L x 0.75” H 197.7 grams gross $500-700

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A large Zuni Pueblo polychrome pottery olla

Late 19th century The three-color jar with red and brown bands of geometric motifs to shoulder above animals with heartlines within stepped cartouches, on a cream slip ground, with puki indentation to underside 9.5” H x 12.5” Dia., irregular $600-900 Provenance: Gift from Nasli Heeramaneck by repute The Estate of Kenneth Donahue, the 2nd director of the Los Angeles County Museum of Art, LACMA By decent in the family, Glendale, CA

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An Acoma Pueblo polychrome pottery olla

19th century The three-color jar with brown banded geometric motifs above a terra cotta wash and puki indentation 8.25” H x 9.25” Dia., irregular $400-600 Provenance: Gift from Nasli Heeramaneck by repute The Estate of Kenneth Donahue, the 2nd director of the Los Angeles County Museum of Art, LACMA By decent in the family, Glandale, CA

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An Acoma Pueblo polychrome pottery jar

Early 20th century Marked in slip paint to underside: Gallup. N.M. / June 1913 The three-color pot with banded checkered and fish motifs on a white slip glaze, above a terra cotta wash and puki indentation to underside 4.375” H x 6.625” Dia. $300-500

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Margaret Tafoya (1904-2001, Santa Clara Pueblo)

A blackware pottery jar, mid/late 20th century Incised to underside: Margaret The stone-burnished jar with a deeply incised curvilinear motif to shoulder infilled with slip paint 6.125” H x 7.75” Dia. $500-700

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A Laguna Pueblo sgraffito pottery olla

Late 20th century Incised to underside: PL / Laguna Likely Paul Lucario, Jr. (b. 20th century, Laguna Pueblo), the black slip layer carved to depict a band of feathers to rim and turtle fetishes to body, in-filled with white slip 7.875” H x 9.5” Dia. $200-400

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Stella Teller (b. 1929, Isleta Pueblo)

A polychrome pottery Christmas nativity set, 1970 Each variously signed: S. Teller / Stella Teller; further marked: Isleta NM; one dated Comprising Mary, Joseph, the Christ child, an angel, and six barn animals 10 pieces Tallest: 4.125” H x 1.875” W x 2.875” D; Smallest: 1.375” H x 1.25” W x 1.875” D $700-900

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A Hopi Pueblo polychrome pottery bowl

Early 20th century The three-color low bowl with red and brown avian and kiva step motifs to shoulder on a cream slip ground 2.875” H x 6.875” Dia. $500-700

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A Hopi Pueblo polychrome pottery bowl

Early 20th century With applied paper label: From The Hopi Villages The three-color low bowl with red and brown geometric banding to shoulder on a cream slip ground 2.875” H x 7.5” Dia. $500-700

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A Hopi Pueblo pottery canteen

Late 19th/early 20th century, possibly Nampeyo of Hano (Hopi-Tewa, 1857-1942) The three-color canteen with orange and brown winged figure to one side on a cream slip ground 5.125” H x 4.875” W x 2.875” D $500-700

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102

A polychrome pottery bowl, circa 1986 Signed to underside: CMC The three-color bowl with red and brown banded geometric motifs to body 3.625” H x 6.875” Dia.

Early 20th Comprising yellowware 2 pieces Red: 6.5” H

Charlene Colleteta (b. 20th century, Hopi-Tewa)

$100-200

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Two Hop

$500-700

pi Pueblo pottery vases

century g a redware jar decorated with black painted avian motifs, and a three-color e jar with red and black feather motifs on a cream slip ground

H x 7.5” Dia.; Yellow: 7.75” H x 6.125” Dia.

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Three Hopi Pueblo pottery jars

Early 20th century Comprising a bowl with red and brown katsina decoration to interior, an olla jar with geometric banding to shoulder, and a tall jar with red and brown kiva step and zigzag motifs to body, each on a cream slip ground 3 pieces Bowl: 3.625” H x 9” Dia.; Olla: 4.5” H x 5.75” Dia.; Jar: 5.75” H x 4.875” Dia. $500-700

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Two Hopi Pueblo polychrome pottery jars Two works:

Jean Sahme Nampeyo (b. 1948, Hopi-Tewa) A polychrome jar, late 20th/early 21st century Signed to underside: J. Sahme / Nampeyo The three-color jar with orange and brown avian and geometric motifs on a cream slip ground 3.75” H x 5.25” Dia. Darlene James Nampeyo (b. 1956, Hopi-Tewa) A polychrome jar, late 20th/early 21st century Incised to underside: Darlene Nampeyo / [corn cipher] The three-color jar with orange and brown avian, kiva step, and geometric motifs on a cream slip ground 4.5” H x 6.5” Dia. 2 pieces $300-500 Provenance: The Darlene Nampeyo: Ethnic Arts Shop, Natural History Museum, Los Angeles, CA The Estate of Kenneth Donahue, the 2nd director of the Los Angeles County Museum of Art, LACMA By decent in the family, Glendale, CA

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Dora Tse-Pé (1939-2022, Zia/San Ildefonso Pueblo) A diminutive redware pottery turquoise inset jarlet, 1985 Incised signature and date to underside: Dora / Tse Pé / 85 2” H x 2” Dia. $400-600 Provenance: The Estate of Kenneth Donahue, the 2nd director of the Los Angeles County Museum of Art, LACMA By decent in the family, Glendale, CA

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Angela Baca (1927-2014, Santa Clara Pueblo) A redware pottery melon jar, mid/late 20th century Incised to underside: Angela Baca With lobed body and burnished red slip glaze 4” H x 5.625” Dia. $200-400 Provenance: The Estate of Kenneth Donahue, the 2nd director of the Los Angeles County Museum of Art, LACMA By decent in the family, Glendale, CA

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A Vernon Wallace Zuni petit point coral cuff bracelet Vernon Wallace (b. 1950, Zuni Pueblo) Late 20th century Etched verso: V. Wallace A sterling silver three-wire cuff with a large petit point coral cluster-set plaque and row-set shoulders 6.25” total inner C x 2.75” H, with a 0.75” gap 50.8 grams gross $600-800

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A Southwest Zuni style sterling silver and coral petit point cuff bracelet Mid/late 20th century Unmarked A two-wire silver cuff with central and side plaques of cluster and row set coral 6.25” total inner C x 2” H, with a 1.5” gap 34.7 grams gross $400-600

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A Jimmie King Jr Navajo sterling silver and stone inlay cuff bracelet

Jimmie King Jr. (d. 2017; Diné) Late 20th/early 21st century Stamped: JR [conjoined] [six dots] / Sterling A wide chunky sterling silver cuff with bands of turquoise, coral, and mother-of-pearl sculptural inlay 6.5” total inner C x 1.625” H, with a 1.125” gap 143.2 grams gross $1,000-1,500

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110

A Danny Clark Navajo 14K gold, coral, and turquoise bead necklace

Danny Clark (b. 20th century, Diné) Late 20th century Stamped verso: D. Clark / 14K A multistrand necklace of red trade beads and turquoise beads, suspending a 14K gold heartline bear pendant with set turquoise and coral cabochons and elaborate patterned gold overlay, with 14K gold cone hook clasp 26” L x 1.625" H 85.5 grams gross $3,000-5,000 Notes: This lot accompanied by a Certificate of Authenticity issued by Goulding’s Monument Valley Lodge and Trading Post, Monument Valley, Utah, indicating artist.

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Pauline Romero (b. 1962, Jemez Pueblo)

Two redware wedding vases, late 20th/early 21st century Each incised to underside: Pauline Romero / Jemez / NM Comprising one incised with melon body, the other incised with a swirling pattern 2 pieces Taller: 15.5” H x 6.75” W x 6.375” D; Shorter: 7.875” H x 3.5” W x 3.25” D $200-400

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112

Three Pueblo pottery vessels Three works:

Anita Cajero (b. 1965, Jemez Pueblo) A polychrome wedding vase, late 20th century Signed to the underside: Anita Cajero / Jemez The four-color vase with red, brown, and white feathers and kiva step motifs on a matte cream slip ground 9.375” H x 6.625” W x 6.375” D Ramona Tapia (1940-2003, Santa Clara Pueblo) A polychrome redware bowl, mid/late 20th century Signed in pencil to underside: Ramona Tapia / Santa Clara The five-color bowl incised and painted with white, cream, orange, and grey foliate and geometric motifs on a red slip ground 3.875” H x 5” Dia. Geraldine Sandia (b. 1950, Jemez Pueblo) A redware jar, late 20th century Signed to underside: G. Sandia / Jemez With black bands of feathers and geometric motifs on a red slip ground 5.75” H x 4.5” Dia. 3 pieces $200-400

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113

Three Acoma Pueblo polychrome pottery wedding vases

Mid-20th-early 21st century One marked: Acoma Sky City; another: AR / Pueblo of Acoma; the last: “Parrot” Wedding vase W/B © Each three-color vase with orange and brown/black avian and geometric motifs on a cream slip ground, one with a twisted handle and another with a kiva-form handle 3 pieces Kiva/parrot: 8.875” H x 5.25” Dia.; Shortest: 8” H x 5.5” W x 4.75” D $300-500

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Two Acoma Pueblo polychrome pottery wedding vases Two works:

Alice Adams (active 20th century, Hopi-Tewa) A polychrome wedding vase, mid-20th century Signed in pencil to underside: Alice Adams / Tewa / Hopi The three-color vase with red and brown avian motifs on a cream slip ground 8” H x 6.375” W x 3.875” D A polychrome wedding vase, late 19th/ early 20th century The three-color vase with orange and brown geometric and avian motifs on a white slip ground, above a terra cotta wash and puki indentation 11.875” H x 9” W x 8.875” D 2 pieces $300-500 Provenance: The Estate of Kenneth Donahue, the 2nd director of the Los Angeles County Museum of Art, LACMA By decent in the family, Glendale, CA

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Eva Histia (1914-2005, Acoma Pueblo)

Two polychrome pottery owls, late 20th/early 21st century Larger signed: E. Histia / Acoma, N.M.; smaller marked: Acoma Each with orange and brown decorations on a white slip ground 2 pieces Larger: 9.375” H x 8.375” W x 6.5” D; Smaller: 5.75” H x 5” W x 4.625” D $300-500 Provenance: The Darlene Nampeyo: Ethnic Arts Shop, Natural History Museum, Los Angeles, CA The Estate of Kenneth Donahue, the 2nd director of the Los Angeles County Museum of Art, LACMA By decent in the family, Glendale, CA

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A Zuni Pueblo fetish pottery jar

Late 20th century Unmarked Encrusted with turquoise and blended sand, adorned with carved stone or carved bone animal fetish figures fastened to the jar with hide straps, each fetish mounted with coral and turquoise offerings Overall: 5.125” H x 7.375” W x 6.75” D; Largest fetish: 6.125” L $200-300

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117

Three Pueblo pottery pieces Two works:

Frances Chavarria (1906-2000, Santa Clara Pueblo) A pair of blackware candlesticks, mid-20th century One incised: Frances M. Chavarria / Santa Clara Pueblo; the other incised: Frances Each with lug handle and twisted standard 2 pieces Each: 6.5” H x 5.375” W x 3.375” D Helen [Feather Woman] Naha (1922-1993, Hopi-Tewa) A polychrome Hopi jar, mid-20th century With artist’s feather cipher to underside The three-color pot with orange and brown feather and swirling motifs on a cream slip ground 5.625” H x 5.625” Dia. 3 pieces total $500-700

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118

A Kewa/Santa Domingo Pueblo multistrand heishi necklace

Mid/late 20th century, Kewa Unmarked: possibly by Paul Tenorio / Santo Domingo A ten-strand necklace with heishi, turquoise, coral, jet, and clam beads, with large central disc bead finished with looped strands, and with traditional cord neck wrap 26” L x 3.25” H 54.2 grams gross $600-800

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119

A Kewa/Santo Domingo Pueblo turquoise necklace

Mid/late 20th century, Kewa A chunky two-strand jacla-style necklace with graduated rolled turquoise beads, clam shell spacers, and coral bead accents, with jacla drops 30” L x 5.5” H 171.0 grams gross $400-600

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120

A Kewa Santo Domingo Pueblo turquoise and heishi shell necklace Early/mid-20th century, Santo Domingo Pueblo Comprising three strands of shell heishi with graduated turquoise tabs suspending a pair of attached jaclas in rolled turquoise, coral, and clam shell 30” L x 5.5” H 159.5 grams gross $400-600

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121

A Kewa/Santo Domingo Pueblo inlay shell pendant necklace

Mid/late 20th century, New Mexico With a single strand of graduated turquoise disc beads suspending a shell pendant with turquoise and mother-of-pearl mosaic inlay 19.25” L x 2.25” H 42.4 grams gross $100-200

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122

A Kewa/Santo Domingo Pueblo shell necklace

Late 20th century, New Mexico Attributed to Mary C. Aguilar Unmarked A double strand heishi necklace with multiple carved shell birds and coral spacers 29” L 103.3 grams gross $400-600

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A Southwest Pueblo style multistrand coral necklace

Mid/late 20th century Unmarked A three-strand necklace of graduated branch coral beads, with silver cone terminals and clasp 25” L 121.1 grams gross $200-300

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124

A Southwest Pueblo Zuni style carved stone fetish necklace

Mid-20th century A three-strand necklace with multiple graduated carved turquoise, abalone, and agate animals in the form of birds, fox, and bear, with heishi shell spacers and a traditional wrapped neck cord 28” L 161.8 grams gross $500-700

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A group of Southwest Pueblo style carved fetish necklaces

Late 20th century Unmarked Comprising a three strand necklace of heishi and carved shell and stone animal fetish figures (28” L), two single strand necklaces, one with carved shell ducks (17” L), and one with carved stone turtles and blue beads (20” L), together with three choker necklaces of liquid silver beads and carved shell birds and fish (21” L; 17” L; 16” L), and a silver bead choker necklace with diminutive silver birds (15.75” L) 7 pieces 151.0 grams gross $200-400

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126

An Inuit carved soapstone bear figure

Mid/late 20th century With partial undecipherable signature in syllabics under one foot 8.5” H x 10.375” W x 3.375” D $200-400

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127

Lambert Goldsmith (20th century, Cowichan)

“The Raven,” late 20th century Titled, signed, and inscribed: By Lambert Goldsmith / Cowichan B.C. With articulated lower portion of beak, mounted with raffia hair With raffia: 5.75” H x 20” W x 5” D; Without: 16.5” W $400-600 Provenance: The Estate of Kenneth Donahue, the 2nd director of the Los Angeles County Museum of Art, LACMA By decent in the family, Glendale, CA

128

A Northwest Coast polychrome carved cedar carved mask Mid/late 20th century Appears unmarked Possibly Nuu Chah Nulth (Nootka), with raffia hair Wood only: 8” H x 20.5” W x 12” D $200-400 Provenance: The Estate of Kenneth Donahue, the 2nd director of the Los Angeles County Museum of Art, LACMA By decent in the family, Glendale, CA

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129

Aubrey LaFortune (b. 1966, Coast Salish)

A Northwest Coast polychrome carved cedar wolf mask, late 20th century Signed and inscribed to interior: L. Lafortune / Wolf 10.125” H x 15.25” W x 7.125” D $400-600 Provenance: The Estate of Kenneth Donahue, the 2nd director of the Los Angeles County Museum of Art, LACMA By decent in the family, Glendale, CA

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130

Ivan [Coyote] Otterlifter (1936-1999, Cherokee-adopted Tlingit)

A Northwest Coast polychrome carved wood killer whale clapper, mid-20th century Signed to underside: Ivan Otterlifter / [artist’s ‘Cyot’ cipher] With partially leather-wrapped handle, articulated jaw and dorsal fin 6.25” H x 13” W x 3.625” D $600-800 Provenance: The Estate of Kenneth Donahue, the 2nd director of the Los Angeles County Museum of Art, LACMA By decent in the family, Glendale, CA

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A Northwest Coast polychrome carved cedar raven transformation mask

Late 20th century Unmarked Possibly Kwakwakaíwakw (Kwakiutl), the mask with inset abalone eyes to raven and three articulated elements opening to reveal a human face Closed: 10” H x 18” W x 8” D $400-600 Provenance: The Estate of Kenneth Donahue, the 2nd director of the Los Angeles County Museum of Art, LACMA By decent in the family, Glendale, CA

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A Northwest Coast polychrome carved cedar mask 20th century Unmarked 10” H x 6.75” W x 4.5” D $200-400 Provenance: The Estate of Kenneth Donahue, the 2nd director of the Los Angeles County Museum of Art, LACMA By decent in the family, Glendale, CA

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133

Three Northwest Coast polychrome carved wood items

20th century Mask with incised signature: Aubrey LaFortune / Wolf; larger rattle signed illegibly Comprising an Aubrey LaFortune (b. 1966, Coast Salish) painted cedar wolf mask, and two painted wood rattles, one mounted with abalone eyes and teeth 3 pieces Mask: 18” H x 13” W x 6.125” D; Larger rattle: 4.25” H x 14” W x 4.125” D $700-900 Provenance: The Estate of Kenneth Donahue, the 2nd director of the Los Angeles County Museum of Art, LACMA By decent in the family, Glendale, CA

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Three Northwest Coast polychrome carved cedar raven rattles

Mid/late 20th century Each unmarked Each mounted with deer hooves, comprising a near-pair additionally mounted with horse hair and abalone shell accents to handles, and a smaller rattle 3 pieces Each larger wood only: 20.75” H x 3.5” W x 0.75” D; With hooves: 9.5” W approx.; Smaller overall: 13.25” L x 5” W x 1.25” D $300-500 Provenance: The Estate of Kenneth Donahue, the 2nd director of the Los Angeles County Museum of Art, LACMA By decent in the family, Glendale, CA

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Rich Lavalle (adopted Tlingit, b. 1945)

A carved wood and inset abalone shell pipe, circa 1970s Incised signature: LAVALLE Carved with various figures and fitted with a metal pipe bowl insert 8” L x 1.875” W x 1” D $700-900 Provenance: The Estate of Kenneth Donahue, the 2nd director of the Los Angeles County Museum of Art, LACMA By decent in the family, Glendale, CA

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136

A group of polychrome Northwest Coast baskets

Early/mid-20th century; Pacific Northwest Comprising a tall lidded twined basket with multiple sawtooth canoe motifs and striped banding, with swirl motifs to lid (8” H x 9” Dia.), a smaller lidded twined basket with multicolored stepped and sawtooth banding (6” H x 6.5” Dia.), as well as two small lidded finely twined round baskets, each with multicolored striped and geometric banding (2.25” H x 4” Dia. & 2” H x 3.5” Dia.), and a diminutive small twined basket with long handle and herringbone bands (2.5” H x 3” Dia.) 5 pieces $300-500

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137

A polychrome Coast Salish/Nisqually basket

Mid-20th century; Northern Washington/Southern British Columbia A tall coiled imbricated basket with intricate stepped zigzag motifs 8” H x 10.75” W x 9.5” D $200-400

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138

A large polychrome pictorial Yokuts basket Early 20th century; Central California

A large coiled tapered bowl with various floating elements including standing male figures and animals, as well as stepped diagonal columns and stacked diamond motifs 7” H x 14.75” Dia. $700-900

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139

A large Yokuts basketry bowl

Early/mid-20th century; Central California A coiled tapered basket with two zigzag bands 5.25” H x 13” Dia. $600-800

141

A large polychrome Yokuts basket Early 20th century; Central California

A large coiled tapered basketry bowl with banded snake motifs and three floating elements near the base 7.25” H x 16” Dia. $500-700

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140

A large Yokuts basketry bowl

Early/mid-20th century; Central California A coiled tapered gap-stitch basket with two zigzag sawtooth bands 5.75” H x14” Dia. $300-500

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142

A polychrome Hupa/Yurok/Karuk basketry hat

Early/mid-20th century; Northern California A twined hat with four imbricated floating stepped motifs and banding to crown and edge, with a star flower motif to top 3.25” H x 7.25” Dia. $400-600

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143

A polychrome Hupa/Yurok/Karuk basketry hat

Early/mid-20th century; Northern California A wide crown twined hat with large zigzag band and small triangle element to crown 3.5” H x 7.25” W x 7.625” D $300-500

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144

A large polychrome Hupa/Yurok/Karuk storage basket

Early 20th century; Northern California A twined tall bowl with three imbricated stepped sawtooth ‘obsidian blade’ variant motifs and sawtooth banding to top edge and to base 7.25” H x 9.5” Dia. approximately $200-300

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Two Mono basketry cradleboards

Mid/late 20th century; Central California Comprising a large twined cradleboard with striped and diagonal banding, with integral curved shaped hood adorned with five bead dangles, and a pink, blue, and red woven yarn binding strap, and a smaller cradleboard with shaped hood, bead dangles, and a green, red, and orange woven binding strap 2 pieces Larger: 29.5” H x 15” W x 10.5” D; Smaller: 24.15” H x 12” W x 9” D $500-700

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146

A group of Mono basketry cradleboards

Mid-20th century; Central California Three twined cradleboards each with integral shaped hoods of varying sizes, and each with striped and diagonal banding and ticking style patterns, including a large board with painted dot motifs and green, orange, and black woven binding strap, one with red, white, and blue woven binding strap, and one with a narrow hood and black, red, and white bindings 3 pieces Largest: 32”H x 15.75” W x 8.5” D; Smallest: 25” H x 10.5” W x 9” D $600-900

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147

A California Mission basket

Early/mid-20th century; Southern California A small coiled bowl with zigzag banding and sawtooth banding to base 2.75” H x 7” Dia. $200-400

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148

A group of Paiute basket cleaning brushes

Late 19th/early 20th century; Great Basin Comprising four Paiute soaproot basket cleaning brushes with soaproot bulb bristles Largest: 8” H x 5.5” W; Smallest: 3.5” H x 2” W 4 pieces $300-500

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149

A Paiute basketry jar

Early/mid-20th century; Great Basin A twined conical bottle neck vessel sealed with pine resin pitch, with braided horsehair handles 11.25” H x 8.5” Dia. approximately $400-600

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150

A large Apache basketry water vessel

Early 20th century; Southwest United States A twined wide neck jar sealed with pine resin pitch, with a coiled rim, a dimpled base, and two integral leather handles 13.5” H x 11.5” Dia. approximately $300-500

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151

A large Apache figurative basket

Early 20th century; Southwest United States A tall coiled tapered bowl with radiating meanders, floating crosses, and with male and female figures and small animal figures 5” H x 13.5” Dia. $1,000-1,500

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152

An Apache basketry tray

Early 20th century; Southwest United States A coiled small low bowl with radiating swirling stepped motif to center 2.5” H x 9.5” Dia. $400-600

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153

A large Apache basket

Early/mid-20th century A coiled tapered tall tray with a rod foundation, cross-stitched rim, and three bands of stepped zigzags 5” H x 12” Dia. $200-400

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154

An Apache burden basket

Early 20th century; Southwest United States A twined tapered tall basket featuring hide strapping to rim and sides and hide reinforcement to underside, adorned with hide fringe, and with added orange pigment banding 10” H x 13.75” Dia.; Fringe: 10” L approximately $400-600

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156

Early/mid-20th century, Akimel O’odham; Southwest United States A tall coiled basket with interlocked meandering motifs and stepped herringbone pattern to base, with a bundle foundation and braided rim 6.25” H x 11.5” W x 8.75” D

Early/mid-20th century, Akimel O’odh Comprising a coiled cylindrical basket as well as a large polychrome coiled t coiled basketry tray (11.75” Dia.) 3 pieces

A Pima oval basket

$100-200

A group of Pima baskets

$200-400

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ham; Southwest United States t with overall stepped sawtooth meandering motif (6” H x 8.5” Dia.), tray with hooked swirl motif (16.5” Dia.) and a small ‘Man in the Maze’

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157

A Southwest pictorial spider basket

Mid-20th century A coiled basketry tray with stepped spider and zigzag motifs to center 2.5” H x 9.75” Dia. $200-400

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158

An Isleta Pueblo cross necklace and earrings

Late 20th/early 21st century Stamped with double-struck ‘A’ with a long foot for either Anthony Lovato or Ambrose Lincoln; further stamped: Sterling A single strand of silver beads supporting twenty tufa-cast crosses and finished with a large tufa-cast cross pendant, with a pair of unmarked cast cross earrings 3 pieces Necklace: 24.25” L x 4” H; earrings: 1.75” H x 0.875” W 140.4 grams gross $800-1,200

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159

A Southwest Navajo sterling silver squash blossom necklace and earrings

Mid-20th century, Diné Unmarked A single strand of sterling silver pearls enhanced with ten squash blossoms and finished with a large cast silver naja with stamped accents, as well as a pair of matching squash blossom earrings 3 pieces Necklace: 22.25” L x 2.625” H ; Earrings: 2” H 109.7 grams $800-1,200

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160

A Southwest cast sterling silver squash blossom necklace

Early/mid-20th century Unmarked A double strand of large silver beads suspending a central cast silver naja and twelve graduated cast silver blossoms 26.75” L x 2.75” H 210.2 grams $1,000-1,500

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161

A diminutive Southwest silver and turquoise squash blossom necklace

Early/mid-20th century Unmarked A single strand of silver pearls with twenty blossoms suspending a twisted wire and stone set naja 17.25” L x 1.875” H 57.9 grams gross $600-800

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162

A Southwest silver and turquoise squash blossom necklace

Early/mid-20th century Unmarked A chunky single strand necklace of stamped silver beads with ten ‘blossoms’ set with graduated turquoise, suspending a large cast sterling silver naja with set turquoise and stamped accents 27.5“ L x 4” H 300.5 grams gross $1,000-1,500 Provenance: The Collection of Hector and Cuqui Sanchez, Things Of Long Ago, Pico Rivera, CA

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A Southwest sterling silver and turquoise squash blossom necklace

Early/mid-20th century Unmarked With a triple strand of silver pearls suspending fourteen turquoise cabochon ‘blossoms’ suspending a three-wire and set turquoise naja 26” L x 3.25” H 158.8 grams gross $1,000-1,500

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164

A Southwest ‘Box and Bow’ silver and turquoise squash blossom necklace

Early/mid-20th century Unmarked With a central stone-set sterling silver two-wire naja and twenty-four graduated box and bow stamped sterling silver blossoms, all set to a double-strand of silver beads 26.5” L x 2.75” H 261.6 grams gross $1,000-2,000

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A Southwest Zuni sterling silver and turquoise squash blossom necklace

Attributed to Dan Simplicio Sr. (Zuni, 1917-1969) Mid-20th century Unmarked A chunky necklace with a large central stone-set naja with applied silver balls and silver crescent accents, and with fourteen blossoms, all set to double-strand of silver beads 33” L x 3.5” H 313.1 grams gross $1,800-2,200

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166

A Southwest sterling silver and coral squash blossom necklace

Mid/late 20th century Unmarked A chunky double strand sterling silver squash blossom necklace with twelve elaborate set coral ‘blossoms’ suspending a large two-wire naja with set coral and a central dangle, all with silver ball and wire overlay accents 26.5” L x 3.5” H 301.6 grams gross $800-1,200 Provenance: The Collection of Hector and Cuqui Sanchez, Things Of Long Ago, Pico Rivera, CA

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167

A Southwest silver and turquoise squash blossom necklace

Mid/late 20th century With etched mark: RB0158 A long double-strand necklace with twelve silver stylized oval “blossoms” each with shadowbox set turquoise o f varying sizes, all suspending a two-wire naja with five oval blossom plaques 32” L x 2.75” H 211.3 grams gross $800-1,200

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168

A Southwest silver and turquoise squash blossom necklace

Mid/late 20th century Unmarked A double-strand necklace with twelve floral blossoms, each with central set turquoise, all suspending a central five-wire naja with flower blossom dangle 27” L x 2.375” H 142.7 grams gross $700-900

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169

A Southwest silver and turquoise squash blossom style necklace

Mid/late 20th century Stamped with unknown triangle mark verso, further etched: RB071 A double-strand choker necklace with five shaped and stamped silver shadowbox plaques, each with central set turquoise, the center plaque suspending a turquoise pendant 15” L x 4.5” H 173.1 grams gross $800-1,200

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170

A Charlie Singer Navajo silver ‘Peyote Bird’ squash blossom necklace

Charlie Singer (1931-2018, Diné) Late 20th/21st century Stamped with arrowhead picto mark for Charlie Singer A double strand squash blossom-style necklace with fourteen turquoise and coral mosaic chip inlay “anhinga” or peyote bird “blossoms” and a central peyote bird naja 32” L x 2” H 115.5 grams gross $500-700

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171

A Dwayne Lomayestewa Hopi sterling silver overlay necklace

Dwayne Lomayestewa (b. 20th century; Hopi Pueblo, Coyote Clan from Village of Shungopavi [Second Mesa]) Late 20th century Stamped with artist’s antelope picto cipher / Lomayesteya / [Hopi Guild picto] Featuring eight single tabs and a double central pendant, all with silver overlay in a stylized avian motif, all suspended on a strand of silver beads 23.5” L x 2” H 89.0 grams $300-500

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172

173

Mid-20th century A rectangular bag with tulip motif on front panel in multicolored beads of red, orange, and yellow on a vivid blue field, edged with red fabric, the back of the bag in a swirled red brocade, the interior lined with lilac fabric, and with hide laces to top 112.5” H x 11.5” W

(b. 1963, Navajo/Diné) “Opening Night at the Opera” Acrylic on Arches paper Signed and with the artist’s device lower right: Antho label in a clear plastic sleeve affixed to the frame’s ha Image/Sheet: 25.5” H x 41” W

A Nez Perce/Plateau floral beaded bag

$200-300

Anthony Chee Emerson

$400-600 Provenance: Mary and Stanley Wadsworth, Durango, CO

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ony Chee Emerson ©; titled on a gallery anging wire

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174

Phil Hughte

(1954-1997, Zuni) “Zuni Summer: Rain, Tourists and Dancing,” 1989 Lithograph on wove paper Edition: 49/50 Signed, titled, and numbered in pencil in the lower margin: Phil Hughte; Bill Lagattuta, prntr.; Tamarind Institute, University of New Mexico, Albuquerque, NM, pub., with their blindstamp and an unidentified blindstamp in the lower margin, at left Image: 12” H x 16” W; Sight: 15” H x 19” W $100-200 Literature: Tamarind 89-802

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175

A Plains polychrome hide parfleche

Mid-20th century A stiff rawhide container pouch with painted geometric designs and flap with rawhide laces 12” H x 13.5” W x 1.5” D $200-400

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176

Kerry David (b. 1963, Hopi-Tewa/Navajo)

A polychrome carved cottonwood eagle dancer katsina, late 20th/early 21st century Signed to underside: Carved by Kerry L. David © Depicted with a fox pelt and woven basket, raised on a base incised and painted with a kiva and tawa mask Figure: 9.5” H x 3.75” W x 3” D; Overall: 11.25” H x 5.125” W x 4.125” D $300-500

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177

Kerry David (b. 1963, Hopi-Tewa/Navajo)

Two polychrome carved cottonwood katsinas, 1997/1999 Each signed and dated to underside: Carved by Kerry L. David Comprising a mudhead katsina with mudhead child, and a kachin mana figure, each raised on a base incised and painted with a kiva and tawa mask 2 pieces Mudheads overall: 13” H x 4.25” W x 5.125” D; Kachin mana overall: 12.5” H x 4.5” W x 3.75” D $400-600

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179

An Eddy Beyuka Zuni sterling silver bolo tie with turquoise and shell inlay Edward A. Beyuka (1921-2002, Zuni Pueblo) Mid/late 20th century Stamped: EAB / Zuni A large Zuni dancer bolo tie with carved turquoise, coral, mother of pearl, and bone inlay, with a removable round brooch to one hand, all on a braided leather cord with silver cone tips- and drum motif dangles Bolo: 44.75” H x 2.25” W; brooch: 1.625” Dia.; cord: 38” L 84.3 grams gross $500-700

178

Gregory Lomayesva (b. 1971, Hopi-Tewa)

A Hopi katsina-style polychrome carved wood mask, 1999 Twice signed and dated verso: Greg Lomayesva / 99 Mounted with decorative feathers With feathers: 10.5” H x 14.25” W x 5.875” D $200-400

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180

An early Southwest Pueblo turquoise fetish necklace

Early 20th century Comprising a large carved turquoise fetish animal pendant with silver foot suspended from a single strand of sinew-strung black shell disc beads 21.5” L x 1.5” H 66.9 grams gross $500-700

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181

A large Southwest Zuni Pueblo style silver and cluster set turquoise cuff bracelet Early/mid-20th century With etched marks and pictograms including an eagle, verso; further marked in ink: Old Pawn A three-wire cuff with large set petit point turquoise openwork plaque and shoulders 6.75” total inner C x 3.5” H, with a 1” gap 96.2 grams gross $600-800

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182

A Southwest Zuni style sterling silver and cluster set turquoise cuff bracelet Mid-20th century Unmarked A three-wire cuff with central large roundel set with petit point turquoise, and half roundels to shoulders 6.25” total inner C x 2.25” W, with a 1.25” gap 67.0 grams gross $400-600

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183

A Southwest Zuni style sterling silver and cluster set turquoise cuff bracelet

Mid/late 20th century With etched marks to interior A three-wire cuff with a central cluster set petit point turquoise roundel and row-set turquoise to shoulders 6.125” total inner C x 1.875” H, with a 1.25” gap 64.8 grams gross $500-700

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184

A set of Zuni Pueblo style sterling silver and cluster set turquoise jewelry Mid-20th century Each unmarked Comprising a three-wire silver and cluster set turquoise cuff bracelet and a similar design pair of cluster set articulated dangle earrings 3 pieces Cuff: 6.25” total inner C x 2.25” W, with a 1.25” gap; Earrings: 3.5” H 67.0 grams gross $600-800

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185

A group of Janice Paloma Zuni sterling silver and needlepoint jewelry

Janice Paloma (b. 20th century, Zuni Pueblo) Late 20th century A sterling silver and turquoise cuff bracelet with a matching ring, as well a similar style ring in coral Each variously stamped: Paloma / Zuni The cuff and each ring with a band of fine row-set needlepoint turquoise or coral and stamped motifs to edges 3 pieces Cuff: 6.5” total inner C x 0.75” H, with a 1.375” gap; Ring sizes: 7 & 6.5 46.6 grams gross $300-500

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186

A group of Southwest style silver stone set jewelry Mid/late 20th century Three works:

Faron Hattie (b. 20th century, Zuni Pueblo) A sterling silver and set turquoise ring Etched verso: Faron Hattie / Zuni With six row set needle point turquoise and wire banding motifs Ring size: 7 A silver Zuni-style three wire cuff together with a turquoise ring Each unmarked The cuff with curved plaques of needle point set coral and turquoise, together with a large sterling silver cluster set turquoise ring 2 pieces Cuff: 6.25” total inner C x 2.125” H, with a 1.25” gap; Ring size: 7.5; 1.5” H 3 pieces total 50.8 grams gross $500-700

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187

A Southwest style sterling silver and turquoise butterfly pendant/brooch Mid-20th century Unmarked A large pendant/brooch with small turquoise cabochons, stamped accents, and silver wire features 3” H x 2.625” W 32.9 grams gross $200-400

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188

A Zuni Pueblo style sterling silver and stone inlay ‘Thunderbird’ cuff bracelet

Mid-20th century Unmarked A chunky three-wire cuff with multistone inlay thunderbird motif including turquoise, coral, spiny oyster, mother of pearl, abalone, and onyx 6.5” total inner C x 2.25” H, with a 1” gap 49.9 grams gross $200-400

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189

A Hopi Pueblo style Southwest sterling silver overlay cuff with Kokopelli Late 20th century Unknown mark to interior: W A chunky overlay cuff with three Kokopelli motifs and geometric motifs 6” inner C x 2” H, with a 1.25” gap 113.2 grams $300-500

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190

An Alfred Joe Navajo sterling silver and set stone cuff bracelet

Alfred Joe (b. 1950, Diné) Late 20th/21st century Stamped: AJ [conjoined] A chunky three-wire cuff with central plaque set with coral and turquoise, with stylized silver overlay feathers to each side 6” inner C x 1.75” H, with a 0.75” gap 62.4 grams gross $300-500

192

A Southwest silver and turquoise cuff bracelet

Mid-20th century Unmarked A chunky cuff with five row-set turquoise stones and elaborate stamped terminals 6.75” total inner C x 0.75” H, with a 1” gap 71.6 grams gross $600-800 Provenance: The Collection of Hector and Cuqui Sanchez, Things Of Long Ago, Pico Rivera, CA

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191

A Southwest sterling silver ‘Arrow’ cuff bracelet

Early/mid-20th century Unmarked An early narrow cuff with point and feather shaped terminals and stamp work including whirling logs and other geometric motifs 7” total inner C x 0.625” H 19.0 grams gross $200-400

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193

A Southwest sterling silver and turquoise watch cuff Mid/late 20th century Unmarked A Navajo-style chunky cuff with multiple set turquoise stones and silver ball accents, with off-set watch mounting 7” total inner C x 2.5” H, with a 1.25” gap 164.5 grams gross $500-700

195

A Southwest sterling silver cuff bracelet

Mid/late 20th century Unmarked A three-wire cuff with incised central wire and shaped central set trapezoid turquoise with incised edging and silver ball accents 6.5” total inner C x 1.375 “ H, with a 1.25” gap 58.3 grams gross $300-500

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194

A Julius Caesar Southwest style nickel silver and abalone cuff bracelet

Julius Caesar (1910-1982, Pawnee) Mid/late 20th century With etched signature: J Ceasar [sic] A chunky wide cuff featuring a large central set abalone with handmade bezel and with etched zigzag motifs to sides 7” total inner C x 2” H, with a 1.25” gap 87.9 grams gross $200-400

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196

Two Southwest silver jewelry items Mid/late 20th century Two works:

Allen Pooyouma (1922-2014, Hopi Pueblo) Stamped for artist: [corn cipher] / Sterling; with etched mark: JTL A large cast sterling silver stylized concho-style belt buckle with elaborate silver overlay 2.25” H x 4” W A Southwest style sterling silver and turquoise brooch Unmarked A large rectangular silver concho-style backed brooch with applied cast silver design elements and set turquoise cabochons 2.5” H x 3.25” W 2 pieces total 146.3 grams gross $300-500

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197

Two Southwest Pueblo stone necklaces

Mid-20th century Comprising a triple strand graduated small tab turquoise necklace (26” L), together with a triple strand necklace of intertwined coral and heishi with turquoise tabs (27” L), each with a traditional wrapped neck cord 2 pieces 133.6 grams gross $500-700

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198

Two Southwest Pueblo ‘Grandmother’ necklaces

Mid-20th century Comprising a seven-strand heishi necklace with found objects, fetish animals, a thimble, coins, a naja, silver beads, mother of pearl, and white heart trade beads, with a traditional wrapped neck cord (28” L), and a three-strand necklace in blue with African and Italian ceramic and glass trade beads and carved shell bird fetish beads (25” L) 2 pieces 362.6 grams gross $500-700

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199

A Jerry Roan Navajo silver and turquoise necklace

Jerry Roan (b. 20th century, Diné) Late 20th century Stamped: JR [conjoined] An ornate plaque necklace with carved set turquoise amidst elaborate silver overlay floral accents, suspending a teardrop silver and turquoise pendant 14” L x 4.25” H x 5” W 67.6 grams gross $600-800 Notes: This artist is most known for his large kachina style bolo figures. This piece is more atypical but stands out for its detailed silver work and carved turquoise stones.

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200

A group of Southwest silver and turquoise cuff bracelets

Mid/late 20th century Four marked for sterling; one marked: RD [possibly Robert K. Deutsawe Jr. Laguna/Zuni Pueblo]; one marked with sunburst picto [possibly Robert Gene, Navajo/Diné] Five works comprising a two-wire row-set turquoise petit point cuff, a matching single-wire row set turquoise cuff, and a similar style narrow cuff with square set green stones, as well as an RD chunky silver wire cuff with overall zigzag stamp work, and a narrow stamped silver cuff with rounded terminals 5 pieces Largest: 6.5” total inner C x 0.375” H, with a 1 3/8” gap; Smallest: 5.75” total inner C x 0.125” H, with a 1” gap 90.5 grams gross $600-800

2 4 0 N at i ve Am e r ic a n Ar t + D e sig n — O n lin e l Tu e sd ay, F e b ru ary 24, 2026

To view lots 201 through 286 please visit johnmoran.com

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Consign Today

Art of the American West April 7, 2026

Consignment Deadline February 25, 2026 Auction Inquiries: info@johnmoran.com 2 4 2 N at i ve Am e r ic a n Ar t + D e sig n — O n lin e l Tu e sd ay, F e b ru ary 24, 2026

SINCE 1969

AUCTIONEERS & APPRAISERS

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art - jewelry - decorative objects - furnishings and more Sold at John Moran Auctioneers:

Charles Marion Russell (1864-1926), “At the End of the Rope,” 1919

Price Realized: $225,000 SINCE 1969

AUCTIONEERS & APPRAISERS w w w. j o h n m o r a n . c o m 2 4 3

Condition Reports 2 4 4 N at i ve Am e r ic a n Ar t + D e sig n — O n lin e l Tu e sd ay, F e b ru ary 24, 2026

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1 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to side A, scattered small spots to side B, wear to one corner with attendant loose weave, and a small hole near one corner.

2 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few selvage breaks to one end and wear to two corners with attendant loose weave, a small hole near the center of one diamond, and one near one corner, and a few scattered small spots and faint marks to each side.

3 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. Issues include, but not limited to: areas of dye transfer to each side, scattered small spots and stins to each side, with some light soiling to one side, scattered selvage breaks to cords on all sides, with attendant wear, loose weave, and areas of loss in a few places.

4 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few small breaks to selvage cords at top edge, a couple of small holes near the top edge. One side with scattered small holes from moth grazing, The fringe lacking some strands.

Condition Reports

5 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: slightly out of square, and fading and minor soiling to side A.

246

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

7 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. Issues include, but not limited to: slight fading to side A, scattered spots, stains, and surface soiling to each side, scattered breaks to selvage cords on all sides with areas of attendant loose weave, wear and minor stitch loss to three corners, and Side A with a few scattered small areas of minor insect grazing.

8 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered breaks in the selvage with stitched repairs to edges, the corners with small losses and fraying, and with a few small stains to each side but concentrated to side B. 9 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: slightly out of square, and a few loose stitches at selvage cording and a few at center.

10 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: soiling and staining throughout, several stitched repairs, the edges with losses to selvage and areas of losses to weaving, with attendant loose threads and fraying, with hanging pole sleeve stitched along one short end of side B. 11 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: 24” of one end with deterioration, holes, exposed warp, losses, and loose weaving, several stitched repairs throughout, and the other short end with losses to cording, fraying, and lastly scattered small stains.

12 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 30” x 22” area of staining at one corner, about four areas of moth grazing with exposed warp or a small hole, measuring between 1”-4” long, one corner with a 2” long hole, scattered losses to corners and edges, and scattered areas of loose weaving and fraying, with losses to selvage cording.

13 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a 10” x 10” area of staining, stitch losses at corners, and possibly replaced selvage.

14 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: several stitched repairs measuring between 1” and 3” long, multiple breaks and loose threads along selvage cords, and very slight fading to side A.

15 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered breaks to selvage cords and attendant wear to two corners, with stitched repair to one corner, minor fading to one side and a few scattered small spots to each side.

22 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to each side, losses at corners, some with attendant areas of loose weaving adjacent, scattered breaks to selvage cording, a few small stains to each side, and one corner with a 4” long darker stain.

16 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: breaks and losses to selvage edges with some edges of loose weaving, fading to each side, and side B with two 3” long stains.

23 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 a 1.25” diameter pale stain, a few small stitched repairs at center, the short ends with small losses, breaks to the cording, and areas of loose weaving, and scattered small areas of exposed warp.

18 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: areas of hardening, dye migration in the cream, breaks and losses to selvage cording, scattered spots and stains, soiling throughout, and a few stitched repairs.

19 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: the corners with areas of loose threads, loose weaving, or small losses to selvage cording, a few breaks in selvage cording, and a few possible small stitched repairs or areas of loose warp.

20 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, but concentrated to side B, slightly loose weaving 1” from selvage edges, and a few small stitched repairs.

21 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: with some dye migration from orange in the cream, the selvage cording with breaks and small losses with attendant fraying, and a few small areas of loose warp at center.

24 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: at center, a dime-sized hole with warp, and several similar rice-sized holes, losses to fringes with loose threads, breaks to selvage edges with some loose threads, and scattered staining throughout.

25 With dust accumulation, creasing, and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to each side, scattered areas of dye transfer, scattered small holes and a few areas of insect grazing to each side, scattered wear and selvage breaks to each edge, with areas of stitch loss, a larger area of warp breaks and weave loss near one edge, 5” L x 2” H approximately, and a few scattered stitch repairs near edges.

26 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. Issues include, but not limited to: very slight fading to one side, scattered areas of very faint dye transfer, and a few areas of light wear to side edges, with some minor loose stitches.

27 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to each side, a dime-sized hole/area of loose weaving with adjacent 3” x 2” area of loose weaving, several breaks in the selvage cording, a few areas of stitched repairs, and scattered areas of dye migration in the cream.

Condition Reports

17 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered stitch repairs, a few localized areas of heavier wear with exposed warp measuring about 3” x 3”, several areas of dye migration near selvage edges, which has a few breaks in the cording, a few small stains, and losses at corners.

247

28 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few scattered small shallow holes near the top edge, likely insect grazing.

29 Overall good condition with dust accumulation, minor brushed/rubbed wear to fibers, slight creasing, and typical signs of wear commensurate with age and use.

30 Overall good condition with dust accumulation, minor rubbed wear to fibers, slight creasing, and typical signs of wear commensurate with age and use.

31 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. Issues include, but not limited to: a small hole near one corner, and a few scattered shallow small holes to top edge, likely insect grazing.

Condition Reports

32 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use.

248

38 Overall good condition with dust accumulation, brushed/rubbed wear to fibers, slight creasing, and typical signs of wear commensurate with age and use.

39 Overall good condition with dust accumulation, brushed/rubbed wear to fibers, slight creasing, and typical signs of wear commensurate with age and use.

40 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. Issues include, but not limited to: a couple of very small holes to each side from likely insect grazing.

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

42 Overall good condition with dust accumulation, brushed/rubbed wear to fibers, slight creasing, and typical signs of wear commensurate with age and use.

33 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use.

43 Overall good condition with dust accumulation, brushed/rubbed wear to fibers, slight creasing, and typical signs of wear commensurate with age and use. The black with scattered areas of exposed warp.

34 Overall good condition with dust accumulation, minor rubbed wear to fibers, slight creasing, and typical signs of wear commensurate with age and use.

44 Overall good condition with dust accumulation, minor rubbed wear to fibers, slight creasing, and typical signs of wear commensurate with age and use.

35 Overall good condition with dust accumulation, minor rubbed wear to fibers, slight creasing, and typical signs of wear commensurate with age and use.

45 Overall good condition with dust accumulation, minor rubbed wear to fibers, and typical signs of wear commensurate with age and use.

36 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use.

37 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use.

46 Overall good condition with dust accumulation, minor rubbed wear to fibers, and typical signs of wear commensurate with age and use.

47 Overall good condition with dust accumulation, minor rubbed wear to fibers, slight creasing, and typical signs of wear commensurate with age and use.

49 Overall good condition with dust accumulation, minor rubbed wear to fibers, slight creasing, and typical signs of wear commensurate with age and use 50 Overall good condition with dust accumulation, minor rubbed wear to fibers, slight creasing, and typical signs of wear commensurate with age and use.

51 Overall good condition with dust accumulation, minor rubbed wear to fibers, slight creasing, and typical signs of wear commensurate with age and use.

52 Overall good condition with dust accumulation, minor rubbed wear to fibers, slight creasing, and typical signs of wear commensurate with age and use.

53 Overall good condition with dust accumulation, minor rubbed wear to fibers, slight creasing, and typical signs of wear commensurate with age and use.

54 Overall good condition with dust accumulation, minor rubbed wear to fibers, slight creasing, and typical signs of wear commensurate with age and use.

55 Overall good condition with dust accumulation, mild brushed/rubbed wear to fibers, slight creasing, and typical signs of wear commensurate with age and use.

One short edge with two loose threads.

56 Overall good condition with dust accumulation, minor rubbed wear to fibers, and typical signs of wear commensurate with age and use.

57 Overall good condition with dust accumulation, minor rubbed wear to fibers, slight creasing, and typical signs of wear commensurate with age and use.

58 Overall good condition with dust accumulation, minor rubbed wear to fibers, slight creasing, and typical signs of wear commensurate with age and use.

59 Overall good condition with dust accumulation, minor rubbed wear to fibers, slight creasing, and typical signs of wear commensurate with age and use.

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

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

Framed under Plexiglas. Not examined out of frame.

Frame: 34.25” H x 39” W x 1.25” D 62 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use.

Framed under Plexiglas. Not examined out of frame.

63 Overall good condition with dust accumulation and wear commensurate with age and use. Mounted and framed under glass. Not examined out of frame.

Frame: 24.75” H x 28.75” W x 1.125” H 64 Overall good appearance. A few very soft, unobtrusive handling marks scattered in the beige background of the upper left quadrant, primarily visible in raking light. Specks of white dust-like residue scattered in the lower right quadrant. Not examined out of the frame.

Framed under glass: 36.75” H x 41.25” W x 2” D 65 Overall good condition with dust accumulation and wear commensurate with age and use. With slight fading to interior face.

66 Overall good condition with dust accumulation and wear commensurate with age and use. With slight fading to interior face.

67 Overall good condition with dust accumulation and wear commensurate with age and use. With slight fading to interior face.

68 Overall good condition with dust accumulation and wear commensurate with age and use. With slight fading to interior face.

69 Overall good condition with dust accumulation and wear commensurate with age and use. With slight fading to interior face. A couple of loose stitches to reverse.

Condition Reports

48 Overall good condition with dust accumulation, brushed/rubbed wear to fibers, slight creasing, and typical signs of wear commensurate with age and use.

249

71 Visual: Overall good appearance. Scattered craquelure, some of which is unstable, with attendant pigment loss, the largest measuring 0.5” H x 4” W, primarily in the impasto of the upper half.

77 Overall good appearance. Pale light-staining, a vertical folding crease through the center of the sheet, scattered handling creases, and minor surface soiling, all commensurate with the age and use as ledger paper. Paper losses and edge tears along the upper edge, possibly in the hand of the artist, or consistent with this being ledger paper. above. The sheet is framed floating, affixed to the back mat. Not examined out of the frame.

Blacklight: No evidence of restoration.

Framed under glass: 22.875” H x 34.25” W x 1.25” D

Frame: 19.25” H x 25” W x 1.5” D

Blacklight: No evidence of restoration.

78 Overall good appearance. Small scattered pale staining and minor surface soiling, a few handling creases, minute edge tears, and an approximately dime-sized paper loss in the upper portion of the left edge, all commensurate with the age and use as ledger paper. The sheet is framed floating, affixed to the back mat. Not examined out of the frame.

Frame: 19.125” H x 25.125” W x 1.5” D

Framed under glass: 14.5” H x 20.75” W x 1.25” D

73 Visual: Overall good appearance.

79 Overall good appearance. The work is displayed in a multi-color, multi-layer, custom cut mat which may be in the hand of the artist. A thin 0.5” vertical surface scratch near the upper right corner of the background, just slightly affecting the image. The custom mat with a few surface smudge marks.

70 Overall good condition with dust accumulation and wear commensurate with age and use. With slight fading to interior face.

72 Visual: Overall good appearance. Scattered specks of grime or possible foxing. Artist pinholes in each corner.

Blacklight: No evidence of restoration.

Frame: 11.25” H x 20” W x 1.5” D 74 Visual: Overall good appearance. Minor pigment loss in areas of the top layer of the impasto, the largest measuring 0.5” H x 1.5” W in the lower left quadrant.

Blacklight: No evidence of restoration.

Frame: 13” H x 19.25” W x 1.5” D

Condition Reports

75 Visual: Overall good appearance. Minor pigment losses to some of the areas of impasto, the largest measuring 0.25” H x 0.75” W in the upper right quadrant.

250

Blacklight: No evidence of restoration.

Frame: 25.25” H x 19.25” W x 1.75” D 76 Overall good appearance. The title pamphlet and 19 plates with scattered areas of minor surface soiling and occasional soft handling marks. The creamcolored pamphlet and slip with surface soiling, grime, minor damp staining, scattered surface scuffs, and wear.

Cream-colored slipcase: 19.25” H x 23” W x 1.25” D

Framed without glazing: 21.375” H x 21.375” W x 1.25” D 80 Overall good appearance. The work is displayed in a multi-color, multi-layer, custom cut mat which may be in the hand of the artist. The custom mat with a few surface smudge marks.

Framed without glazing: 18” H x 18” W x 2” D 81 Each overall good appearance.

Each framed without glazing; Frame of Largest: 29” H x 28.75” W x 1.5” D; Frame of Smallest: 19” H x 11” W x 1.75” D 82 Overall good appearance. The most minute sign of surface wear to the sand’s teal pigment in the extreme upper right corner.

Framed without glazing: 18.375” H x 18.375” W x 1.125” D

83 Overall good condition with tarnishing and scratches commensurate with age and use. Light wear to leather, with areas of darkening and faint scratches.

Tests for sterling with XRF.

93 With older repairs, fire clouding, and evidence of traditional use. With a 1” diameter chipped loss to rim. Spalling and losses to polychrome and slip throughout.

84 Overall good condition with tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. Minor wear to leather, with slight creasing and faint scratches. Metal tests for sterling with XRF.

94 With shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Heavy fire clouding and oxidation throughout. Red marking to underside.

86 Overall good condition with tarnishing and scratches commensurate with age and use. Wear and creasing to leather. Tests for sterling with XRF. 87 Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions. Light wear to leather. Tests for sterling with XRF. 88 Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. Tests for sterling with XRF. 89 Each overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Buckle stone with two intersecting fine fractures. Each tests for sterling with XRF. 90 Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. A few stones with minor hairlines. Light wear to leather.

91 Overall good condition with tarnishing and scratches commensurate with age and use. Wear and creasing to leather. Tests for sterling with XRF. 92 Multiple repaired breaks throughout, reassembled.

With older losses to rim and foot, and losses to polychrome throughout, with crazing to slip. Scuffs, scratches, and abrasions commensurate with age.

95 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With two previous dealer’s stickers and small penciled note to underside.

96 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

97 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

98 The rim with a pea-sized and one rice-sized chipped older loss to rim. Overall good condition with moderate shelf wear, scuffs and scratches, and inherent firing flaws commensurate with age.

99 Overall good condition with moderate shelf wear, scuffs and scratches, and inherent firing flaws commensurate with age.

100 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Rubbed wear to polychrome.

101 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

102 Each with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Rubbed wear to painted decorations, the red with soiling along upper half, the yellow with fire clouding and a few fleabites to rim. Yellow with previous dealer’s marks to underside.

Condition Reports

85 Fire clouding to each figure verso. Some fraying and loose bits of hair. Scattered scuffs, scratches, and small losses to slip at extremities. Wear and minor soiling commensurate with age.

251

103 This lot is sold as-is. Bowl and olla each with a chip to rim. Each with a vertical crack in the rim, with attendant losses, older losses to slip, and scuffed losses to decorations. Each with shelf wear, scattered heavy scuffs, fire clouding, and inherent firing flaws commensurate with age.

104 Each overall good condition with moderate shelf wear, scuffs and scratches, and inherent firing flaws commensurate with age.

105 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With a rice-sized scuff to body, and an inherent rice-sized incised flaw.

106 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

107 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions. Tests for sterling with XRF. 108 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Scattered stones with abrasions. Tests for sterling with XRF. 109 Overall good condition with light tarnishing and minor scratches commensurate with age and use.

Scattered stones with light abrasions.

Condition Reports

110 Overall good condition with light wear and minor scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures.

252

111 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

112 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The Sandia with scuffed losses to painted decorations and shelf wear obtrusive to signature.

113 Each overall good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. Two with previous dealer’s penciled notations to underside.

114 The larger has a large break to body that has been reassembled and restored, also with a broken and reglued handle. The smaller with a dime-sized chipped loss to one spout and a crack, possibly repaired, through one end of handle. Each with shelf wear, scattered scuffs, and inherent firing flaws commensurate with age. Rubbed wear to polychrome of each, the larger with losses to slip and a few small chipped losses to spouts.

115 Each overall good condition with moderate shelf wear, scuffs and scratches, and inherent firing flaws commensurate with age. Larger owl with scattered spalling, including two areas of the eyes.

116 Three smaller fetishes and bits from offerings are unmounted and retained with the lot. Stiffening to hide, with some fraying. Losses to encrustation, soiling, shelf wear, and scuffs and scratches commensurate with age.

117 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The Naha with a 1.25” long deeper scratch to shoulder and previous dealer’s penciled markings to underside. The candlesticks with wax residue, minor abrasions at corners of base, and a few losses to slip.

118 Overall good condition with scratches and light wear commensurate with age. Scattered stones with abrasions. Light wear and faint soiling to neck wrap.

119 Overall good condition with light wear and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. A few beads with scattered minor single chips.

120 Overall good condition with light wear and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.

Light wear and minor soiling to neck cording.

121 Overall good condition with light wear and scratches commensurate with age and use. Stones and inlay with scattered light abrasions and surface reaching fractures.

123 Overall good condition with tarnishing and scratches commensurate with age and use. Coral with scattered light abrasions.

124 Overall good condition with light wear and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.

A couple of figures with minor chipped losses. Light wear and minor soiling to neck cording.

125 Each overall good condition with light wear, tarnishing, and minor scratches commensurate with age and use. Stones and shell with scattered light abrasions and surface reaching fractures. The 3-strand with scattered minor losses to some carved animals.

126 With a 1.25” x 1.125” area of shallow chip to back left foot, obtrusive to the signature. As well, the front left foot with a 0.625” x 0.375” chipped loss. With a 1” long deeper scratch to back right leg. Scattered scuffs, scratches, and small nicks commensurate with age.

127 One hinge detached from beak. Otherwise good condition with minor soiling, handling, and shelf wear commensurate with age. With mounting hardware to underside. Wear and flattening to raffia, likely with some losses and fraying.

128 Overall good condition with small nicks, soiling, handling, and shelf wear commensurate with age.

Wear to raffia hair, possibly with some losses.

129 With soiling, two dime-sized areas of mounting putty residue, and areas of loss/fading to the finish, concentrated at top of head. Overall good condition with small nicks, soiling, handling, and shelf wear commensurate with age.

130 The jaw with a 1” x 0.75” loss at one hinge, not affecting the action. Overall good condition with minor shelf wear, scattered minor scuffs and scratches, and minor soiling/darkening commensurate with age.

131 The bottom element hinge broken, with chipped loss to jaw juncture of one side, missing peg at mounting, and subsequently detached. Left side of beak tip with a 1.5” long loss to the wood. Leather strap verso is severed. With small nicks, soiling, handling, and shelf wear commensurate with age.

132 Overall good condition with minor soiling, shelf, and handling wear commensurate with age.

133 Smallest rattle with handle detaching from the head, as well as tape holding together the head. Larger rattle with rubbed wear to signature. Mask with soiling, two dime-sized areas of mounting putty residue, and areas of loss to the finish, concentrated at top of head. Each overall good condition with small nicks, soiling, handling, and shelf wear commensurate with age.

134 Each overall good condition with minor soiling, handling, and shelf wear commensurate with age.

135 Overall good condition with minor shelf and handling wear commensurate with age.

136 Each with dust accumulation, wear, and fading to the exterior commensurate with age and use. The largest with a large split to the body, 2.5” L, a split to the lid near the finial, and distortion to both the basket and the lid. The second lidded basket slumped and slightly distorted. The smallest with distortion to handle.

137 Overall good condition with dust accumulation and wear commensurate with age and use. Light wear to a few imbrication stitches near the base.

138 With dust accumulation and wear commensurate with age and use. Scattered multiple stitch losses to rim, largest: 0.625” L. Scattered whitish marks near rim edge. Minor soiling to base interior. Base exterior with heavier wear including multiple stitch losses and areas of dark soiling.

139 Overall good condition with dust accumulation and light wear commensurate with age and use.

140 Overall good condition with dust accumulation and light wear commensurate with age and use.

Condition Reports

122 Overall good condition with light wear and scratches commensurate with age and use. Stones and shell with scattered abrasions and surface reaching fractures.

253

141 With dust accumulation and wear commensurate with age and use. Heavier wear to interior with scattered multiple stitch losses, largest area: 1.5” L. A couple of single stitch losses to exterior. Shelf wear and light soiling to base.

142 Overall good condition with dust accumulation and wear commensurate with age and use.

143 With dust accumulation and wear commensurate with age and use. Overall darkening to exterior, with possible loss of original imbrication stitches. A few stitch losses to exterior. Rubbed wear and darkening to crown exterior. Interior with multiple dark marks of varying sizes, possibly scorch marks. Crown with hole 0.625” x 0.125”.

144 With dust accumulation and wear commensurate with age and use. With multiple breaks and losses to top edge, including an L-shaped break 1” x 2”. Base with two small breaks and an area of stitch loss 0.5” L. Slightly out of round.

145 Each overall good condition with dust accumulation and light wear commensurate with age and use.

Some dangles lacking bead ends.

146 Each overall good condition with dust accumulation and light wear commensurate with age and use. The largest with perished and/or missing leather cords holding the woven binding.

Condition Reports

147 Overall fair condition with dust accumulation, wear, and slight fading commensurate with age and use.

Scattered multiple stitch losses to rim, largest: 0.375”. Scattered single and a few double stitch losses to interior and exterior.

254

148 Each overall good condition with dust accumulation and light wear commensurate with age and use.

Smallest with blue pigment mark to handle.

149 Overall good condition with dust accumulation and wear commensurate with age and use. Rim with multiple stitch losses and a few minor breaks to coil rods. Scattered losses to integrated pitch layer. A minor indentation to shoulder.

150 Overall good condition with dust accumulation and wear commensurate with age and use. Crazing to pitch resin. Pitch worn from base. Handles with wear and creasing to leather.

151 Overall good condition with dust accumulation, patchy discoloration, and shelf wear commensurate with age and use. A couple of single stitch losses to interior.

152 Overall good condition with dust accumulation and wear commensurate with age and use. Slight darkening to interior.

153 Overall good condition with dust accumulation and wear commensurate with age and use.

154 Overall good condition with dust accumulation, light soiling, and wear commensurate with age. Scattered marks, light soiling, and wear to hide leather including fringe. Natural holes to hide leather at base.

155 Overall good condition with dust accumulation, slight fading to interior, and shelf wear commensurate with age and use.

156 Each with dust accumulation and wear commensurate with age and use. Cylinder and large tray with a few scattered single stitch losses.

157 Overall good condition with dust accumulation and wear commensurate with age and use. Scattered whitish marks to exterior.

158 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

159 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Tests for sterling with XRF. 160 Overall good condition with light tarnishing and minor scratches commensurate with age and use.

Tests for sterling with XRF.

162 Overall good condition with tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. Tests for sterling with XRF. 163 Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. Tests for sterling with XRF. 164 Overall good condition with light tarnishing and minor scratches commensurate with age and use.

Stones with scattered light abrasions and surface reaching fractures. Naja and bows test for sterling with XRF. 165 Overall good condition with light tarnishing and minor scratches commensurate with age and use.

Stones with scattered light abrasions and surface reaching fractures. Tests for sterling with XRF. 166 Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. Tests for sterling with XRF. 167 Overall good condition with tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.

Tests for sterling with XRF. 168 Overall good condition with tarnishing and scratches commensurate with age and use. Stones with color variation, scattered abrasions and surface reaching fractures. A few with minor tiny chips. Tests for sterling with XRF. 169 Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Tabs test for sterling with XRF. 170 Overall good condition with light tarnishing and scratches commensurate with age and use. Inlay with scattered light abrasions. Tests for sterling with XRF.

171 Overall good condition with light tarnishing and scratches commensurate with age and use.

172 Overall good condition with dust accumulation and wear commensurate with age and use. Scattered areas of light soiling, especilly to the edges. The brocade with rubbed wear to weave overall. The interior lining with extensive marks and stains, possibly from liquid cosmetics or paint. The haide laces with wear, and each attached to interior with a safety pin.

173 Visual: Overall good appearance. The sheet is framed floating, hinged to the back mat from the verso of the upper sheet edge. Not examined out of the frame.

Blacklight: No evidence of restoration.

Framed under glass: 36.75” H x 52.5” W x 1.25” D 174 Overall good appearance. With margins. Not examined out of the frame.

Framed under glass: 22” H x 26” W x 1.25” D 175 Overall good condition with dust accumulation and light wear commensurate with age and use. Light rubbed marks/faint soiling to back.

176 Overall good condition with minor shelf wear commensurate with age.

177 Overall good condition with minor shelf wear commensurate with age. Kachina mana with detached pine bough, with small loss. Also with another detached implement and likely missing an element to headdress.

178 Overall good condition with shelf wear, minor soiling, dust accumulation, scattered scuffs, scratches, nicks, and indentations commensurate with age. Some feathers with general wear. Verso with mounting hardware.

179 Overall good condition with light tarnishing and minor scratches commensurate with age and use.

Stones with scattered light abrasions and surface reaching fractures. A tiny fracture to turquoise at bottom of left leg. Tests for sterling with XRF.

Condition Reports

161 Overall good condition with tarnishing and scratches commensurate with age and use. Stone with scattered light abrasions and surface reaching fractures. Does not test for 925 sterling.

255

180 Overall good condition with light wear, tarnishing, and scratches commensurate with age and use.

Stone with scattered abrasions and surface reaching fractures.

181 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures.

A few stones with minor small chips. Tests for sterling with XRF. 182 Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. A few scattered stones with minor hairline fractures. Tests for sterling with XRF. 183 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures.

A couple of stones with minor hairline fractures. Tests for sterling with XRF. 184 Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Tests for sterling with XRF. 185 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions. One stone of ring with tiny hairline fracture. Each tests for sterling with XRF.

Condition Reports

186 Each in overall good condition with tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. Each tests for sterling with XRF.

256

187 Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions. Minor label residue verso.

Tests for sterling with XRF. 188 Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. With minor bend to bird head, stone slightly loose. Tests for sterling with XRF.

189 Overall good condition with tarnishing and scratches commensurate with age and use. Label residue to interior. Tests for sterling with XRF. 190 Overall good condition with light tarnishing and scratches commensurate with age and use. Stone with scattered abrasions. Tests for sterling with XRF. 191 Overall good condition with light tarnishing and scratches commensurate with age and use.Tests for sterling with XRF. 192 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. Minor distortions and small nicks to some bezels. Tests for sterling with XRF. 193 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. Tests for sterling with XRF. 194 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Stone with scattered light abrasions.

195 Overall good condition with light tarnishing and scratches commensurate with age and use. Stone with scattered light abrasions and surface reaching fractures. Tests for sterling with XRF. 196 Each overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Tests for sterling with XRF. 197 Overall good condition with light wear and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.

Light wear and minor soiling to neck cording.

198 Overall good condition with light wear and scratches commensurate with age and use. Stones and shell with scattered abrasions and surface reaching fractures. Light wear and minor soiling to neck cord.

199 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. Tests for sterling with XRF.

Condition Reports

200 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Stones with scattered light abrasions and surface reaching fractures.

257

John Moran Auctioneers, Inc SPECIALISTS

Head of Sale, Vice President, Specialist Maranda Moran President, Auctioneer Jeffrey J. Moran Director, Fine Art Katherine Halligan, AAA Associate Specialist, Fine Art Bobby Cullen Associate Specialist, Fine Art Madison Ari Senior Cataloguer, Fine Art Anne Spink Cataloguer, Fine Art

Lori Kassabian Cataloguer, Fine Art Christine Weir Department Administrator, Fine Art Jacob Baer Director, Furniture and Decorative Arts Jen Kurtz Senior Specialist, Furniture & Decorative Art Angela Past Post-War & Contemporary Design Specialist Matthew Grayson Department Administrator, Furniture & Decorative Arts /Jewelry Jessica Crosbie Cataloguer, Furniture & Decorative Arts Grant Stevens Cataloguer, Silver Jewelry, Western and American Indian Sally Andrew Director, Jewelry & Watches Tom Burstein Kelly Sitek Senior Specialist, Jewelry & Watches

TRUSTS & ESTATES

Senior Vice President, Director Trusts & Estates Morgana Blackwelder, ISA AM Director, Appraisals Mariam Whitten, ISA AM Associate Appraiser Shannon Dailey Department Administrator, Trusts and Estates Julia Kelley

CLIENT SERVICES

Office/HR Manager

Mario Esquivel Client Services Ella Fountain Finance Administrator

Jamie Holthauser Accounts Receivable / Customer Service

Tiffany Hansen

OPERATIONS

Vice President, Business Director, Auctioneer Stephen Swan Controller Joseph Scott Consignment Coordinator

Jean Rapagna Warehouse Supervisor, Senior Art Handler Richard Corral Transport Supervisor, Senior Art Handler Joe Miranda Art Handler Romero Corral

MARKETING

Director, Advertising & Marketing Nathan Martinez Manager, PR/Social Media Brenda Smith Graphic Designer Brian Olivas

PHOTOGRAPHY

Senior Photographer, Head of Photography Keith Berson Photographer Madison Torres Photographer Wyatt Beserra Photographer Chloe Daniels

FOUNDERS

Founder John H. Moran (1942-2017) Co-Founder 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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Conditions of Sale 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.

Conditions of Sale Cont’d (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.

SINCE 1969

AUCTIONEERS & APPRAISERS

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