Art of the American West — Day 1 Tuesday, June 30, 2026 SINCE 1969
AUCTIONEERS & APPRAISERS w w w. j o h n m o r a n . c o m
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Art of the American West — Day 1 June 30, 2026 | 10am PDT Sale 344 145 East Walnut Avenue, Monrovia CA 91016
This is an interactive catalogue. Click on any item description or hyperlink for more information.
Previews:
Friday, June 26th: 12-4pm Saturday, June 27th: 12-4pm Monday, June 29th: 12-4pm Tuesday, June 30th: Doors open 9am
Meet the Team Kim Jarand Head of Sale Director. Native American Art k.jarand@johnmoran.com Christine Weir Cataloguer, Fine Art c.weir@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
The Robert S (1942-2024)
Robert “Bob” Schaefer was a heritage and his deep appre Winnedumah Hotel in Indep the Owens Valley.
Through his maternal family, extended across Nevada and grandchildren a strong sense life. Schaefer’s mother, Hattie baskets, many of which were “the baskets were always a p
Although he had admired ba death in 1990. Beginning wit documentation, and an emp Over time, he came to view e Native communities that pro
As documented in Weaving approached collecting with t collection offered here reflec commitment to preserving a
Schaefer Collection
a lifelong student of Owens Valley history whose basket collection reflected both his family eciation for Native California artistry. Born in Lone Pine and raised at the historic pendence, California, Schaefer grew up surrounded by the people, stories, and traditions of
Schaefer traced his ancestry to generations of Northern Paiute families whose roots d the Owens Valley. His grandmother, Rose Lochrie, instilled in her children and e of cultural identity, preserving Paiute language, traditions, and the use of baskets in daily e Schaefer, assembled a notable collection of Paiute, Panamint Shoshone, and Washoe e displayed throughout the family-owned Winnedumah Hotel. As Schaefer later recalled, part of our family.”
askets since childhood, Schaefer’s collecting became more focused following his mother’s th several family pieces, he developed a collection distinguished by careful research, phasis on early baskets exhibiting traditional forms, designs, and exceptional craftsmanship. each basket as both a work of art and a tangible link to the history and lifeways of the oduced them.
a Legacy: Indian Baskets & the People of Owens Valley, California (2004), Schaefer the belief that baskets embodied the stories of their makers and communities. The cts more than three decades of dedicated stewardship and represents a lifetime and celebrating the basketry traditions of the Owens Valley and Great Basin.
1001
A large Yokuts polychrome basketry bowl
Early 20th century; Central California The coiled bowl with six graduated stacked diamond columns on a bundle foundation 10.5” H x 24” Dia. $2,000-3,000 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1002
A large Panamint Shoshone polychrome basketry bowl
Early 20th century; Great Basin The coiled bowl with partial rim ticking above four stepped columns 7.75” H x 17.5” Dia. $2,000-3,000 Provenance: Palm Springs Museum A.T. Smith Collection, Keeler, CA The Robert Stuart Schaefer Collection, Independence, CA Literature: Sharon E. Dean et al, “Weaving a Legacy: Indian Baskets & The People of Owens Valley, California” (Salt Lake City: University of Utah Press, 2004), pg.112, fig. 4.32, illustrated
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1003
A Panamint Shoshone polychrome basket
Early 20th century; Great Basin The coiled basket with three-rod foundation, with partial rim ticking above five radiating stepped arms issuing from center 6.25” H x 12.25” Dia. $1,200-1,800 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1005
A Panamint Shoshone polychrome pictorial basket
Early 20th century; Great Basin The coiled basket with partial rim ticking above alternating birds on a branch, arrows, flowering cacti, and butterfly motifs, the polychrome elements including dyed quills 3.625” H x 5.875” Dia. $1,000-1,500 Provenance: The Robert Stuart Schaefer Collection, Independence, CA Literature: Sharon E. Dean et al, “Weaving a Legacy: Indian Baskets & The People of Owens Valley, California” (Salt Lake City: University of Utah Press, 2004), pg.112, fig. 4.32, illustrated
1004
A Sarah Hunter Panamint Shoshone polychrome basketry bowl
Sarah Hunter (1883-1967, Panamint Shoshone) Early 20th century; Saline Valley, CA The coiled bowl with partial rim ticking above eight and a half serrated columns and a serrated circular band at center 4” H x 8” Dia. $800-1,200 Provenance: Saline Valley, CA The Robert Stuart Schaefer Collection, Independence, CA Literature: Sharon E. Dean et al, “Weaving a Legacy: Indian Baskets & The People of Owens Valley, California” (Salt Lake City: University of Utah Press, 2004), pg.112, fig. 4.32, illustrated
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1006
A Panamint Shoshone pictorial basket
Early 20th century; Great Basin The coiled vessel with angled shoulders, worked with alternating stacked triangles and moth motifs 4.125” H x 5.875” Dia. $800-1,200 Provenance: The Robert Stuart Schaefer Collection, Independence, CA Literature: Sharon E. Dean et al, “Weaving a Legacy: Indian Baskets & The People of Owens Valley, California” (Salt Lake City: University of Utah Press, 2004), pg.112, fig. 4.32, illustrated
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1007
A Panamint Shoshone polychrome basket
Late 19th century; Great Basin Inscribed in the weaving: 1899 / MMP The coiled jar-form basket with alternating bands at the shoulder and four columns of diamonds 3.5” H x 7.875” Dia. $800-1,200 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1008
A Panamint Shoshone bottleneck basket
Early 20th century; Great Basin The coiled basket with partial rim ticking above a wide, flat shoulder issuing seven hooked columns alternating with arrows 4.625” H x 8.375” Dia. $1,500-2,000 Provenance: Collector’s notes indicate the location of weaving to be Furnace Creek, CA Ex McLeod Collection circa 1907 The Robert Stuart Schaefer Collection, Independence, CA Literature: Sharon E. Dean et al, “Weaving a Legacy: Indian Baskets & The People of Owens Valley, California” (Salt Lake City: University of Utah Press, 2004), pg.112, fig. 4.32, illustrated
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1009
A Panamint Shoshone bottleneck basket
Early 20th century; Great Basin The coiled basket with five columns of graduated serration 5.625” H x 8.75” Dia. $1,500-2,000 Provenance: The Robert Stuart Schaefer Collection, Independence, CA Literature: Sharon E. Dean et al, “Weaving a Legacy: Indian Baskets & The People of Owens Valley, California” (Salt Lake City: University of Utah Press, 2004), pg.112, fig. 4.32, illustrated
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1011
An Isabel Hanson Panamint Shoshone polychrome basket
Isabel Hanson (1880-1964, Panamint Shoshone) Early 20th century; Great Basin The coiled basket with partial rim ticking above a rattlesnake design of zigzag diamonds and serration to body, with three fang and forked tongue designs to base 4” H x 9” Dia. $800-1,200 Provenance: The Robert Stuart Schaefer Collection, Independence, CA Literature: Sharon E. Dean et al, “Weaving a Legacy: Indian Baskets & The People of Owens Valley, California” (Salt Lake City: University of Utah Press, 2004), pg.112, fig. 4.32, illustrated, with a biography of the weaver pp. 70-17
1010
An Emily Bellas Panamint Shoshone basketry bowl
Emily Bellas (20th century, Panamint Shoshone) Early 20th century; Great Basin The very finely woven coiled oval bowl with alternating sawtooth columns and checkered columns described as Bulrush geometric designs with yucca trees 2.75” H x 6.25” W x 5.625” D $800-1,200 Provenance: The Robert Stuart Schaefer Collection, Independence, CA Literature: Sharon E. Dean et al, “Weaving a Legacy: Indian Baskets & The People of Owens Valley, California” (Salt Lake City: University of Utah Press, 2004), pg.112, fig. 4.32, illustrated Notes: Accompanied by a handwritten note inscribed, in part “... Made by Emily Bellas, c. 1920. Bellas family lived West of Florence Dyer home in Lone Pine, Calif.”
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1012
A Mamie Gregory Panamint Shoshone polychrome basketry hat
Mamie Gregory (1867-1947, Panamint Shoshone) Early 20th century; Great Basin The coiled hat with partial rim ticking above five stepped radiating arms issuing from center 4” H x 7.625” Dia. $1,000-1,500 Provenance: The Robert Stuart Schaefer Collection, Independence, CA Notes: Mamie Gregory was born near Darwin, CA in 1867. While living at Indian Gardens, she focused on making elegant storage vessels and used this step design seen on this example. After later moving into the mining town of Old Coso, she started making small gift baskets. She was known as “Madame Butterfly” for her peerless butterfly basket designs.
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1013
A Panamint Shoshone basketry bowl
Early 20th century; Great Basin The coiled bowl with partial rim ticking above bands of floating hourglasses 4” H x 10” Dia. $1,000-1,500 Provenance: The Robert Stuart Schaefer Collection, Independence, CA Literature: Sharon E. Dean et al, “Weaving a Legacy: Indian Baskets & The People of Owens Valley, California” (Salt Lake City: University of Utah Press, 2004), pg.112, fig. 4.32, illustrated
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1014
A Panamint Shoshone basketry bowl
Early 20th century; Great Basin The coiled bowl with five serrated arms framed with upper and lower bands 4” H x 9.25” Dia. $400-600 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1015
A Panamint Shoshone basketry bowl
Early 20th century; Central California The coiled bowl with partial rim ticking above six arrangements of stacked triangles 3” H x 7.75” Dia. $600-800 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1016
A Panamint Shoshone polychrome basketry bowl
Early 20th century; Great Basin The coiled bowl with partial rim ticking above five pairs of floating diamonds and a star at center of base 4” H x 8” Dia. $500-700 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1017
A Panamint Shoshone polychrome basketry bowl
Early 20th century; Great Basin The coiled bowl with partial rim ticking above a band and four arms of hourglasses, chevrons, and triangles issuing from center, the base with a circular sawtooth band 4.75” H x 12.25” Dia. $600-800 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1018
A Panamint Shoshone basketry bowl
Early 20th century; Great Basin The coiled basket of globular form with a single band above two serrated bands 3.375” H x 6.375” Dia. $700-900 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1019
A Panamint Shoshone polychrome basketry bowl
Mid-20th century; Great Basin The coiled bowl with partial rim ticking above gap stitched radiating stepped arms issuing from center 4.875” H x 9.875” Dia. $600-800 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1020
A Panamint Shoshone polychrome basketry bowl
Early 20th century; Great Basin The petite coiled bowl with partial rim ticking above four near-diamond designs 2.375” H x 4.75” Dia. $300-500 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1021
A Washoe polychrome degikup basket
Early 20th century; Great Basin The coiled basket with alternating diamond and geometric elements and floating hourglass motifs 4” H x 8” Dia. $800-1,200 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1022
A Susie Dick Washoe polychrome basketry bowl Susie Dick (20th century, Washoe) Early 20th century; Great Basin The coiled bowl with staggered triangular elements 3.875” H x 6.25” Dia. $800-1,200 Provenance: Susie Dick, the weaver, worked on the property Acquired from Steve Achard, grandson of landowners Greg and Gertrude Dangberg, Minden, NV Acquired from Len Woods Indian Territory, Inc The Robert Stuart Schaefer Collection, Independence, CA, through decent in the family
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1023
A Washoe beaded pictorial basket
Early 20th century; Great Basin The coiled basket with applied glass beads depicting a serrated rim above butterflies and swirling geometric motifs issuing from center 3.75” H x 5.875” Dia. $500-700 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1024
A Washoe or Mono Lake Paiute polychrome basketry bowl Early 20th century; Great Basin The coiled bowl with braided rim above zig-zag bands 2.625” H x 5.625” Dia. $500-700 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1025
A Washoe polychrome basketry bowl
Early 20th century; Great Basin The coiled bowl with alternating floating star designs 3.75” H x 6.5” Dia. $300-500 Provenance: The Robert Stuart Schaefer Collection, Independence, CA Notes: This lot is accompanied by a printed purchase receipt from an unknown Ebay seller.
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1026
A Mono Lake Paiute basketry bowl
Early 20th century; Great Basin The coiled bowl with a diagonal-stitch rim above a band of floating diamonds 3.25” H x 7.5” Dia. $500-700 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
1027
A Washoe polychrome basketry bowl
Early 20th century; Great Basin The coiled bowl with four graduated conjoined diamond lozenges 4.5” H x 8.75” Dia. $400-600 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1028
A Washoe polychrome basketry bowl
Mid-20th century; Great Basin The coiled bowl with diagonal rim stitching above six floating triple chevrons 5.875” H x 12.25” Dia. $400-600 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
1029
A Washoe basketry bowl
Early/mid-20th century; Great Basin The coiled bowl with three groups of three columns of stacked diamonds 3.625” H x 4.75” Dia. $200-400 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1030
A Washoe basketry olla
Early 20th century; Great Basin The coiled jar with two groups of five diagonal bands 4.5” H x 6.125” Dia. $400-600 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1032
A Panamint Shoshone
Early 20th century; Great B The coiled vessel with thre lozenges 2.625” H x 7.125” W x 5.2 $300-500
Provenance: The Robert Stuart Schaefe
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1031
Two large Washoe utilitarian basketry bowls
Early 20th century; Great Basin The coiled bowls, comprising one with the rim wrapped in fabric above simple floating geometric designs, and one undecorated with opposed handles 2 pieces With designs: 7.25” H x 21.25” Dia.; The other: 9” H x 21” Dia. $400-600 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
polychrome basketry rectangular bowl
Basin ee-rod construction, with concentric floating diamond
25” D
er Collection, Independence, CA
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1033
A Tubatulabal polychrome basketry bowl
Early 20th century; Southern Sierra, CA The coiled bowl with partial rim ticking above five radiating stepped arms issuing from center 5.25” H x 10” Dia. $1,500-2,500 Provenance: The Robert Stuart Schaefer Collection, Independence, CA Literature: Sharon E. Dean et al, “Weaving a Legacy: Indian Baskets & The People of Owens Valley, California” (Salt Lake City: University of Utah Press, 2004), pg.112, fig. 4.32
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1034
A California Mission polychrome basketry bowl
Early 20th century; Southern California A four-color example, the coiled bowl with radiating conjoined diamond motifs 3.125” H x 5.5” Dia. $500-700 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1035
A California Luiseño Mission polychrome basketry bowl
Early 20th century; Southern California A four-color example, the coiled bowl with a single band above four floating diamond lozenges and a cream-colored start 5.75” H x 10” Dia. $700-900 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1036
A California Mission polychrome basketry bowl
Early 20th century; Southern California The coiled bowl with rim ticking above radiating arms issued from center to rim 3.125” H x 6.625” Dia. $500-700 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1037
A California Mission polychrome basketry bowl
Early 20th century; Southern California The coiled bowl with three pairs of zig-zig columns above a central circle issuing three arrows 4.625” H x 8.75” Dia. $600-800 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1038
A California Mission polychrome basketry bowl
Early 20th century; Southern California The coiled bowl with stepped arms radiating to rim above inverted triangular floating elements to base 4.875” H x 9.875” Dia. $600-800 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1039
A California Mission polychrome basketry bowl
Early 20th century; Southern California The coiled bowl with a lattice motif above central star to base 4” H x 7.625” Dia. $300-400 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1040
A Miwok polychrome basketry gambling tray
Early 20th century; Central California The coiled tray with three rings of serrated mountains 2.5” H x 20.375” Dia. $800-1,200 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1041
A Paiute basketry bowl
Early 20th century; Great Basin The coiled bowl with alternating triple zig-zags and triple stacked arrows, with other floating elements 3.125” H x 6.875” Dia. $500-700 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1042
A Paiute polychrome basketry bowl
Early 20th century; Great Basin The coiled bowl with diagonal-stitch rim above columns of inverted stacked triangles 3.75” H x 7.5” Dia. $500-700 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1043
A Paiute basketry bowl
Early 20th century; Great Basin The coiled bowl with a diagonal-stitch rim above a cluster of floating elements and stepped arms 3” H x 7” Dia. $400-600 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1044
A Paiute beaded hide and basketry cradleboard
Late 20th century; Great Basin With basketry framework and visor wrapped in hide adorned with beaded accents, with plastic beaded fringe 38.5” L x 14.25” W x 13.25” D $300-500 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1045
Three Paiute basketry cradleboards
Mid/late 20th century; Great Basin In graduated sizes, each woven with yarn in geometric designs 3 pieces Largest: 30” L x 10.5” W x 8.625” D; Smallest: 9.875” L x 4.125” W x 3.875” D $400-600 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1046
A Paiute basketry child’s hat
Early 20th century; Great Basin The twined hat with geometric band 3.25” H x 5.5” Dia. $300-500 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1047
A Paiute basketry water vessel
Early 20th century; Great Basin The coiled vessel with two lug handles, covered in pine pitch 8.75” H x 8.75” Dia., irregular $300-500 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1048
A Paiute basketry water vessel
Late 19th/early 20th century; Great Basin The coiled vessel covered in pine pitch, with two braided handles 14” H x 12.25” Dia., irregular $300-500 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1049
A Paiute basketry water vessel
Late 19th/early 20th century; Great Basin The coiled vessel coated in pine pitch, with braided horsehair strap 15.5” H x 9” Dia., irregular $300-500 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1050
A Paiute winnowing tray
Early 20th century; Great Basin With two bands, one of floating chevrons 4” H x 25” W x 18.5” D $100-200 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1051
A Klamath polychrome basketry hat
Early 20th century; Northern California/Oregon The twined hat with diamond lozenges enhanced with imbricated quillwork 3.75” H x 6.75” Dia. $400-600 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1052
Three Klamath baskets
Early 20th century; Northern California/Oregon The twined baskets each with geometric banding 3 pieces Largest: 3.625” H x 8.625” Dia.; Smallest: 3.625” H x 6” Dia. $500-700 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1053
An assembled group of four Great Basin baskets
Early 20th century; Northern California/Nevada The coiled vessels, comprising a Washoe basketry bowl with four designs issuing from rim, a large possibly Maidu basket with six arms of offset stacked squares and an elaborate center, a Paiute basketry bowl with stacked triangles, and a Washoe single rod gap stitch basketry bowl 4 pieces Largest: 5.75” H x 14” Dia.; Smallest: 3.125” H x 5.625” Dia. $200-400 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1054
Three Great Basin basketry items
Early 20th century; Northern California/Nevada Comprising a small Mono polychrome winnowing basket, a small Mono polychrome gathering basket, and a twined Paiute bowl 3 pieces Winnowing: 10” W x 7.5” D; Gathering: 8.75” H x 7.75” Dia.; Bowl: 4.5” H x 5.875” Dia. $300-500 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1055
A Maidu basketry bowl
Late 19th century; Northern California The coiled split-stitch bowl with very fine weaving, decorated with columns of stacked chevrons 2.625” H x 6.375” Dia. $700-900 Provenance: Pacific Western Traders, Folsom, CA The Robert Stuart Schaefer Collection, Independence, CA
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1056
A Yavapai basketry bowl
Early 20th century; Southwest United States The coiled bowl with alternating bands of diamonds and checkers 2.75” H x 12.75” Dia. $500-700 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1057
A Yavapai night and day figurative basketry tray
Early 20th century; Southwest United States The coiled tray with rim band above human and animal figures and elements of the sky, one half rendered in negative 2.5” H x 8” Dia. $600-800 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1058
An Apache polychrome basketry bowl
Early 20th century; Southwest United States The coiled bowl with four radiating arms issuing from a black center with randomized floating letters 3” H x 10.25” Dia. $600-800 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1059
A small Chemehuevi basketry bowl
Early 20th century; Southwest United States The coiled bowl with a sawtooth band along the body 2.25” H x 6.5” Dia. $100-200 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1060
An Apache basketry water vessel
Late 19th/early 20th century; Southeast United States The coiled vessel with two lug handles, coated in pine pitch 10.25” H x 9” W x 8.5” D, irregular $200-400 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1061
A Papago figurative basketry bowl
Early/mid-20th century, Tohono O’odham; Southwest United States The coiled bowl with a rim band above alternating male and female forms 6.125” H x 12.375” Dia. $300-500 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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69
1062
Four Papago basketry trays
Early/mid-20th century, Tohono O’odham; Southwest United States Four coiled trays, comprising a larger circular handled tray with stacked triangles, an oval two-handled polychrome tray with four conjoined diamonds, and two flat trays each with single handle and geometric designs 4 pieces Largest: 1.5” H x 12.625” W x 11.5” D; Oval: 1.5” H x 10.75” W x 7.375” D $100-200 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1063
A group of seven Native American baskets
Early/mid-20th century Comprising pine needle and sweetgrass: a vase, bowl, lidded basket, and pincushion; and three Northwest Coast polychrome twined baskets, two with lids 7 pieces Lidded pine needle: 3.25” H x 9.5” Dia.; Vase: 7” H x 5.25” Dia.; Smallest: 2.25” H x 4.375” Dia. $200-300 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1064
A California carved stone mortar and pestle
Pre-historic or later The mortar with a formed globular exterior and an elongated pestle 2 pieces Mortar: 11” H 16.5” W x 16” D; Pestle: 14.75” L x 3.375” Dia. approximately $200-300 Provenance: Private Estate, Montecito, CA
72
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1065
A set of Yuma Prison horsehair reins
Late 19th/early 20th century; Yuma Territorial Prison, AZ Woven horsehair Overall: 85” L approximately $500-700 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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73
1066
Two Native American pine needle storage baskets
Early 20th century A large pine needle basket, together with a smaller version 2 pieces Larger: 19.75” H x 20.75” Dia.; Smaller: 7.25” H x 7.75” Dia. $200-400 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
74
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1068
A Native American hide drum
20th century; Southwest United States Hide stretched on a wood ring, strung with leather lashing 3” H x 13.375” Dia. $200-400 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
1067
A Navajo polychrome basketry tray
Late-20th century, Diné Likely the work of Angelina Holiday (20th/21st century), depicting a stylized Yei 1.25” H x 13.625” Dia. $300-500 Provenance: Ex Schwartz Collection, AZ Acquired from Mark Sublette, Medicine Man Gallery, Tucson, AZ, June 25, 2020 The Robert Stuart Schaefer Collection, Independence, CA Notes: This lot is accompanied by a receipt and a Certificate of Authenticity from the abovementioned gallery. w w w. j o h n m o r a n . c o m
75
1069
Margaret Tafoya (1904-2001, Santa Clara Pueblo) A large blackware pottery jar, mid/late 20th century Incised to underside: Margaret Tafoya With deeply carved abstract Avanyu motif to shoulder 8.375” H x 11.625” Dia. $800-1,200 Provenance: Mesa Verde Pottery Gallery Southwest, Cortez, CO The Robert Stuart Schaefer Collection, Independence, CA, acquired from the above, January 31, 2000
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77
1070
Helen Shupla (1928-1985, Santa Clara Pueblo) A blackware pottery jar, mid/late 20th century Incised to underside: Helen / Santa Clara / Pueblo With deeply carved rain cloud motifs 6.625” H x 6.25” Dia. $800-1,200 Provenance: Mesa Verde Pottery Gallery Southwest, Cortez, CO The Robert Stuart Schaefer Collection, Independence, CA, acquired from the above, January 31, 2000
78
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1071
Mary Cain (1915-2010, Santa Clara Pueblo)
A blackware pottery jar, late 20th century Incised to underside: Mary Cain / Santa Clara Pueblo With deeply carved Avanyu motif 6.375” H x 8.875” Dia. $400-600 Provenance: Mesa Verde Pottery Gallery Southwest, Cortez, CO The Robert Stuart Schaefer Collection, Independence, CA, acquired from the above, January 31, 2000
1072
Betty Tafoya (1933-1988, Santa Clara Pueblo)
A blackware pottery bowl, mid/late 20th century Incised to underside: Betty Tafoya / Santa Clara Pueblo / Espanola, New Mexico With deeply carved banded Avanyu motif 4.375” H x 9.75” Dia. $400-600 Provenance: Mesa Verde Pottery Gallery Southwest, Cortez, CO The Robert Stuart Schaefer Collection, Independence, CA, acquired from the above, January 31, 2000
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79
1073
Samuel Manymules (b. 1963, Navajo/Diné)
A redware pottery jar, 1990s Incised to underside: SM / DINÉ The melon swirl vase with fire clouding throughout 8.5” H x 7.75” Dia. $600-800 Provenance: Acquired from Mark Sublette, Medicine Man Gallery, Tucson, AZ, October 19, 2021 The Robert Stuart Schaefer Collection, Independence, CA Notes: This lot is accompanied by a receipt and a Certificate of Authenticity from the abovementioned gallery.
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1074
Lucy M. Lewis (1898-1992, Acoma Pueblo)
A miniature pottery jar, mid-20th century Signed to underside: Lucy M. Lewis. With black repeated band to rim and shoulder on a white slip ground 1.125” H x 1.875” Dia. $200-400 Provenance: Acquired from Mark Sublette, Medicine Man Gallery, Tucson, AZ, November 18, 2022 The Robert Stuart Schaefer Collection, Independence, CA Notes: This lot is accompanied by a receipt and a Certificate of Authenticity from the abovementioned gallery.
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81
1075
A Cochiti Pueblo polychrome pottery jar
Mid-20th century Unmarked Possibly Laurencita Herrera (1912-1984), with black raincloud motifs on white slip ground above a terracotta wash and puki indentation 9.25” H x 10.5” Dia. $200-400 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1076
John Louis “Cutapuis” Clarke
(1881-1970, Blackfeet) “Grizzly,” 1978 Patinated bronze on rotating wood plinth Edition 1/50 Signed in the casting: J. L. CLARKE; impressed with date and edition: © TW TSCHACHE; with gallery tag Bronze: 9” H x 6.5” W x 8.5” D; Overall: 10.25” H x 8” W x 9” D $400-600 Provenance: Joyce Clarke Turvey, John L. Clarke Western Art Gallery & Memorial Museum, East Glacier Park, MT The Robert Stuart Schaefer Collection, Independence, CA, acquired from the above Notes: This lot is accompanied by a Certificate of Authenticity from the abovementioned gallery as well as photographs and photo negatives of a grizzly bear, ostensibly the one depicted in the bronze.
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83
1077
A Navajo Germantown pictorial Sunday saddle blanket
Late 19th century, Diné Woven in multicolor wool, depicting two central plant-form motifs opposed by eight squares with various geometric patterns 47” H x 29.25” W $1,000-1,500 Provenance: Ex-Garmon Collection, NM, acquired from a California estate Mark Sublette, Medicine Man Gallery, Tucson, AZ The Robert Stuart Schaefer Collection, Independence, CA, acquired from the above, March 3, 2018 Notes: This lot is accompanied by a receipt and a Certificate of Authenticity from the abovementioned gallery.
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1078
A Navajo regional blanket
Late 19th/early 20th century, Diné Woven in red, dark brown, cream, and natural grey wool, with a serrated neardiamond at center and banding 75” H x 49” W $700-900 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
86
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1079
A Navajo regional rug
Early 20th century, Diné Woven in red, dark brown, and cream wool, with stepped half-diamonds 65.5” H x 44.75” W $400-600 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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87
1080
A Navajo regional eyedazzler rug
Mid-20th century, Diné Woven in light orange, dark orange, red, cream, and dark brown wool 70.25” H x 41.25” W $300-500 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
88
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1081
A Navajo regional rug
Early 20th century, Diné Woven in red, dark brown, cream, and natural grey wool, with eyedazzler motif 80.5” H x 39.5” W $300-500 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1082
A Navajo regional rug
Mid-20th century, Diné Woven in orange, dark orange, red, dark brown, cream, and natural grey/brown wool, with two floating stacked diamonds and stepped long edges within a sawtooth border 56.75” H x 38.25” W $500-700 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
90
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1083
A Navajo regional rug
Early 20th century, Diné Woven in dark brown, cream, and tan wool, with three stacked serrated diamonds 44.25” H x 29” W $300-500 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1084
A Navajo regional rug
Mid-20th century, Diné Woven in orange, cream, ochre, tan, cream, dark brown, and natural grey wool, with stacked stepped and hooked diamonds within a hooked border 65.5” H x 35” W $300-500 Provenance: Coyote Canyon Trading Post Mark Sublette, Medicine Man Gallery, Tucson, AZ The Robert Stuart Schaefer Collection, Independence, CA, acquired from the above, October 7, 2022 Notes: This lot is accompanied by a receipt and a Certificate of Authenticity from the abovementioned gallery.
92
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1085
A Navajo double saddle blanket
Mid-20th century, Diné Woven in red, orange, black, dark brown, cream, and natural grey wool, with two columns of stacked Xs within an interlocking square border 49.25” H x 27.5” W $300-500 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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1086
A Navajo regional rug
Early/mid- 20th century, Diné Woven in red, dark brown, cream, and ochre wool, with a central serrated diamond 45.25” H x 33” W $300-500 Provenance: Mark Sublette, Medicine Man Gallery, Tucson, AZ The Robert Stuart Schaefer Collection, Independence, CA, acquired from the above, August 3, 2023 Notes: This lot is accompanied by a receipt and a Certificate of Authenticity from the abovementioned gallery.
94
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1087
A Navajo Yei weaving
Mid/late 20th century, Diné Woven in multicolor wool, depicting two rows of six figures, each draped with feathers and holding corn stalks 36.5” H x 44” W $500-700 Provenance: The Robert Stuart Schaefer Collection, Independence, CA
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95
1088
After Edward S. Curtis
(1868-1952) “Shores of Walker Lake,” plate 534 from “The North American Indian,” 1924 Photogravure in brown on Japan vellum paper From the Suffolk Engraving Co., Cambridge, MA edition printed after the 1924 original photograph copyrighted by Curtis; with the artist’s name, title, plate number, copyright and publisher all printed in the blank outside the image Image: 15.25” H x 11.5” W; Plate: 17.5” H x 13” W; Sheet: 21.875” H x 17.625” W $300-500 Provenance: Burgle Collection, AZ Medicine Man Gallery, Tucson, AZ The Robert Stuart Schaefer Collection, Independence, CA Notes: This lot is accompanied by a copy of a sales invoice and certificate of authenticity, both dated February 24, 2021, from the gallery mentioned above. 96
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1089
A Navajo saddle blanket
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” $200-400
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97
1090
A Hopi Pueblo twilled manta weaving
20th century; Arizona With a twill weave cream cotton center and integral banded borders woven in red and black wool with dark blue corded edging 35” H x 40.5” W $700-900
98
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1091
A Hopi Pueblo twilled manta weaving
Mid/late 20th century; Arizona Woven in black wool with applied yarn cording in red, green, and black, with cord tassels to each corner and overcast stitch to each short side 32” H x 47” W approximately $500-700
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99
1092
A Plains beaded hide blanket strip on blanket
Late 20th century An elaborate polychrome beadwork strip worked in white, blue and red beads with four round shields with hide laces, alternating with geometric blocks, applied to a large black wool blanket with cream wool trim 62” H x 61.5” W approximately $600-800 Provenance: Private Estate, Southern California
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1093
A Navajo saddle blanket
Late 20th century, Diné Woven in blue, black, and cream wool with red fringe accents at two corners, with a stepped border 32.75” H x 31” W $200-400
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1094
A Navajo pictorial textile
Mid-20th century, Diné Woven in dark brown, natural brown, cream, tan, red, orange, and pink wool, depicting a central hogan and a stylized storm pattern with red rock landscapes, Model T-style cars, and corn stalks, with a stepped long border 33.5” H x 27.5” W $400-600
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1095
A Navajo regional rug
Early 20th century, Diné Woven in dark brown, cream, red, and natural grey wool, with central stepped diamond with another stepped diamond 50.5” H x 40” W $500-700 Provenance: From the Collection of Zane Grey
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1096
A Navajo regional rug
Early 20th century, Diné Woven in dark brown, cream, red, and natural grey/brown wool, with stacked serrated diamonds within a stepped border 55.5” H x 36” W $500-700 Provenance: From the Collection of Zane Grey
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1097
A Navajo Two Grey Hills rug
Mid-20th century, Diné Woven in black, cream, dark brown, brown, and natural grey wool, with central stepped diamond and stepped corners and long edge borders 47.5” H x 38” W $300-500
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1098
A Navajo Third Phase Revival chief’s blanket
Mid/late 20th century, Diné Woven in red, blue, cream, and black wool, with banding and stepped motifs 47” H x 54.5” W $800-1,200
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1099
Don Louis Perceval
(1908-1979) Native American riders on horseback with mountains, 1931 Gouache with traces of pencil on board Signed and dated lower right: Don Luis / Perceval / ‘31 Sight: 10” H x 13” W $800-1,200
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Oscar Howe
(1915-1983, Yanktonai Dakota)
In 1958, the Yanktonai Dakota artist Oscar Howe submitted Philbrook Art Center. Bold, abstract, and highly experiment painting within the exhibition. Rather than adhering to the early years at the Santa Fe Indian School, Howe employed cultural expression. The jurors rejected the painting, claimin Native American art, Jeanne Snodgrass, defending both hi much more to Indian Art than pretty, stylized pictures… Are as the Indian always has been, put on reservations, and trea al., 1982, p. 19). His words not only articulated a powerful c governmental treatment of Native people more broadly, m
Born on May 13, 1915 on a reservation in South Dakota, O to art, especially after a severe skin condition forced him in Indian Affairs, where he endured harsh treatment, and his h many hours with his grandmother, Shell Face, who taught h ingrained in Howe, providing a wellspring of inspiration tha
Howe later received formal training at the Santa Fe Indian S characterized by flat, stylized depictions of ceremonial and absorbed modernist currents circulating in the broader Am Dakota culture. This synthesis of tradition and innovation w intersection of two worlds: the presentation of traditional cu transformations of the era.
Howe created casein paintings from 1955 to 1978, and “Si vivid color relationships, and a sophisticated synthesis of ab his figure constructed from overlapping geometric planes t Howe fragments and reassembles form, creating a rhythmi turquoise tones animate the surface, while sharp diagonals itself. Drawing upon Dakota cultural traditions while embra into a highly personal and innovative artistic language.
Throughout his career, Howe’s contributions were widely re championing the modernist innovation that would come to
Today, Oscar Howe’s work resonates as a powerful testame evoke the enduring vitality of Dakota traditions while affirm musical expression into a dynamic and visually compelling song within Dakota life. Through works such as this, Howe’s power of creativity untethered by convention.
d his painting “Umine Wacipi” (“War and Peace Dance”) to the Annual Indian Art competition at the tal, the work departed drastically from the stylistic conventions that had come to define “traditional Indian” flat colors and illustrative compositions associated with the “Studio Style,” in which he trained during his fractured forms and dynamic movement to create a strikingly modern visual language rooted in Dakota ng it did not conform to their guidelines. In response, Howe wrote a letter to the museum’s curator of is artistic vision and the broader creative autonomy of Indigenous artists. As Howe asserted, “There is e we to be held back forever with one phase of Indian painting, with no right for individualism, dictated to ated like a child, and only the White Man knows what is best for him? Now, even in Art” (Dockstader et challenge to the restrictive expectations placed upon Native artists, but also addressed the political and marking a pivotal moment in the emergence of a modern, self-determined vision of Indigenous art.
Oscar Howe showed an early affinity for art. Often discouraged by his parents, he nonetheless grew closer ndoors for extended periods. Howe later attended the Pierre Indian School, operated by the Bureau of health challenges only intensified. Returning to the reservation to recover physically and mentally, he spent him tribal symbols, designs, cultural traditions, and stories of their ancestors. These lessons became deeply at he would draw upon throughout his life, and which profoundly shaped his artistic sensibility.
School under Dorothy Dunn, gaining technical foundations while encountering the rigid “Studio Style,” d historical subjects. Yet this style proved too limiting for his imaginative ambition. Even as a student, Howe merican art world, integrating principles of abstraction and expressive linework with motifs drawn from would define his artistic trajectory and set him apart from his contemporaries. He found himself at the ultural forms and inspiration from modernist and Romanticist currents, reflecting the social and political
ioux Singer,” 1962, exemplifies the artist’s mature visual language, characterized by angular, faceted forms, bstraction and representation. At the center of the composition sits a singer holding a drum and beater, that dissolve the boundaries between subject and environment. Rather than pursuing strict naturalism, ic composition that conveys sound, movement, and spiritual presence. Brilliant reds, blues, yellows, and s and interlocking shapes generate a sense of visual energy that echoes the performative act of singing acing modernist abstraction, “Sioux Singer” demonstrates Howe’s ability to transform Indigenous subjects
ecognized. He taught at the University of South Dakota, shaping generations of artists, while relentlessly o define his legacy.
ent to artistic independence and cultural pride. His paintings do more than depict figures or events; they ming the place of Indigenous voices within modern art. In “Sioux Singer,” Howe transforms a moment of composition, capturing both the individuality of the performer and the broader cultural significance of ’s voice remains vibrant, asserting the enduring significance of Native American art and the transformative
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1100
Oscar Howe
(1915-1983, Yanktonai Dakota) “Sioux Singer,” 1962 Casein on paper Signed lower right: Oscar Howe Image: 21” H x 28.5” W; Sheet: 22.5” H x 30.125” W $150,000-250,000 Provenance: The artist Private collection, purchased directly from the above in Mitchell, SD, 1965 Private collection, Chicago, IL, gift from the above, 1965 Private collection, Virginia, acquired from the above by descent Notes: This lot is accompanied by the original typed letter from Oscar Howe regarding the shipment of “Sioux Singer,” in which he goes into detail about the medium, signature, and other information related to the work. The letter is signed in blue ink by Oscar Howe and is dated March 4, 1963. Also accompanying the letter is the original corresponding envelope in which it was housed. Additionally, this work is accompanied by a transcription created by the current owners (husband and wife) of “Sioux Singer,” documenting a conversation with the husband’s mother, the previous owner of the work before it was passed down to them, regarding how she came to know Oscar Howe and acquire some of his artworks. Lastly, copies of additional supporting documentation accompany this lot.
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1101
Oscar Howe
(1915-1983, Yanktonai Dakota) “Sioux Mother and Child,” 1963 Casein on paper Signed lower left: Oscar Howe Image: 20” H x 19” W; Sheet: 21.625” H x 20.75” W $100,000-150,000 Provenance: The artist Private collection, Chicago, IL, purchased from the above in Mitchell, SD, 1965 Private collection, Virginia, acquired from the above by descent Exhibited: Grand Island, NE, Butler County Historical Society, 1965 Notes: This lot is accompanied by the original typed letter from Oscar Howe regarding “Sioux Mother and Child,” in which he states that he will “hold” the painting as the recipients had expressed interest in acquiring the work, and notes that the painting is ready for shipment along with additional information related to the piece. The letter is signed in black ink by Oscar Howe and dated September 20, 1965. Additionally, this work is accompanied by a transcription created by the current owners (husband and wife) of “Sioux Mother and Child,” documenting a conversation with the husband’s mother, the previous owner of the work before it was passed down to them, regarding how she came to know Oscar Howe and acquire some of his artworks. Lastly, copies of additional supporting documentation accompany this lot. Howe created casein paintings from 1955 to 1978, and “Sioux Mother and Child,” 1963, reflects a more contemplative dimension of the artist’s mature style. Centered upon the timeless bond between mother and child, the composition conveys tenderness, protection, and spiritual connection through a carefully orchestrated arrangement of curvilinear forms and harmonious color. Unlike many traditional depictions of motherhood that rely upon naturalistic detail, Howe distills his subjects into simplified yet expressive shapes, allowing emotion to emerge through composition and rhythm rather than literal representation. The mother gently cradles her child within an enveloping circular structure that dominates the composition, creating a sense of shelter and security. Soft blues, greens, and warm earth tones flow throughout the work in sweeping, interconnected forms, reinforcing the feeling of unity between the figures and their surroundings. Through this synthesis of abstraction and cultural symbolism, Howe transforms a deeply personal moment into a universal meditation on care, family, and the continuity of Dakota life. Throughout his career, Howe’s contributions were widely recognized. He taught at the University of South Dakota, shaping generations of artists, while relentlessly championing the modernist innovation that would come to define his legacy. Today, Oscar Howe’s work stands as a powerful expression of both cultural identity and artistic innovation. While celebrated for his dynamic interpretations of Dakota ceremonies and traditions, Howe was equally capable of exploring intimate human experiences with remarkable sensitivity. In “Sioux Mother and Child,” he captures a moment of quiet affection and enduring connection, elevating a familiar subject into a profound reflection on love, protection, and generational continuity. Through works such as this, Howe demonstrates that Indigenous modernism could encompass both the monumental and the deeply personal, affirming the enduring vitality of Native American art and the richness of Dakota cultural experience.
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1102
Oscar Howe
(1915-1983, Yanktonai Dakota) Woman with basket Ink on paper Signed in ink lower right: Oscar Howe Image/Sheet: 16.75” H x 11.25” W $3,000-5,000
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1103
Lawrence W. Lee
(b. 1947) “Talon Shaman,” 1990 Oil on canvas Signed lower right: Lawrence W. Lee ©; titled and dated on the canvas overlap with the artist’s stamp in black ink, verso 54.25” H x 40” W $1,000-1,500 Provenance: Sold to Benefit the Friends of the Altadena Library w w w. j o h n m o r a n . c o m 1 1 9
1104
A large Apache polychrome basketry olla
Early 20th century; Southwest United States The coiled olla with red and brown figures and horses alternating with stacked elaborate rectangles 19” H x 14” Dia. $3,000-5,000 Provenance: Private collection, Santa Ynez, CA
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1105
Bernie Granados Jr.
(20th/21st Century, Apache/Zacatec) “Storytellers,” 1994 Acrylic on canvas Signed and dated lower right: Granados / ‘94; signed and dated again, and titled, all in pencil, verso 24.25” H x 24.25” W $400-600
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Property from a Private Estate, Montecito, CA Lots 1064, 1106-1195, 1259, 1262, 1286, 1340
Kathryn Woodman Lei (1875-1952)
In her day, Kathryn Woodman Leighton was considere subject was reserved for males.”
Born in Plainfield, New Hampshire in 1875, Leighton w married attorney Edward L. Leighton in 1900, and they Dedicated support from Edward enabled her to succe as local landscapes, especially California desert wildflo
A fortuitous meeting in 1924 with Charles Marion Russ popularity as a painter. Russell encouraged Leighton to at Russell’s summer home on Lake McDonald in 1925, in the lodge. As a regular visitor to the park for the nex people she met on her many trips to Montana.
Leighton was commissioned by the Great Northern Ra Blackfeet elders as part of the promotion of the park. T on the history of the Blackfeet. Leighton felt: “I am tryi tradition, and the fundamental beliefs of our first Amer
At age fifty, Leighton had achieved widespread succes Boston as well as in Paris and London and received cri portraits included Blackfeet, Sioux, Cherokee, Shoshon actors from Hollywood, notable figures of the time inc members and friends.
Leighton died in 1952, and her Native American portra share important cultural details and perspectives of the
ighton
ed one of the world’s most notable painters of American Indian portraits, “at a time when the
was educated locally and taught school for three years before studying at art school in Boston. She y moved west in 1910 when a planned vacation to California turned into a permanent relocation. essfully mix serious artistic pursuits and practical home life. Her canvases featured portraits as well owers and coastal seascapes of Laguna and Morro Bay.
sell at a party in Los Angeles led to an important shift in subject matter and a change to her o visit the newly formed Glacier National Park in Montana, and the Leightons were invited to stay , where she reportedly painted two landscapes on the curtain dividers between the guest beds xt few years, Leighton became enamored of the glorious landscape and of the Blackfeet Nation
ailway to paint grand landscapes of the majestic peaks and lakes, as well as portraits of various The Railway bought over twenty of Leighton’s works to augment a national touring lecture series ing to put on canvas...the nobility of the Indian as I see him, the beauty of color, the dignity of rican people...”
ss with these portraits. They were included in major exhibitions in Los Angeles, Chicago, and itical praise. Over the years, Leighton’s versatility was expressed in over 700 works. Her numerous ne, Yakima, Arapaho, Navajo, Hopi, Pawnee, Osage, and more, as well as local Native American cluding Pawnee Bill, Iron Eyes Cody, Florence Collins Porter, and numerous studies of family
aits continue to be a legacy of a well-intentioned admiration and respectful desire to retain and e First Nation people she was privileged to meet.
1106
Kathryn Woodman Leighton
(1875-1952) “Medicine Man with Sacred Whistle” Oil on canvas laid to Masonite Signed lower left: Kathryn W. Leighton; titled in another hand on the frame’s backing paper 30” H x 25” W $15,000-25,000 Provenance: Private Estate, Montecito, CA
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1107
Kathryn Woodman Leighton
(1875-1952) “Chief Eagle Ribs” Oil on canvas Signed lower left: Kathryn W. Leighton; titled by repute 44” H x 36.25” W $15,000-25,000 Provenance: Kay Roberts Gallery, Evanston, WY Private Estate, Montecito, CA
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1108
Kathryn Woodman Leighton
(1875-1952) “Sky Chief” Oil on canvas Signed lower right: Kathryn W. Leighton; titled and inscribed “C1123” in pencil on the stretcher 36” H x 28.25” W $15,000-25,000 Provenance: Private Estate, Montecito, CA
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1109
Kathryn Woodman Leighton
(1875-1952) “Shoshone Indian,” circa 1950 Oil on canvas laid to Masonite Signed lower right: Kathryn W. Leighton; titled in pencil on the canvas overlap, verso 24” H x 20” W $10,000-15,000 Provenance: Thomas Nygard, Inc., Bozeman, MT Private Estate, Montecito, CA Exhibited: Los Angeles, CA, California Art Club, “Spring Exhibition,” February 12-February 26, 1950 Literature: “Los Angeles Evening Herald Express,” February 11, 1950, illustrated
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1110
Innocenzo Daraio
(1903-1993) “Chief Big Tree” Oil on canvasboard Signed lower right: Innocenzo Daraio; signed again and titled verso 18” H x 14” W $700-900 Provenance: Private Estate, Montecito, CA
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1111
Innocenzo Daraio
(1903-1993) “Chief Iron Eyes” Oil on canvasboard Signed lower right: Innocenzo Daraio; signed again and titled verso 18” H x 14” W $700-900 Provenance: Private Estate, Montecito, CA
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1112
Ned Jacob
(b. 1938) “War Paint” Oil on canvas Signed upper left: Jacob; titled by repute 26” H x 20.25” W $1,000-1,500 Provenance: Private Estate, Montecito, CA
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1113
Joe Waano-Gano
(1906-1982, Cherokee) “Plains Chieftain” Oil on canvas mounted to artist’s board Signed lower right: Joe Waano-Gano; titled and stamped with the artist’s address, verso 30” H x 25” W $400-600 Provenance: Private Estate, Montecito, CA
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Eanger Irving Couse (1866-1936)
Eanger Irving Couse, a founding member of th in the American Southwest, particularly the Pue study for the larger 1923 painting “The Lesson. which a Navajo man shares his knowledge of w traditions, particularly notable in the fine details transitional textile - possibly a double saddle bl aniline dyes in the late 19th century and early 2 compositional details emphasize themes of lea
he Taos Society of Artists, is known for his sensitive portrayals of Native American life eblo Indian community in Taos. “The Weaving Lesson” is the preparatory finished oil .” In the two similar compositions, Couse depicts a quiet educational moment in weaving with a younger figure. The scene reflects the artist’s admiration for Indigenous s of dress, the traditional Navajo loom and related materials and the dynamic Navajo lanket - executed in brighter hues here than in the final, larger painting. The use of 20th century allowed for more color to enter into textile weaving. Together these arning and knowledge sharing, cultural continuity, and intergenerational connection.
1114
Eanger Irving Couse
(1866-1936) “The Lesson,” circa 1923 Oil on canvasboard Signed lower left: E-I-COUSE-N.A.; signed again and alternatively titled in pencil “The Weaving Lesson,” verso 8.125” H x 10” W $20,000-30,000 Provenance: Private Estate, Montecito, CA Literature: Included as catalogue number 2592 in the Couse-Sharp Historic Site’s catalogue raisonné of the artist’s work. Notes: This work is a finished preparatory study for Couse’s painting “The Lesson,” 1923, oil on canvas, 50” H x 60” W, which was sold at Sotheby’s New York, May 20, 1998, Lot 75.
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1115
Francisco Rodríguez Sánchez Clement (1893-1968) Rounding up the bulls Oil on canvas Signed lower left: F. Rodríguez S. Clement 23.5” H x 29” W $500-700 Provenance: Private Estate, Montecito, CA
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1116
Richard A. Myer
(b. 1933) Native American on horseback, 1971 Patinated bronze on marble plinth Edition: 2/250 Signed, dated, inscribed, and numbered in the casting: Rich Myer © / JHM CLASSIC BRONZE Bronze: 12” H x 8” W x 5.5” D; Overall: 13.625” H x 8.75” W x 5.5” D $700-900 Provenance: Private Estate, Montecito, CA
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1117
Ernest Berke
(1921-2010) “Apache Signal,” 1966 Patinated bronze on marble plinth Edition: 37/40 Signed, dated, and numbered in the casting: Ernest Berke / © Bronze: 15.625” H x 9.25” W x 4.875” D; Overall: 16.375” H x 9.25” H x 5.5” D $800-1,200 Provenance: Private Estate, Montecito, CA
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1118
Richard A. Myer
(b. 1933) Game Hunter, 1971 Patinated and verdigris bronze on black marble plinth Edition: 3/24 Signed, dated, numbered, and inscribed in the casting: Rich Myer © 71 / JHM Bronze: 6.125” H x 3.125” W x 4.375” D; Overall: 9.75” H x 3.625” W x 4.75” D $500-700 Provenance: Private Estate, Montecito, CA
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1119
Grant Speed
(1930-2011) “Keepin’ an Eye on the Riders,” 1981 Patinated bronze on wood plinth Edition: 17/100 Signed, dated, numbered, and inscribed in the casting: UG Speed / © / CA Bronze: 9.5” H x 11.75” W x 4.5” D; Overall: 10.875” H x 12.25” W x 5.375” D $1,000-1,500 Provenance: Private Estate, Montecito, CA
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1120
Nicholas Samuel Firfires
(1917-1990) “Two of a Kind,” 1964 Oil on canvasboard Signed and dated lower left: Nicholas S. Firfires 1964 ©; titled on a label affixed to the frame’s backing paper 20” H x 16” W $2,000-3,000 Provenance: Private Estate, Montecito, CA
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1121
Wil Timpe
(b. 1920) “The Stagecoach,” 1971 Oil on canvas Signed and dated lower left: W. Timpe -71; titled by repute 20” H x 24” W $1,000-1,500 Provenance: Private Estate, Montecito, CA
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1122
Nicholas Samuel Firfires
(1917-1990) “Desert Riders,” 1964 Oil on canvas Signed and dated lower right: Nicholas S. Firfires 1964 ©; titled by repute 18” H x 24” W $1,000-1,500 Provenance: Private Estate, Montecito, CA
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1123
Curtis Wingate
(1926-1982) Two cowboys on horseback with a herd of horses Watercolor on paper Signed, inscribed, and with the artist’s device lower right: Curtis - Wingate / © Sight: 12.5” H x 19” W $500-700 Provenance: Private Estate, Montecito, CA
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1124
Charles Marion Russell
(1864-1926) “Buffalo Rubbing Rock” (pair of bookends), 1921 Patinated bronze Each signed and dated in the casting: C M Russel [cattle cipher]; each with foundry impression: Roman Bronze Works, N.Y. 2 pieces Each: 7.125” H x 7” W x 3.875” D $3,000-5,000 Provenance: Private Estate, Montecito, CA
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1125
Charles Marion Russell
(1864-1926) “Reclining Steer,” modeled 1924 Patinated bronze on marble plinth Signed in the casting: C M Russel [cattle cipher]; with foundry impression: Roman Bronze Works, N.Y. Bronze: 3.75” H x 6.625” W x 3.625” D; Plinth: 1” H x 7.125” W x 5.125” D $2,000-3,000 Provenance: Private Estate, Montecito, CA
1126
Charles Marion Russell
(1864-1926) “Indian Head” Patinated bronze Edition: 36/250 Initialed, titled, and inscribed in the casting: CMR / by Charles M. Russell / (1864-1926); numbered on the back of the neck 4.125” H x 1.375” W x 1.625” D $250-350 Provenance: Private Estate, Montecito, CA
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1127
Harry Jackson
(1924-2011) “Center Fire,” 1958 Patinated bronze on marble plinth Edition: 21/36 Signed with initials and dated in the casting: © H.J. 58; numbered on the back of the base: 21. Bronze: 9.125” H x 8.625” W x 3.75” D; Overall: 10” H x 8.625” W x 3.75” D $1,000-1,500 Provenance: Private Estate, Montecito, CA Notes: Harry Andrew Jackson grew up on the gritty streets of Chicago, where he discovered his passion for art through a supportive teacher and a scholarship to the Chicago Art Institute. At 14, he ran away to Wyoming, embracing the cowboy life and working as a ranch hand. After the war, Jackson moved to New York, where he initially made a name for himself in Abstract Expressionism. However, he soon pivoted to realism, focusing on Western themes that reflected his deep connection to cowboy culture. w w w. j o h n m o r a n . c o m 1 5 7
1128
Ross Stefan
(1934-1999) Three Native American men on horseback in a Western landscape at sunset Oil on canvas Signed lower left: Ross Stefan 24” H x 40” W $3,000-5,000 Provenance: Private Estate, Montecito, CA
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1129
Thomas A. de Decker
(b. 1951) “Winter Sioux” Oil on Masonite en grisaille Signed lower right: Thomas A. de Decker; titled on a typed label affixed to the frame’s backing paper 15” H x 30” W $1,000-1,500 Provenance: Private Estate, Montecito, CA
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1130
Arthur J. Fitzsimmons
(1909-1992) “Arranged Meeting” Oil on Masonite Signed lower right: Fitzsimmons; signed again and titled on the frame’s backing paper 27.5” H x 33.5” W $800-1,200 Provenance: Turkey Creek Galleries, Morrison, CO Private Estate, Montecito, CA
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1131
William Henry Dethlef Koerner
(1878-1938) “Masquerade Party,” 1928 Oil on board Bears initial lower right: K; titled and dated by repute Sight: 15.25” H x 8” W $700-1,000 Provenance: Ruth Koerner Oliver, Santa Barbara, CA Private Estate, Montecito, CA Literature: Zane Gray, The American Magazine, “Sunset Pass,” August 1928, p. 53, illustrated Notes: The present work is a fragment from a larger illustration Koerner created for Zane Gray’s story “Sunset Pass” published in the 1928 issue of The American Magazine. The story of “Sunset Pass” tells the tale of Ash Preston, a young rancher who returns to his family’s ranch in Arizona after years away. There he discovers that corruption, greed, and cattle rustling threaten both the ranch and the surrounding community. While attending a masquerade ball Preston encountered a masked individual seen in the present work, and the men fought. In the remaining portion of the scene, Preston is thrown against an adobe wall near a niche decorated with a painted pot. The magazine caption reads, “He cared nothing for Preston’s sudden blows. He broke through them, beat him back, and knocked him against the wall.” The full artwork from which this fragment was taken, was signed and dated “W.H.D. Koerner / 1928.” This lot is accompanied by a copy of a portion of the story in the publication mentioned above, which includes an illustration of this work.
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1132
Sid Burns
(1916-1979) “As Dust Before Him,” 1977 Patinated bronze Signed, dated, numbered, and titled in the casting: © / Sid Burns / 7-24 / [artist’s cipher]; foundry mark: Phippen Bronze 17.875” H x 8.75” W x 7.125” D $1,500-2,500 Provenance: Private Estate, Montecito, CA
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1133
Juan Dell
(1933-2019) “Sacajawea,” 1979 Patinated and cold-painted bronze Edition: 85/100 Signed, dated and numbered in the casting: JUAN DELL © 79; with foundry impression: HOUSE BRONZES / LUBBOCK TEXAS Bronze: 16” H x 7.75” W x 4.625” D; Overall: 16.75” H x 8.75” W x 6” D $600-800 Provenance: Private Estate, Montecito, CA
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1134
Doug Hyde
(b. 1946, Nez Perce/Assiniboine/Chippewa) “Southwest Potter” Patinated bronze on wood plinth Edition: 218/230 Signed and numbered in the casting: D. Hyde / [stick horse cipher] © Bronze: 7.625” H x 8.5’ W x 5.375” D; Plinth: 1.75” H x 9.5” W x 6.5” D $400-600 Provenance: Private Estate, Montecito, CA
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1135
George Dabich
(1922-2013) Seated Native American with peace pipe, 1965 Patinated bronze on wood plinth Edition: 17/30 Signed, numbered, dated, and inscribed in the casting: GDabich 65 / Vance Bronze: 5.5” H x 4.875” W x 4.875” D; Overall: 7.375” H x 6.25” Dia. $500-700 Provenance: Private Estate, Montecito, CA
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1136
Donald “Putt” Putman
(1926-2007) Bust group of a Native American man and woman Verdigris patinated bronze on stone base Edition: 6/30 Signed and numbered in the casting: © Putt Bronze: 8.625” H x 6.25” W x 5.125” D; Overall: 11.75” H x 6.75” W x 6.75” D $200-300 Provenance: Private Estate, Montecito, CA
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1137
Harry Jackson
(1924-2011) “Algonquin Chief Head, One Feather,” 1971 Patinated bronze on marble base on laminated wood plinth Edition: 22/100 Signed, dated, and numbered in the casting: © H. Jackson / 71 / 22 Bronze: 3.625” H x 2.625” W x 4.625” D; With marble: 5.25” H; Overall: 9.25” H x 4.125” W x 5.375” D $400-600 Provenance: Private Estate, Montecito, CA Notes: Harry Andrew Jackson grew up on the gritty streets of Chicago, where he discovered his passion for art through a supportive teacher and a scholarship to the Chicago Art Institute. At 14, he ran away to Wyoming, embracing the cowboy life and working as a ranch hand. After the war, Jackson moved to New York, where he initially made a name for himself in Abstract Expressionism. However, he soon pivoted to realism, focusing on Western themes that reflected his deep connection to cowboy culture.
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1138
Bill (William) Edward Freeman
(1926/27-2012) Cowboy on horseback leading a pack horse in the desert Oil on canvas Signed lower right: Bill Freeman © 16” H x 20” W $800-1,200 Provenance: Private Estate, Montecito, CA
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1139
Gene Speck
(b. 1937) “His New Red Blanket” Oil on panel Signed lower left: Gene Speck; signed again, titled, and inscribed “261,” in blue ink on a label affixed to the frame’s verso 9.25” H x 14.25” W $1,000-1,500 Provenance: Private Estate, Montecito, CA
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1140
Jack N. Swanson
(1927-2014) “Cutting ‘em off at the Pass” Oil on board Signed lower left: J.N. Swanson-; titled by repute 24” H x 36” W $1,500-2,500 Provenance: Private Estate, Montecito, CA
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1141
Charles Damrow
(1916-1989) Cowboys on horseback watching the sunset Oil on canvas Signed lower left: Charles Damrow 28” H x 36” W $1,000-1,500 Provenance: Private Estate, Montecito, CA
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Fritz White (1930-2010)
Fritz White was an American sculptor know he served in the U.S. Marine Corps before Cowboy Artists of America in 1972 and w multiple Gold Medals for sculpture. His w Museum, and the Museum of Western Ar cowboys, Native Americans, and scenes o
own for his bronze depictions of the American West. Born in Milford, Ohio, e turning to sculpture in the early 1960s. White became a member of the went on to receive numerous honors from the organization, including work is represented in the collections of the Gilcrease Museum, Phoenix Art rt, among others. Working primarily in bronze, White frequently depicted of frontier life.
1142
Fritz White
(1930-2010) “Cowboyin’ Ain’t Never Easy” Patinated bronze on wood plinth Editon: 2/25 Signed, numbered, and inscribed in the casting: © FWhite / CA Bronze: 18.5” H x 16” W x 9.25” D; Overall: 21.75” H x 16” W x 9.5” D $2,500-3,500 Provenance: Private Estate, Montecito, CA Notes: The present work, “Cowboyin’ Ain’t Never Easy,” reflects the artist’s interest in the challenges and realities of the working cowboy, a recurring theme throughout his career.
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1143
H. Clay Dahlberg
(1946-2021) “A Half Century on Horseback” Patinated bronze on wood plinth Edition: 5/10 Signed, dated and numbered on the base: © H. CLAY DAHLBERG / 73 / #5 of 10 Bronze: 15.75” H x 13.625” W x 6.625” D; Overall: 17” H x 14.5” W x 7” D $600-800 Provenance: Private Estate, Montecito, CA
1145
Grant Speed
(1930-2011) “The Bronc Rider,” 1979 Patinated bronze on wood bookstand with signed hardcover book Bronze edition: 25/100 Signed, dated, inscribed and numbered in the casting: UG Speed / © / CA With hardcover book: Hedgpeth, Don. “From Broncs to Bronzes: The Life and Work of Grant Speed.” Flagstaff, AZ: Northland Press, 1979 Signed Limited Edition: 25/100 Signed to edition page: U. Grant Speed Bronze: 12” H x 7.5” W x 5.75” D; Overall: 12” H x 11.25” W x 10.25” D $800-1,200 Provenance: Private Estate, Montecito, CA
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1144
Leonard E. “Gus” Shafer
(1907-1985) “Sundown: Thanks for Another Day,” 1970 Patinated bronze Edition: 13/15 Signed, titled, dated and numbered in the casting: SHAFER / [yoke cipher] © 15.5” H x 14” W x 6.25” D $500-700 Provenance: Private Estate, Montecito, CA
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1146
Beverly Jamison Carrick (b. 1930) Desert in bloom Oil on canvas Signed lower right: Carrick 24” H x 48” W $400-600 Provenance: Private Estate, Montecito, CA
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1147
Donald “Putt” Putman
(1926-2007) “Shotgun” Oil on board Signed lower left: Putt; titled and numbered “#32,” on a typed label verso 9.5” H x 11” W $200-400 Provenance: Private Estate, Montecito, CA
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1148
Donald “Putt” Putman
(1926-2007) “Tom Smith” (Cowboy carrying a saddle) Mixed media including acrylic and pencil on board Signed lower right: Putt; titled by repute 16” H x 12” W $300-500 Provenance: Private Estate, Montecito, CA
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1149
Richmond Irwin Kelsey
(1905-1987) “The Antique Clock” Oil on board Signed lower right: Kelsey; titled, numbered “K-316,” and with the artist’s copyright stamp, verso 11.5” H x 15.5” W $500-700 Provenance: Private Estate, Montecito, CA
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1150
Laurence H. Coffelt
(1910-1976) “Saddletramp” Patinated bronze on wood plinth Edition: 17/20 Signed, titled, and numbered in the casting: © / L. COFFELT / No. 17/20, impressed on the base: HAROLD PHIPPEN / Foundryman Bronze: 15.25” H x 12” W x 9.375” D; Overall: 16.625” H x 14.375” W x 8.625” D $500-700 Provenance: Private Estate, Montecito, CA
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1151
Juan Dell
(1933-2019) “Big Shot” Patinated bronze in two parts on marble plinth Edition: 14/50 Signed, titled, and numbered in the casting: Juan Dell © Bronze boy only: 3.75” H x 5.625” W x 2.25” D; Hat: 1.875” H x 3.625” W x 2.875” D; Plinth: 1” H $400-600 Provenance: Private Estate, Montecito, CA
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1152
A Baker Furniture wood and caned sideboard
Mid-20th century Two metal factory labels applied to drawer interiors The three sliding doors with caning to front, opening to reveal two central drawers and single shelf flanked by shelves to each side 32.25” H x 57” W x 19” D $400-600 Provenance: Private Estate, Montecito, CA
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1153
A Baker Furniture wood and caned side table
Mid-20th century With metal factory label applied to drawer interior With ebonized frame, caning to side panels, and a single drawer 25” H x 20” W x 30” D $200-300 Provenance: Private Estate, Montecito, CA
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1154
A Barnard & Simonds wood coffee table
Mid-20th century With applied metal factory label With antique cherry finish and three butterfly keys, raised on hoof feet 17.25” H x 54” W x 26” W $300-500 Provenance: Private Estate, Montecito, CA
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1155
A set of four Franklin Mint sterling silver Western collector plates
1972-1973 Each titled, attributed, dated, and, and marked: STERLING SILVER / LIMITED EDITION / 837 With velvet-lined book-form presentation boxes, comprising: Gordon Phillips (b. 1927), “Mountain Man,” 1972 Richard Baldwin (1921-2012), “Horizons West,” 1972 Gus Shafer (1907-1985), “Prospector,” 1973 John Weaver (1920-2012), “Plains Hunter,” 1973 4 pieces Each plate: 8” Dia.; Each box: 10.5” H x 10.25” W x 1.75” D Total weighable sterling: 48.3 oz. troy approximately $1,500-2,500 Provenance: Private Estate, Montecito, CA Notes: All but “Mountain Man” with signed and dated Certificate of Authenticity from The Franklin Mint.
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1156
A set of four Gorham porcelain plates after Frederic Remington
1970s, after Frederic Remington (1861-1909) Each with printed factory marks, title, and inscription: FREDERIC REMINGTON / 1861-1909 / FOREMOST ARTIST AND DOCUMENTOR / OF THE VIGOROUS LIFE AND TIMES / THAT WERE THE GREAT AMERICAN WEST / FROM THE ORIGINAL PAINTING IN / THE MUSEUM OF FINE ARTS, HOUSTON, TEXAS Comprising: “The Fight for the Waterhole,” 1903 “Aiding a Comrade,” 1889-90 “The Flight,” 1895 “A New Year on the Cimarron,” 1903 4 pieces Each: 12.625” Dia. $150-250 Provenance: Private Estate, Montecito, CA
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1157
After Frederic Remington (1861-1909)
A Gorham porcelain figure after “Bronco Buster” (1895), late 20th century With factory marks to underside: THIS SELECTION INSPIRED BY / Frederic Remington’s / FAMOUS BRONZE SCULPTURE / “Bronco Buster” / FROM THE GIFT WORLD OF GORHAM Raised on a wood plinth Overall: 13.125” H x 9.25” W x 5.125” D $100-200 Provenance: Private Estate, Montecito, CA
1158
After James Earle Fraser (1876-1953)
A plaster figure after “The End of the Trail” (1894), 1982 Incised in the plaster base: © DAVE GROSSMAN [indistinct] / © NATIONAL COWBOY [INDISTINCT]; metal plaque applied to base: © National Cowboy Hall of Fame and Western Heritage Center 1982 / Dave Grossman Designs, Inc. Raised on a wood plinth Overall without spear: 13.75” H x 12.625” W x 8” D; Spear: 15.625” L $200-300 Provenance: Private Estate, Montecito, CA
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1159
Gerhard Skrobek (1922-2007)
“Attacked by a Grizzly” porcelain figural group for W. Goebel Porzellanfabrik, 1972 Edition: 42/400 Incised signature on the base: Skrobek; stamped with date and number on the underside: 1972 / 1600134 / 33; numbered to metal plaque applied to base Bisque porcelain raised on a wood plinth Porcelain: 13” H x 9.625” W x 6.875” D; Base: 2.375” H x 12.5” W x 9.25” D $200-300 Provenance: Private Estate, Montecito, CA
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1160
Gerald Lilly
(b. 1943) “Signs of Winter (Ute Indians - Rawlins Pass, Colorado)” Egg tempera on masonite Signed lower right: Gerald Lilly; signed again, titled, and inscribed “#001002” on a label affixed verso 30” H x 40” W $300-500 Provenance: Private Estate, Montecito, CA 1 9 6 A r t o f t h e Am e r i c a n We s t — Day 1 l Tu e sd ay, J u n e 3 0 , 2 0 2 6
1161
Sid Mountain
(20th Century) Redhead ducks in flight Watercolor on paper Signed lower right: Sid Mountain Sight: 9.5” H x 10.5” W $200-300 Provenance: Private Estate, Montecito, CA
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1162
20th Century American Western School
“Broken Warrior Spirit” Patinated bronze on a wood base Edition: 5/20 Signed and numbered on the side: Oneta; titled to applied metal plaque Bronze: 16.25” H x 13” W x 6.5” D; Overall: 18” H x 14.25” W x 10” D $300-500 Provenance: Private Estate, Montecito, CA
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1163
Boris Kutchukov
(20th Century) Horse head Burlwood and resin Unmarked 24” H x 14.25” W x 13.25” D $300-500 Provenance: Private Estate, Montecito, CA
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1164
Joe Ed Johnson
(20th Century) “Speakin’ to the Man,” 1975 Patinated bronze on wood plinth Edition: 5/200 Signed, dated and numbered in the casting: Joe Ed Johnson / © Bronze: 9.625” H x 4.25” W x 4” D; Overall: 11” H x 7.75” W x 6.25” D $200-300 Provenance: Private Estate, Montecito, CA
1165
H. Clay Dahlberg
(1946-2021) “The Yarn Spinner,” 1973 Patinated bronze on wood plinth Edition: 5/10 Signed, dated and numbered on the verso: 73 © / H. CLAY DAHLBERG / #5 of 10 Bronze: 8.125” H x 5.875” W x 5.875” D; Overall: 10.625” H x 6” W x 7.375” D $200-300 Provenance: Private Estate, Montecito, CA
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1166
Harold Von Schmidt
(1893-1982) Grizzly Bear, 1972 Patinated bronze on a marble plinth Signed and dated on the verso: HAROLD VON SCHMIDT / ©; impressed: 34 Bronze: 6.875” H x 4.125” W x 4.125” D; Overall: 8.625” H x 5” W x 5” D $300-500 Provenance: Private Estate, Montecito, CA
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1167
Two braided rawhide riatas Late 19th/early 20th century 2 pieces Each 40’-45’ L approximately $300-500 Provenance: Private Estate, Montecito, CA
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1168
Barbara Vaupel
(1939-2006) “The Copenhagen Break,” 1974 Oil on canvas Signed and dated lower left: Vaupel / 74; signed and dated again on the stretcher 16” H x 20” W $500-700 Provenance: Private Estate, Montecito, CA
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1169
Curtis Wingate
(1926-1982) Waving soldier on horseback Watercolor on paper Signed, inscribed, and with the artist’s device lower right: Curtis Wingate / “Ariz” © Sight: 13.25” H x 15.5” W $400-600 Provenance: Private Estate, Montecito, CA
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1170
George Harrison
(20th Century) “Apache Guide,” 1969 Tempera on board Signed indistinctly and dated in ink, and with the artist’s shield device in paint, all lower right: George Harrison ‘69; titled on a gallery label affixed to the verso 12.5” H x 16.5” W $200-300 Provenance: O’Brien’s Art Emporium, Scottsdale, AZ Private Estate, Montecito, CA
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1171
Clair V. Fry
(1901-1995) Coffee break Oil and traces of graphite on Masonite Signed lower left: Clair V. Fry 18” H x 24” W $200-400 Provenance: Private Estate, Montecito, CA
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1172
Filastro Mottola
(1915-2008) “Navajo Shepherdess” Oil on Masonite Signed lower right: Mottola; titled on a handwritten label affixed verso 20” H x 16” W $500-700 Provenance: Private Estate, Montecito, CA
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1173
M. Maleter
(b. 1925) Girl with pigeons Oil on canvas Signed lower right: Maleter 25.25” H x 36.25” W $200-300 Provenance: Private Estate, Montecito, CA
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1174
Sean Eder
(1969-2006) Indian woman, 1986 Carved stone on rotating wood base Incised with signature, date, and inscribed with the artist’s device on the base: S. Eder ‘86 Stone: 18.375” H x 9.75” W x 9.5” D; Overall: 20.25” H $200-300 Provenance: Private Estate, Montecito, CA
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1175
An Acoma Pueblo polychrome pottery olla
Early/mid-20th century Marked to underside: ACOMA / N. MEXICO The three-color jar with orange and black figural motifs on a white slip ground above a terracotta wash and slight puki indentation 6.75” H x 9” Dia. $200-400 Provenance: Private Estate, Montecito, CA
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1176
Robert Rivera (20th Century)
A turquoise-mounted polychrome gourd, late 20th century Signed and inscribed to underside: Robert Rivera [artist’s device] / Albuq, New Mexico / (Manitou Pueblo Design) Painted with black, red, and white frogs, mounted with a spiral string centered by a turquoise accent 6.125” H x 7.25” W x 7.375” D $200-300 Provenance: Private Estate, Montecito, CA
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1177
A California Mission basketry tray
Early/mid-20th century; Southern California With coiled construction 1.5” H x 15” Dia. $300-500 Provenance: Private Estate, Montecito, CA
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1178
Two Papago baskets
Early/mid-20th century, Tohono O’odham; Arizona/Southwest United States The coiled baskets comprising one oval with a serrated band and floating crosses, and a circular with floating hooked motifs 2 pieces Oval: 3.375” H x 10” W x 6.375” D; Circular: 2.125” H x 5.5” Dia. $100-200 Provenance: Private Estate, Montecito, CA
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1179
A California Mission basketry bowl and tray
Early 20th century; Southern California Comprising a coiled bowl with floating letters and two columns of stacked triangles, and a coiled tray with swirling stepped design 2 pieces Bowl: 5.25” H x 8.375” W; Tray: 1.375” H x 7.75” Dia. $300-500 Provenance: Private Estate, Montecito, CA
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1180
A group of eight hardcover books on Frederic Remington Frederic Remington (1861-1909) 1903-1983 Eight works:
Remington, Frederic. “Done in the Open.” New York: P. F. Collier & Son, Publishers, 1903 McCracken, Harold. “Frederic Remington: Artist of the Old West.” Philadelphia: J. B. Lippincott Company, 1947 Seventh Printing Remington, Frederic. “Frederick Remington’s Own Outdoors.” New York: The Dial Press, 1964 McCraken, Harold. “The Frederic Remington Book: A Pictorial History of the West.” Garden City, NY: Doubleday & Company, Inc., 1966 Hanson, Irvin W. “101 Frederic Remington Drawings of the Old West.” Willmar, MN: Color Press, 1969 Third Printing Allen, Douglas. “Frederic Remington and the Spanish-American War.” New York: Crown Publishers, Inc., 1971 Samuels, Peggy and Harold. “Frederic Remington: A Biography.” Garden City, NY: Doubleday & Company, Inc., 1982 Jussim, Estelle. “Frederic Remington, the Camera & the Old West.” Forth Worth, TX: Amon Carter Museum, 1983 8 pieces Largest: 16.375” H x 11.5” W x 0.75” D $300-500 Provenance: Private Estate, Montecito, CA
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1181
A group of nine books on Charles Marion Russell Charles Marion Russell (1864-1926) 1927-1978 Nine works:
Russell, Charles M. “Trails Plowed Under: Stories of the Old West.” Garden City: Doubleday & Company, Inc., 1927 “The Charles M. Russell Book: The Life and Work of the Cowboy Artist.” Garden City, NY: Doubleday & Company, Inc., 195 2 copies, one a Presentation Copy in slipcase Rogers, Will. “Good Medicine: The Illustrated Letters of Charles M. Russell.” Garden City, NY: Doubleday Company, Inc., 1966 Renner, Frederic G. “Charles M. Russell: Paintings, Drawings, and Sculpture in the Amon G. Carter Collection.” Austin, TX: University of Texas Press, 1966 Willard, John. “The Charles M. Russell Book.” Seattle: Salisbury Press, 1970 First Edition Yost, Karl and Frederic G. Renner. “A Biography of the Published Works of Charles M. Russell.” Lincoln, NE: University of Nebraska Press, 1971 Second Printing Renner, Frederic G. “Charles M. Russell: Paintings, Drawings, and Sculpture in the Amon G. Carter Collection.” New York: Harry N. Abrams, Inc., 1974 Chapin, Louis. “Charles M. Russell: Paintings of the Old American West.” New York: Crown Publishers, Inc., 1978 9 pieces Largest: 14” H x 10.75” W x 1.625” D $300-500 Provenance: Private Estate, Montecito, CA
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1182
A group of six hardcover books on Western cowboy artists 1961-1981 Six works:
Ford, Henry Chapman. “Etchings of California.” Santa Barbara: Edward Selden Spaulding, 1961 Woloshuk, Jr., Nicholas. “Edward Borein: Drawings & Paintings of the Old West, Volume 1: The Indians.” Flagstaff: The Northland Press, 1968 Edition: 1184/2000 Signed by the Author Reed, William. “Olaf Wieghorst.” Flagstaff: Northland Press, 1969 Second Printing Galvin, John. “Etchings of Edward Borein: A Catalogue of His Work.” San Francisco: John Howell, 1971 Davidson, Harold G. “Edward Borein, Cowboy Artist: The Life and Works of John Edward Borein 1872-1945.” Garden City, NY: Doubleday & Company, Inc., 1974 Edition: 74/350 Signed by the Author Pointer, Larry and Donald Goddard. “Harry Jackson.” New York: Harry N. Abrams, Inc., 1981 First Edition 6 pieces Largest: 13.375” H x 10.5” W x 1.75” D $300-500 Provenance: Private Estate, Montecito, CA
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1183
A group of ten hardcover books on Southwestern Artists 1967-1997 Ten works:
Perceval, Don. “Maynard Dixon Sketch Book.” Flagstaff, AZ: The Northland Press, 1967 McCraken, Harold. “The Frank Tenney Johnson Book: A Master Painter of the Old West.” Garden City, NY: Doubleday & Company, Inc., 1974 Edition: 263/350 Signed by the Author Burnside, Wesley M. “Maynard Dixon: Arist of the West.” Provo, Utah: Brigham Young University Press, 1974 Balcomb, Mary N. “Nicolai Fechin.” Flagstaff, AZ: Northland Press, 1975 2 copies, one in slipcase Each First Edition DuBois, June. “W.R. Leigh: The Definitive Illustrated Biography.” Kansas City: The Lowell Press, 1977 First Edition “Persimmon Hill Volume 8, Number 3: Nicolai Fechin” Oklahoma City: National Cowboy Hall of Fame and Western Heritage Center, 1978 Edition: 657/1000 Signed by Eya Fechin, daughter of Nicolai Fenn, Forrest. “The Beat of the Drum and the Whoop of the Dance: A Study oof the Life and Work of Joseph Henry Sharp.” Santa Fe: Fenn Publishing Co., 1983 First Printing Schimmel, Julie. “The Art and Life of W. Herbert Dunton, 1878-1936.” Austin, TX: University of Texas Press, 1984 Hagerty, Donald J. “Desert Dreams: The Art and Life of Maynard Dixon.” Layton, UT: Gibbs Smith, 1997 10 pieces Largest: 14.25” H x 11.25” W x 1,5” D $300-500 Provenance: Private Estate, Montecito, CA
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1184
A group of seven Western hardcover reference books 1953-1985 Seven works:
Taft, Robert. “Artists and Illustrators of the Old West, 1850-1900.” New York: Charles Scribner’s Sons, 1953 Mortensen, A. Russell. “Early Utah Sketches: Historic Buildings and Scenes in Mormon Country.” Salt Lake City: University of Utah Press, 1969 Broder, Patricia Janis. “Bronzes of the American West,” New York: Harry N. Abrams, Inc., 1975 Presentation Copy Marshall, Bruce. “The Ten Battle flags of the Texas Revolution.” Austin, TX: Presidial Press, 1975 Edition: 180/250 Signed by the Artist Samuels, Peggy and Harold. “The Illustrated Biographical Encyclopedia of Artists of the American West.” Garden City, NY: Doubleday & Company, Inc., 1976 Samuels, Peggy and Harold. “Contemporary Western Artists.” Washington, D.C.: Judd’s Inc., 1982 Samuels, Peggy and Harold. “Samuels’ Encyclopedia of Artists of the American West.” New York: Castle, 1985 7 pieces Largest: 15.375” H x 12.5” W x 0.75” D $300-500 Provenance: Private Estate, Montecito, CA
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1185
20th Century American Western School Indian on the lookout Patinated bronze Unmarked 6.875” H x 3.5” W x 2.875” D $100-200 Provenance: Private Estate, Montecito, CA
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1186
Lathrop Bullene Gay
(1925-2011) “June 10, 1864” (Confederate Soldier), 1972 Patinated bronze on marble plinth Edition: 10/75 Signed, titled, dated, and numbered in the casting: © Lathrop Bullene Gay ‘72 Bronze: 8.375” H x 5.25” W x 4.125” D; Plinth: 0.75” H x 5” W x 4” D $300-500 Provenance: Private Estate, Montecito, CA
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1188
Nicolai Ivanovich Fechin
(1881-1955) “Carmelita” Patinated bronze on wood base Edition: 30/150 Initialed and numbered in the casting: NF Bronze: 3.125” H x 1.5” W x 1.5” D; Overall: 3.5” H x 4.5” W x 4.375” D $300-500 Provenance: Private Estate, Montecito, CA
1187 Ron Lee
(1947-2017) Cowboy on horseback roping a steer, 1970 Verdigris and patinated bronze on marble plinth Edition:1/50 Signed, dated, and numbered in the casting: © Ronl Bronze: 3.375” H x 7” W x 4.875” D; Overall: 4.25” H x 7.875” W x 5.25” D $300-500 Provenance: Private Estate, Montecito, CA
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1189
A group of wrought iron fireplace articles
Early 20th century Comprising a pair of hammered wrought-iron andirons, each with two hooks at front, and two brass and wrought iron fireplace tools including a poker and tongs 4 pieces Each andiron: 29.25” H x 15.25” W x 17.25” D; Longer tool: 35.25” L $600-800 Provenance: Private Estate, Montecito, CA
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1190
Three branding iron tools
Early 20th century Each black enameled wrought iron 3 pieces Longest: 34” L; Shortest: 29.75” L $200-300 Provenance: Private Estate, Montecito, CA
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1191
1192
(1923-1995) “Bunker Hill House” Oil on canvas Signed lower right: Ben Abril; titled on the stretcher 12” H x 16” W
(20th Century) “White Birch” Oil on canvas Signed lower left: Staniek; titled on a typed label af 18” H x 36” W
Ben Abril
Mattie Staniek
$600-800
$200-300
Provenance: Private Estate, Montecito, CA
Provenance: Private Estate, Montecito, CA
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ffixed to the stretcher
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1193
John Fredrick “Jack” Hannah
(1903-1994) “By the River Side” Oil on canvas Signed lower left: Jack / Hannah; titled and numbered “658-7” on the stretcher 12.125” H x 9.125” W $200-400 Provenance: Private Estate, Montecito, CA
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1195
William T. Colville
(1902-1991) Entrace gate, 1937 Burnham Wood Drive Watercolor on paper Signed lower left: William Colville © Sight: 17.25” H x 23.25” W $200-300 Provenance: Private Estate, Montecito, CA
1194
William T. Colville
(1902-1991) Tennis court, 1937 Burnham Wood Drive Watercolor on paper Signed lower left: William Colville © Sight: 17.25” H x 23.25” W $200-300 Provenance: Private Estate, Montecito, CA
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1196
Charles Marion Russell
(1864-1926) “Ho Ho Hayeeeee” or “Nancy’s Hikin’ Stick,” 1964 Patinated bronze Edition: 14/50 Signed, numbered, titled, and dated in the casting: BY C.M. RUSSELL; foundry mark: © DICK FLOOD 12.5” H x 3.5” Dia. $1,000-2,000 Provenance: Private collection, Santa Ynez, CA
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1197
Bob Scriver
(1914-1999) “The Golden Dragon,” 1973 Patinated bronze on wood plinth Edition: 9/30 Signed, titled, dated, and numbered in the casting: © BOB SCRIVER; with foundry mark: BRONZE [in a shaped cartouche] Bronze: 9.25” H x 11.625” W x 8.5” D; Overall: 11.125” H x 14.875” W x 10.25” D $1,000-2,000 Provenance: Private collection, Santa Ynez, CA
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1198
Glenna Goodacre
(1939-2020) “Irish Famine Memorial Maquette,” 1988 Patinated bronze on wood base Edition: 15/50 Signed, dated, and numbered in the casting: GGoodacre © Bronze: 7.375” H x 18.5” W x 9” D; Overall: 8.25” H x 20.5” W x 10.5” D $2,000-4,000 Provenance: Nedra Matteucci Fine Art, Santa Fe, NM Acquired from the above, July 7, 2000 Notes: This lot is accompanied by a signed Certificate of Authenticity from the abovementioned gallery. The present work is sculptor Glenna Goodacre’s maquette for the monumental Irish Memorial “An Gorta Mór” (“The Great Hunger”) commissioned in Philadelphia as the centerpiece of the Irish Memorial Project’s commemoration of the famine’s 150th anniversary. Both the public memorial and the maquette feature 35 bronze figures that tell a powerful story of starvation, emigration, and hope. The monument stretches approximately 30 feet in length, and the composition depicts three stages of the Irish experience: suffering during the famine, the perilous journey across the Atlantic, and the determination of immigrants arriving in America to begin new lives. The memorial serves as both a tribute to those who perished and a celebration of the resilience and contributions of Irish immigrants in the United States.
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1199
Carl J. Koontz
(20th Century) “What Was That?” Patinated bronze on wood plinth Edition: 1/15 Signed, titled, and numbered in the casting: © Carl J Koontz / CJK [artist’s cipher] Bronze: 7.75” H x 7.125” W x 4” D; Overall: 8.5” H x 8.375” W x 5.5” D $300-500 Provenance: La Galeria, Sedona, AZ Private collection, La Cañada, CA, from the above, 1980 Notes: Copies of sales invoices from La Galeria accompany the lot.
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1200
Rogers Aston
(1918-1999) “Apache Warrior,” 1870 Patinated bronze on wood plinth Edition: 17/25 Signed, dated, titled, numbered, and with foundry mark in the casting: ©R R. ASTON Bronze: 9.25” H x 6.25” W x 4.25” D; Overall: 10.875” H x 8.875” W x 6.5” D $500-700 Provenance: Trailside Galleries, Jackson Hole, WY Private collection, La Cañada, CA, from the above, 1980 Notes: A copy of the sales invoice from Trailside Galleries accompanies the lot.
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1201
Michael Boyett
(1943-2015) “Comanche,” 1980 Patinated bronze on wood plinth Edition: 3/60 Signed, dated, titled, and numbered in the casting: Michael Boyett © Bronze: 4” H x 3.25” W x 3.625” D; Overall: 4.75” H x 3.625” W x 3.625” D $300-500 Provenance: Helen Lenkowsky’s Signature Galleries, Scottsdale, AR Private collection, La Cañada, CA, acquired from the above, 1982 Notes: This lot is accompanied by a gallery label and a copy of the sales invoice from Signature Galleries.
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Charles Rohlfs (1853-1936)
When viewing the work of Charles Rohlfs one o sensibility emerges that can be traced to his ea furniture stands apart from that of his contempo influences, Rohlfs created what he called “Artis
Born in Brooklyn, New York, son of a cabinetma and as an actor. In 1884, he married Anna Kath literary success enabled him to pursue his artist for their own home before establishing a works
In addition to furniture, Rohlfs designed hardwa projects. His work was sold through leading ret newspapers. Although his furniture-making care his lifetime. His work was exhibited at the 1901 in St. Louis, while examples of his furniture were individual designs had declined, and he turned organizations while continuing to give public dr
Rohlfs is believed to have produced only 600 to including The Metropolitan Museum of Art, The the Carnegie Museum of Art, the Princeton Uni scholarship have further cemented his reputatio Movement. The present table stands as an exce
of the most original figures of the American Arts and Crafts Movement, a dramatic arly career as a stage actor. Balancing restraint with whimsical carved ornament, his oraries. Drawing upon Arts and Crafts ideals, Art Nouveau, Gothic, and Medieval stic Furniture.”
aker, he studied at Cooper Union and worked as a patternmaker designing stoves harine Green, one of America’s earliest and most renowned mystery novelists, whose tic ambitions. The couple settled in Buffalo, where Rohlfs began designing furniture shop devoted to producing his distinctive creations.
are, candlesticks, lamps, and other decorative objects, and undertook interior design tailers, including Marshall Field & Co., and received attention in magazines and eer lasted little more than a decade, he achieved considerable recognition during 1 Pan-American Exposition in Buffalo and the 1904 Louisiana Purchase Exposition e acquired for Buckingham Palace. But by 1910, demand for Rohlfs’s highly d his attention to civic affairs in Buffalo, becoming active in business and educational ramatic readings.
o 800 pieces of furniture. Today, his work is represented in major museum collections, e Huntington Library Art Museum and Botanical Gardens, the Dallas Museum of Art, iversity Art Museum, and the Milwaukee Art Museum. Major exhibitions and on as one of the most distinctive designers of the American Arts and Crafts ellent example of the artistic vision that continues to define his legacy.
1202
Charles Rohlfs
(1853-1936) An Arts & Crafts quarter sawn oak side table, 1900 Impressed with maker’s ‘R’ cipher and date With stylized tabletop corners, raised on supports joined by a fretwork H-stretcher and shaped box base 21.5” H x 21” W x 21” D $4,000-6,000 Provenance: Private Collection, Venice, CA Literature: Joseph Cunningham, “The Artistic Furniture of Charles Rohlfs” (New Haven, CT: Yale University Press, 2008), another depicted pg. 138, described pg. 140 Notes: The present table exemplifies the union of utility and artistic expression that defines Rohlfs’s work. Dated 1900 and bearing his trademark sign-of-the-saw impressed over the letter “R,” the table forgoes elaborate carving yet remains unmistakably distinctive through its scrolling forms. Joseph Cunningham, in “The Artistic Furniture of Charles Rohlfs,” describes a similar example illustrated on page 138: “In a particularly lovely table with fretted stretchers, the unrelenting flatness of the tabletop and simple square-cut legs is mitigated by beautifully arcing lobed feet and cross stretchers along with elaborate fretwork stretchers that unite the legs.”
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1203
A Duffner & Kimberly ‘Art Nouveau’ slag glass lamp
Early 20th century Numbered in the casting at underside: 318 The shade depicting shells and foliate motifs, mounted on a verdigris patinated bronze base issuing three Harvey Hubbell light fixtures with acorn chain pulls, electrified Shade: 7.25” H x 19.25” Dia.; Base: 20.75” H x 9” W x 8.75” D; Overall: 22” H x 19.25” Dia. $8,000-12,000 Literature: Paul Crist, “Mosaic Shades Volume II” (Santa Fe Springs, CA: Paul Crist Studios, 2005), pg. 210
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1204
Arion Putnam
(1870-1949) Cowboy on Horseback observing a Pierce-Arrow motorcar in a Western landscape Oil on canvas Signed and dated lower left: Arion Putnam / 1912 72” H x 60” W $5,000-7,000 Provenance: The artist Pierce-Arrow Automotive Company, Los Angeles, CA, commissioned from the above, circa 1912 Private collection, owner of Reynolds Buick GMC, from the above By family descent Notes: This painting was originally commissioned by the Pierce-Arrow Automotive company, Los Angeles, and features one of the company’s roadsters racing through the Western landscape, likely a Model 66 (in production from 1910 to 1918), while being observed by a mounted cowboy. The initial commission featured the brand ‘PA’ on the horse’s right flank. After the painting was gifted to a friend who owned Reynolds Buick GMC, the brand was modified from ‘P’ to ‘B’ accordingly. It has remained in the same family until the present day. Arion Putnam was raised in New York but spent his adult life, starting in 1888 at age 18, in Southern California. He worked as an early commercial photographer as the medium developed in Los Angeles and was a painter as well. Through studio work, landscape photography, and painting, he contributed to visual documentation of the American West during the late 19th and early 20th centuries.
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1205
William George
(b. 1930) Cowboys in red bandanas on horseback Watercolor and gouache on paper Signed in pencil lower left: William George Sight: 7.25” H x 8.25” W $500-700
1206
James Lee Colt
(1922-2005) “Payroll Delivery” Oil on Masonite Signed lower left: J. Colt; titled and with 24” H x 30” W $600-800
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h the artist’s black ink stamp, verso
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1207
David Wright
(b. 1942) “The Lonely Land” Acrylic on board Signed lower right: David Wright; titled on the frame plaque 20” H x 36” W $4,000-6,000
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1208
Patricia Dobson
(b. 1947) “Sunrise on the Cheyenne,” 1992 Oil on canvas Signed lower right: Patricia Dobson; titled and dated “© 1992,” on the canvas overlap 50” H x 36” W $4,000-6,000
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Boyd Elder (1944-2018)
Few images in Western Americana are as instan Most Famous Artist You’ve Never Heard Of” by renegade, countercultural spirit that bridged fin
El Paso-born Elder was interested in art from a nights and weekends. He attended the Chouin degree in 1968.
An important 1972 solo show “El Chingadero” including Joni Mitchell, Jackson Browne, Mama performed at the show. Album cover designer skull imagery for an album.
Ultimately, Elder’s iconic skull and lightning-bolt “Their Greatest Hits (1971-1975)” (1976), and “ records carried Elder’s distinctly Western vision 38 million in sales, becoming one of the best-se
Rooted in West Texas and shaped by his 1960s independence, experimentation, and defiant u and aluminum, his art reflects the vastness, grit, subjects in a series of two-dimensional limited-e
ntly recognizable as the painted animal skulls created by Boyd Elder. Dubbed “The y Texas Monthly, the Texas “Artlaw” fused the stark poetry of the Southwest with a ne art and rock history.
young age and took art lessons at the El Paso Museum of Art during high school on nard Art Institute in Los Angeles on scholarship, receiving his Bachelor of Fine Arts
” held at artist John VanHamersveld’s studio in Venice, CA was attended by musicians a Cass Elliot and members of the then newly formed band, the Eagles, who also Gary Burden connected the band to the exhibit as he was interested in using Elder’s
t motifs graced three landmark albums by Eagles: “One of These Nights” (1975), “The Very Best Of” (2003). With more than 65 million copies sold worldwide, these onto turntables across the globe; “Their Greatest Hits (1971-1975)” alone achieved elling albums of all time.
s coming-of-age in Los Angeles, Elder embodied the “Artlaw” ethos of unconventionality. From painted skulls to ambitious mixed media works in resin, foil, , and multicultural spirit of the American Southwest. Elder also explored his iconic edition color lithographic prints.
1209
Boyd Elder
(1944-2018) Untitled, as used for the cover of Eagles’ album “One of These Nights,” 1975 Offset lithograph in colors on Arches paper Edition: 100/100 Signed, titled, dated, and numbered in pencil in the lower margin: © Boyd Elder 1980; Cirrus Editions Ltd, Los Angeles, prntr., with their blindstamp in the lower left margin corner, and pencil work number “252c-BE79” on the verso of the same corner; titled by repute Image: 28.25” H x 24.75” W; Sheet: 31.25” H x 27.25” W $3,000-5,000 Provenance: The Personal Collection of Jean Milant
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1210
Boyd Elder
(1944-2018) “Black Horse Running,” 1975 Offset lithograph in colors on Arches paper A bon à tirer impression, aside from the edition of 100 Signed, titled, and inscribed “B.A.T.” in pencil in the lower margin: © Boyd Elder; Cirrus Editions Ltd, Los Angeles, prntr., with their blindstamp in the lower left margin corner, and pencil work number “255c-BE78” on the verso of the same corner Image: 27.625” H x 24.25” W; Sheet: 31.5” H x 27.375” W $1,500-2,500 Provenance: The Personal Collection of Jean Milant
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1211
Boyd Elder
(1944-2018) “Geronimo,” 1975 Offset lithograph in colors on Arches paper A bon à tirer impression, aside from the edition of 100 Signed, titled, and inscribed “B.A.T.” in pencil in the lower margin: © Boyd Elder; Cirrus Editions Ltd, Los Angeles, prntr., with their blindstamp in the lower left margin corner, and pencil work number “256c-BE82” on the verso of the same corner Image: 23.625” H x 28.25” W; Sheet: 27.125” H x 31.625” W $1,500-2,500 Provenance: The Personal Collection of Jean Milant
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1212
Boyd Elder
(1944-2018) “Sundancer,” 1975 Offset lithograph in colors on Arches paper Edition: 100/100 Signed, titled, and numbered in pencil in the lower margin: © Boyd Elder; Cirrus Editions Ltd, Los Angeles, prntr., with their blindstamp in the lower left margin corner, and pencil work number “254c-BE80” on the verso of the same corner; titled by repute Image: 24.125” H x 28.75” W; Sheet: 27.375” H x 31.5” W $1,500-2,500 Provenance: The Personal Collection of Jean Milant Notes: This image is also sometimes called “Sundancer Yellow.”
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1213
Boyd Elder
(1944-2018) “American Dream I,” 1975 Offset lithograph in colors on Arches paper Artist’s proof 20, aside from the edition of 100 Signed, dated, and inscribed “A.P. XX” in pencil in the lower margin: © Boyd Elder 1980; Cirrus Editions Ltd, Los Angeles, prntr., with their blindstamp in the lower left margin corner, and pencil work number “253c-BE78” on the verso of the same corner; titled by repute Image: 28.75” H x 24.75” W; Sheet: 31.75” H x 27.25” W $1,500-2,500 Provenance: The Personal Collection of Jean Milant
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1214
Phyllis Kapp
(b. 1930) “Laugh Like A Brook,” 2010 Watercolor on handmade paper with Twinrocker blindstamp Signed, dated, and inscribed lower right: Phyllis Kapp / Santa Fe NM / 2010; titled on a gallery label affixed to the frame’s backing board Sheet: 19” H x 25.5” W (irreg.) $1,000-1,500 Provenance: Waxlander Gallery and Sculpture Garden, Santa Fe, NM Notes: The paper used by Phyllis Kapp for many of her watercolors was apparently specially handmade for her by a company called Twinrocker in Brookston, IN. Their blindstamp shows (in raking light) in the lower left corner of this sheet.
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Curt Walters (b. 1950)
Born in New Mexico and raised in the Fou and worked with landscape painter Wilso the American Southwest, Walters is recog numerous honors, including recognition b Southwest Art has named him among the Arizona, his paintings are held in public an
ur Corners region, Curt Walters studied at New Mexico State University on Hurley in Taos. Best known for his paintings of the Grand Canyon and gnized for his careful attention to light and landscape. His work has earned by Art of the West as the “Greatest Living Grand Canyon Artist,” while e most influential figures in Western art. A longtime resident of Sedona, nd private collections throughout the United States.
1215
Curt Walters
(b. 1950) “Primary Hues and Formations” Oil on canvas Signed lower left: Curt Walters; titled on a tag attached to the frame 36” H x 36” W $10,000-15,000
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1216
Curt Walters
(b. 1950) “Navajo Maiden” Oil on canvas Signed lower right: Curt Walters; titled on the stretcher 14” H x 18” W $800-1,200
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1217
James Swinnerton
(1875-1974) Blooming Ironwood in a desert landscape Oil on canvas Signed lower right: Swinnerton 28” H x 34” W $3,000-5,000
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1218
James Swinnerton
(1875-1974) “Smoke Tree and Desert Willow, Shaker’s Well” Oil on canvas Signed lower right: Swinnerton -; titled on a gallery label affixed to the frame’s verso 28.25” H x 34” W $3,000-5,000 Provenance: Montgomery Gallery, San Francisco, CA
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1219
Ettore Serbaroli
(1881-1951) Mohave desert landscape Oil on canvas laid to canvas Signed and indistinctly dated lower right: E. Serbaroli / 1939 8” H x 11” W $800-1,200 Provenance: Sold: Clar’s Auction Gallery, Oakland, CA, February 16-17, 2013, Lot 2182 Private collection, Santa Ynez, CA, acquired from the above
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1220
David Chapple
(b. 1947) “Monument Valley Spring” Oil on canvasboard Signed lower right: David Chapple; titled verso 22” H x 28” W $2,000-3,000
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1221
Douglas Aagard
(20th/21st Century) “Payson Heights” (Arizona), 2005 Oil on canvas Signed lower right: Aagard; signed again, titled, and dated “8/2005,” all on the stretcher 18” H x 24” W $800-1,200
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1222
John William Hilton
(1904-1983) “Canyon Sunrise,” 1969 Oil on board Signed lower right: John W. Hilton; signed again, dated, and inscribed in ink, all verso: “Saddleback Inn Nov. 21 1969 / for my friend Tod / Best wishes”; titled on an embossed label affixed verso 18” H x 24” W $600-800
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1223
Raymond DuShane
(1900-1974) Barns in a mountainous landscape, 1973 Oil on Masonite Signed and dated lower left: Ray DuShane ‘73 24” H x 36.25” W $600-800
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1224
Louis Siegriest
(1899-1989) “Utah,” 1962 Oil and sand on Masonite Signed with initials lower left: L.S.; signed again, titled, and dated verso: Siegriest 62 9” H x 8” W $400-600
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1225
Gunnar Widforss
(1879-1934) “Ellery Lake and Spurs of Mt. Dana,” 1926 Watercolor on paperboard Signed and dated lower left: Widforss-1926-; titled in pencil, verso, and also with a black ink date stamp: Nov 18 1926 Image: 18.25” H x 14” W; Paperboard: 18.5” H x 14.25” W $8,000-10,000 Provenance: Private collection, Orinda, CA; by family descent
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Dan Namingha (b. 1950, Hopi-Tewa)
Dan Namingha is a contemporary Native Keams Canyon, Arizona, he studied at the of the Art Institute of Chicago. A descend Dextra Quotskuyva, Namingha draws upo
Namingha’s work often incorporates geom and Indigenous design traditions. The title throughout his career and was later refere Dualities. His work is represented in nume the Heard Museum, and the Museum of N
American artist working in painting, printmaking, and sculpture. Born in e Institute of American Indian Arts, the University of Kansas, and the School dant of the celebrated Hopi-Tewa potter Nampeyo and the son of potter on his cultural heritage while employing a modern visual vocabulary.
metric forms derived from Southwestern landscapes, Pueblo architecture, e of the present work, “Dualities,” (1997), reflects a theme that has recurred enced in the exhibition Dan and Arlo Namingha: A Fascination with erous public and private collections, including the Smithsonian Institution, Northern Arizona.
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1226
Dan Namingha
(b. 1950, Hopi-Tewa) “Dualities,” 1997 Mixed patinated bronze on metal base Edition: 20/20 Signed, dated, and numbered in the base: Dan Namingha / © 97 / [artist’s cipher] Overall: 20” H x 18.875” W x 7” D $2,000-3,000 Provenance: Estate, Newport Beach, CA
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1227
Fritz Scholder
(1937-2005, Luiseño) “Butterfly Man #1” Monotype in colors on buff wove paper Signed and titled in pencil in the lower margin: Scholder; with an unidentified bull blindstamp in the lower margin Plate: 11.5” H x 8.75” W; Sheet: 29.75” H x 21.75” W $600-800 Provenance: Private collection, Los Angeles, CA
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1228
James Ayers
(b. 1969) “Pawnee Strength,” 2016 Oil on canvas Signed and dated lower right: James Ayers / 2016; titled by repute 16” H x 16” W $1,500-2,000
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1229
Jackie Sevier
(20th century, Northern Arapaho) “In Reverence,” 1990 Pastel on paper Signed in pencil lower right: Jackie Sevier ©; titled and dated “1990” in ink, and with the artist’s black ink stamp on the frame’s backing paper; signed and titled again on a handwritten exhibition label affixed to the frame’s backing paper Sight: 20” H x 25” W $300-500 Provenance: Private Estate, Southern California Exhibited: Pine Ridge Indian Reservation, South Dakota, The Heritage Center and Red Cloud Indian School, “The Red Cloud Art Show,” May 1991 Notes: This lot is accompanied by a handwritten letter dated June 18, 1991, on a handpressed card by the artist that is signed and titled “The Messenger.”
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1230
An Apache basketry water vessel
Late 19th/early 20th century; Southwest United States The coiled vessel with two lug handles, coated in pine pitch 8” H x 6” W x 5.75” D, irregular $200-300
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1231
A Chemehuevi basketry olla
Early 20th century; Great Basin/Southwest United States The coiled globular jar with a band of conjoined concentric diamonds 5.625” H x 6” Dia. $400-600
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1232
A Pomo beaded gift basket
Early 20th century; Central California The coiled basket rim mounted with shell disc beads, the body adorned with quail topknots and glass beads, finely woven with serrated columns 2” H x 5” Dia. $800-1,200 Provenance: Private collection, Santa Ynez, CA
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1233
A Pomo beaded gift basket
Early 20th century; Central California The coiled basket finely woven with geometric motifs in negative and adorned with shell disc beads, glass beds, and quail topknots 1.75” H x 5.125” W x 3.625” D $700-900
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1234
A Pomo beaded gift basket
Early 20th century; Central California The coiled basket rim mounted with shell disc beads and a feather, finely woven with alternating whirling log designs and columns of stacked diamonds 2.25” H x 5” Dia. $700-900 Provenance: Private collection, Santa Ynez, CA
1236
A Pomo oval gift basket
Early 20th century; Central California The coiled basket finely woven with floating symbols 1.75” H x 5.5” W x 4” D $500-700 Provenance: Private collection, Santa Ynez, CA
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1235
A Pomo basketry bowl
Early 20th century; Central California The coiled bowl finely woven with two swirling zig-zag designs issuing from center to rim 2.375” x 5.125” Dia. $800-1,200 Provenance: Private collection, Santa Ynez, CA
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1237
A Pima beaded basketry gift tray
Early 20th century, Akimel O’odham; Arizona The very finely woven coiled tray with swirling design and turquoise glass beads applied to braided rim 0.875” H x 4.25” Dia. $500-700 Provenance: Private collection, Santa Ynez, CA
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1238
A diminutive Pima basket
Early 20th century, Akimel O’odham; Arizona The coiled basket with braided rim above swirling stepped designs 1.5” H x 3.75” Dia. $300-500 Provenance: Private collection, Santa Ynez, CA
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1239
Two diminutive Pomo basketry bowls
Early 20th century; Central California Each coiled, comprising one with sawtooth band above four triangles issued from center, and one with stepped X’s issuing from center 2 pieces Larger: 1.875” H x 4.125” Dia.; Smaller: 1.125” H x 2.875” Dia. $250-350 Provenance: Private collection, Santa Ynez, CA
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1240
Three miniature Western baskets
Early 20th century; Southwest United States Comprising an Akimel O’odham (Pima) coiled figural basket with turquoise glass beads applied to braided rim, a polychrome beaded basket, and a lidded horsehair basket 3 pieces Largest: 1.25” H x 2.375” Dia.; Smallest: 0.75” H x 1” Dia. $300-500 Provenance: Private collection, Santa Ynez, CA
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1241
A Yokuts polychrome lidded basket
Early 20th century; Central California The coiled basket with alternating columns of stacked checkered diamonds and stacked triangles; the lid continuing the design 2.25” H x 5.125” Dia. $500-700 Provenance: Private collection, Santa Ynez, CA
1243
A Klamath polychrome basketry bowl
Early/mid-20th century; Northern California/Oregon The twined bowl with imbricated quillwork on the floating serrated diamonds 4.375” H x 10” W x 6.25” D, irregular $200-400
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1242
A Northwest California basketry bowl
Early/mid-20th century, likely Hupa/Karok/Yurok; Northern California The twined bowl with a braided rim above a serrated zig-zag band 3.375” H x 8” Dia. $300-500
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1244
Joni Falk
(b. 1933) “Indian Summer,” 1982 Oil on board Signed and dated lower right: Joni Falk © ‘82; signed and dated again, and with the artist’s copyright stamp on the frame’s backing paper; titled on the frame plaque Sight: 6” H x 12” W $600-800 Provenance: Peppertree Calabasas, Calabasas, CA Private collection, La Cañada, CA, from the above, 1982 Notes: A copy of the sales invoice from Peppertree Calabasas accompanies the lot.
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1245
Sherry L. Gribben
(20th Century) Three Native Americans on horseback in mountainous terrain, 1982 Gouache on paper Signed, dated, and inscribed lower left: Sherry L. Gribben 1982 © Sight: 23” H x 19” W $500-700 Provenance: Peppertree Ranch Art Show, Santa Ynez, CA Private collection, La Cañada, CA, from the above, 1982
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1246
Mark Geller
(b. 1947) “Little Camp” Acrylic on Masonite Signed lower left: Geller; signed again and titled in ink on a label affixed verso 12” H x 16” W $400-600 Provenance: Peppertree Ranch Art Show, Santa Ynez, CA Private collection, La Cañada, CA, from the above, 1997 Notes: A copy of the sales invoice from Peppertree Ranch accompanies the lot.
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1247
Frank Magsino
(1937-2020) “Wild Bunch,” 1992 Oil on board Signed and dated lower right: Frank Magsino / 1992; titled on the frame plaque Sight: 4.5” H x 6.75” W $500-700 Provenance: Husberg Fine Arts, Sedona, AZ Private collection, La Cañada, CA, from the above, 1992 Notes: A copy of a sales invoice from Husberg Fine Arts accompanies the lot.
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1248
Ron Stewart
(b. 1941) “Bad Odds” Watercolor on paper Signed and with the artist’s boot device lower left: Ron / Stewart; titled on the overmat lower left with an additional watercolor sketch in the lower right of the overmat Sight: 11.75” H x 23.875” W $500-700 Provenance: Buck Saunders Gallery, Scottsdale, AZ Private collection, La Cañada, CA, from the above, 1983
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1249
Dustin Lyon
(b. 1951) “Pipestem Springs,” 1983 Gouache on paper Signed and dated lower right: - D. Lyon / © 83; signed and dated again on the frame’s backing paper: Dustin Lyon / April 1983 Sight: 8.75” H x 20.875” W $300-500 Provenance: Overland Trail Galleries, Jackson Hole, WY Heritage West Gallery, Paso Robles, CA Private collection, La Cañada, CA, from the above, 1983 Notes: A copy of a sales invoice from Heritage West Gallery accompanies the lot.
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1250
A pair of French patinated bronze plaques: “Pery” and “Iracema” Rodolfo Bernardelli (1852-1931), 19th century Each signed indistinctly and with foundry mark: THIEBAUT FRERES / FONDEURS / PARIS Depicting Native American subjects, set in later giltwood frames 2 pieces Each: 16.25” Dia. $2,000-3,000
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1251
Carl Kauba
(1865-1922) “Ready for Action” Cold-painted bronze Signed in the casting: CKauba; impressed: GESCHUTZT / 5305 Bronze: 10” H x 5” W x 3.5” D; Overall: 11” H x 5.75” W x 4.75” D $1,000-1,500
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1252
Carl Kauba
(1865-1922) Indian Chief on horseback Patinated and cold-painted bronze Signed in the casting: CKauba; foundry impression: AAA / WESTERN FOUNDERS; further impressed indistinctly Bronze: 12.25” H x 11.75” W x 4.75” D; Overall: 13.75” H x 11.75” W x 5.75” D $600-800
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1253
After Charles Henry Humphriss
(1867-1934) “Appeal to the Great Spirit,” modeled 1906 Patinated and polished bronze on marble plinth Signed and dated in the casting: CH. Humphriss Bronze: 28” H x 15.625” W x 16.5” D; Overall: 29” H x 15.625” W x 17.625” D $600-800 Provenance: Private Estate, Southern California
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1254
After Charles Henry Humphriss
(1871-1934) “The Warrior,” modeled 1904 Patinated bronze on a marble plinth Signed and dated in the casting: Ch. H. Humphriss Bronze: 16.5” H x 14.125” W x 4.625” D; Overall: 17.25” H x 15.5” W x 6.25” D $500-700 Provenance: Private Estate, Southern California
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1255
Marjorie Reed (1915-1996) Three works:
“Uphill on the Stage Trail” Pastel or colored pencil on paper mounted to paper Signed lower center: Marjorie Reed - ; titled in white pencil on the mount Sheet: 5.625” H x 8.5” W “Military Escort of the Mail” Ink and pastel or colored pencil Signed in black ink lower right: Marjorie Reed -; titled in black ink on the mount Sight: 3.5” H x 5.5” W Red stagecoach Pastel or colored pencil on green paper Signed lower right: Marjorie Reed Sight: 4.5” H x 6.5” W 3 pieces $1,000-1,500
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1256
Gene Kloss
(1903-1996) “To the Corral,” 1976 Etching, drypoint, and aquatint on wove paper Edition: 41/50 Signed, titled, and numbered in pencil along the lower margin: Gene Kloss Plate: 9” H x 15” W; Sight: 10 “ H x 15.625” W $500-700 Literature: Sanchez 573
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1257
Gene Kloss
(1903-1996) “Corn Husking Time,” 1979 Etching and drypoint in black ink on wove paper Edition: 4/50 Signed, titled, numbered, and inscribed in pencil in the lower margin: Gene Kloss N.A. Plate: 9” H x 12” W; Sight: 9.75” H x 12.5” W $500-700 Literature: Sanchez 587
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1258
Edward Borein
(1872-1945) “Taos” Etching and drypoint on Japanese paper From the edition of unknown size and date Signed in pencil in the lower margin, at right: Edward Borein Plate: 8” H x 14” W; Sheet: 12.25” H x 17.125” W $1,000-1,500 Literature: Galvin 234
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1259
Edward Borein
(1872-1945) “Flathead Indians, Montana” Etching and drypoint in brown-black ink on paper From the edition of unknown size and date Signed in pencil in the lower margin, at right: Edward Borein; titled on a piece of cardboard, in pencil, likely in the artist’s hand, and also titled on typewritten label, both affixed to the frame’s backing paper Plate: 5.875” H x 9” W; Sight: 6.875” H x 10” W $800-1,200 Provenance: From the collection of Frank E. Bliss Private Estate, Montecito, CA Literature: Galvin 173
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1260
Edward Borein
(1872-1945) “Noontime in Taos,” 1915 Etching and drypoint in brown ink on paper From the edition of unknown size Signed in pencil in the lower margin, at right: Edward Borein Plate: 7.875” H x 11.875” W; Sight: 8.375” H x 12.125” W $700-900 Literature: Galvin 236
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1261
Olaf Wieghorst
(1899-1988) Native American chief in profile Pencil and oil pastel on green artist board Signed and with the artist’s brand device, lower left: O. Wieghorst Sight: 9” H x 7.25” W; Artist board: 10” H x 8” W $1,000-1,500
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1262
Joe Beeler
(1931-2006) Portrait of a Native American Conte crayon on paper Signed lower right: Joe Beeler CA Sight: 13.125” H x 10.125” W $600-800 Provenance: Private Estate, Montecito, CA
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1263
A Navajo pictorial Yei textile
Mid/late 20th century, Diné Woven in multicolor wool, depicting two Yei figures with rainbows above and a basket and two feathers below 32.25” H x 24.75” W $400-600
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1264
An Elizabeth Yazzie Navajo pictorial textile
Elizabeth Yazzie (b. 1947, Diné) Late 20th century Signed in the weaving: EY, with spirit line Woven in multicolor wool, depicting 59 figures and 9 horses in an elaborate evening celebration with people lined up, dancing, traveling in carts with horses, and other activities set against a mountain landscape 28.25” H x 33” W $1,000-1,500
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1265
A Navajo sandpainting textile
Mid-20th century, Diné Woven in multicolor wool, depicting six Yei figures, bows and other objects, and four bunches of five corn stalks within a rainbow border 46” H x 55.5 W $800-1,200
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1266
A Navajo regional weaving
Mid-20th century, Diné Woven in black, dark brown, natural brown, natural grey, cream, grey, and ochre wool, depicting columns of stacked serrated diamonds 38” H x 19.75” W $200-400
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1267
A Zonnie Gilmore Navajo Yei textile
Zonnie Gilmore (b. 1939, Diné) Late 20th century Woven in turquoise, red, black, cream, natural tan, and natural grey wool, depicting three figures holding feather alternating with corn stalks, and a rainbow guardian 35.5” H x 47.5” W $700-900 Provenance: Hubbell Trading Post, Ganado, AZ Notes: This lot is accompanied by a retail tag from the abovementioned trading post, as well as a Polaroid photo of the weaver.
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1268
A Navajo pictorial textile
Mid-20th century, Diné Inscribed in the weaving: Navajo / Ariz. Woven in red, dark brown, cream, and natural brown wool, with a bow and four arrows 33” H x 30.5” W $400-600
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1269
A small Sadie Ross Navajo sandpainting textile
Sadie Ross (b. 1937, Diné) Mid/late 20th century Woven in multicolor wool, depicting four Yei figures and bunches of five corn stalks at corners 24.25” H x 24.25” W $400-600
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1270
Raejeanne
(20th Century, Navajo/Diné) Painted drum Painted hide stretched on wood with wood and fabric beater Signed at left side: RAEJEANNE 2 pieces Drum without handle: 3.25” H x 20” W x 20.75” D; Beater: 16.75” L $300-500 Provenance: Adagio Galleries, Palm Springs, CA Private collection, La Cañada, CA, from the above, 1985 Notes: A copy of a sales invoice from Adagio Galleries accompanies the lot.
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1271 Tony Da
(1940-2008, San Ildefonso Pueblo) “Fetish Bear,” 1995 Screenprint in colors with turquoise stones on paper Edition: 9/150 Signed with initials and numbered “9-150” in pencil, in the lower right and left corners: TDA Image/Sheet: 21.125” H x 21” W $1,200-1,800 Literature: Charles S. King and Richard L. Spivey, “The Life and Art of Tony Da,” (Tucson: Rio Nuevo), pp. 136-7, a different impression, lacking the stones, is illustrated Notes: According to King and Spivey, “Fetish Bear” was the only limited edition screenprint Da ever created. Only some of the examples have the turquoise stones.
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1272
R.C. Gorman
(1932-2005, Navajo/Diné) “Chinle” 1982 Lithograph in colors on wove paper Edition: 52/225 Signed, dated, and numbered in pencil in the lower right and left, respectively: R. C. Gorman 1982; with the artist’s blindstamp lower center; Ben Q. Adams, prntr., with his blindstamp; Western Graphics Workshop, Albuquerque, NM, prntr. and pub., with their blindstamps lower center Sheet: 26.625” H x 36.25” W $700-900 Literature: Adams and Newlin 196
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1273
Harrison (Haskay Yahne Yah) Begay
(1914-2012, Navajo/Diné) A dancer with fire Gouache on blue paper Signed in pencil lower left and lower right: Haskay Yahne Yah / Harrison Begay Sight: 13.75” H x 10.75” W $300-500
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1274
Rick Brogan
(20th Century) “Antelope Kachina” Watercolor on paper Signed lower right: Brogan; titled in black ink on the frame’s backing board Sight: 12.25” H x 7” W $300-500 Provenance: A. Albert Allen Fine Art Gallery, Palm Desert, CA Private collection, La Cañada, CA, from the above, 1988 Notes: A copy of the sales invoice from A. Albert Allen Fine Art Gallery accompanies the lot.
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1275
Charles H. Jeffress
(1920-2014) “T’àà Diné / Land of the Navaho,” 1982 Screenprint in colors, blind embossing, and collage (of silver/brass/turquoise, and a feather) on Arches paper Edition: 77/90 Signed, titled, dated, and numbered in pencil along the lower sheet edge; the Navajo version of the title printed as part of the image Image/Sheet: 22.5” H x 15” W $200-300 Provenance: Adagio Galleries, Palm Springs, CA Private collection, La Cañada, CA, from the above, 1985 Notes: This lot is accompanied by a certificate of authenticity signed by the artist and dated 30 July 1985 as well as a copy of the sales invoice from Adagio Galleries. In addition to the standard verifying information about this particular impression, the certificate also provides the following information: “A view of Monument Valley, Utah, on the reservation looking north toward the ‘King on the throne.’... “The brass and sterling pot is a replica of a Zuni olla (1884) with a rain bird design, a spot of turquoise has been added. The pot is hand-crafted. The words are Navaho and repeat the title.” 3 3 2 A r t o f t h e Am e r i c a n We s t — Day 1 l Tu e sd ay, J u n e 3 0 , 2 0 2 6
1276
Valerie Trozelle
(b. 1952) “Listen to the Silence,” 1986 Watercolor on paper Signed, dated, and with the artist’s device lower right: Valerie Trozelle / ©86; signed again and titled in ink on a label affixed to the frame’s backing paper Sight: 11.5” H x 8.5” W $300-500 Provenance: Hayes Enterprises, Gardena, CA Private collection, La Cañada, CA, from the above, 1987 Notes: A copy of a sales invoice from Hayes Enterprises accompanies the lot.
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1277
James Kootshongsie (1916-1996, Hopi-Tewa)
A polychrome carved cottonwood figure, mid-20th century Unmarked Depicting a mother and child with applied goat hair 12.625” H x 8.375” W x 7.875” D $1,200-1,800 Provenance: Collected for an exhibition at the Craft and Folk Art Museum, Los Angeles, CA, early 1960s
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1278
Wilson Tewaquaptewa (1871-1960, Hopi-Tewa)
A polychrome carved cottonwood katsina, early 20th century Unmarked With applied feathers and dyed hair 7.5” H x 3.5” W x 2.75” D $1,200-1,800
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1279
A pair of Cochiti Pueblo hide drums
Early 20th century Comprising a two-headed hand drum with handle, and a two-headed polychrome ceremonial drum with hide stretched over a cottonwood trunk 2 pieces Hand drum: 3.5” H x 23.75” W x 22.75” D; Ceremonial: 14.75” H x 12.25” W x 12” D $300-500 Provenance: Private Estate, Southern California
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1280
A Pueblo style double drum and beater
Mid/late 20th century The solid cottonwood drum with a double hide drum surface, carved with polychrome painted kiva step form, with a hide-wrapped beater 2 pieces Drum: 26” H x 25” W x 23.75” D; Beater without fringe: 17.25” L $200-400 Provenance: Private Estate, Southern California
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1281
A Native American hide drum as a side table
Late 20th century Stretched hide over carved wood, with leather lashing, single handle, beveled glass top, and hide-wrapped beater 3 pieces Drum: 21” H x 13” W x 12” D; Glass: 0.375” H x 14.125” Dia.; Beater: 14.5” L $200-300 Provenance: Private collection, La Cañada, CA
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1282
A pair of American Fork and Hoe WWII military issue snowshoes
1942 Each burn marked: AF H CO WALLINGFORD VT US / 10X58 / 1942 / 0614 Each with babiche webbing and wood frame, the pair of snowshoes issued for the U.S. Army 10th Mountain Division during WWII, together with a pair of Huron-style snowshoes 4 pieces Each A & F: 56.5” L x 10.5” W x 8.5” D; Each Huron: 37.75” L x 14.5” W x 1.25” D $300-500 Provenance: Private Estate, Southern California
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1283
An Apache polychrome carved wood fiddle 20th century; Southwest United States With wood peg, string, and remnants of horsehair 16.5” H x 6” W x 3.25” D $200-400
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1284
Virginia Woolley
(1884-1971) “Path to the Sea, Laguna Beach” Oil on Masonite Signed lower right: Virginia Woolley; titled on a piece of tape affixed to the verso 5” H x 4” W $400-600
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1285
Virginia Woolley
(1884-1971) “Taos, New Mexico” Oil on board Signed lower right: Virginia Wooley: titled on the artist’s label affixed to the verso 5.125” H x 4.125” W $300-500
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1286
Robert Wagoner
(1928-2024) Stream through a Western landscape Oil on Masonite Signed lower left: Robert Wagoner 8” H x 6” W $400-600 Provenance: Private Estate, Montecito
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1287
Richard Heichberger
(b. 1945) “A Time of Plenty” Watercolor on paper Signed and titled lower right: R.A. Heichberger / N.W.S. Sight: 13.5” H x 9.5” W $200-300 Provenance: Cody Gallery, Los Olivos, CA Private collection, La Cañada, CA, from the above, 1979 Notes: A copy of a sales invoice from Cody Gallery accompanies the lot.
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1288
Lisa Danielle Lorimer
(20th Century) “Plains Companion,” 1980 Watercolor on paper Signed, titled, and dated lower left: Lisa Danielle Lorimer © 1980 Sight: 13.25” H x 7.75” W $200-300 Provenance: The artist Private collection, La Cañada, CA, from the above, 1982 Notes: A copy of a sales invoice from the artist accompanies the lot.
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1289
Maria [Pond Lily] Povika Montoya Martinez (1887-1980, San Ildefonso Pueblo) A small blackware pottery bowl, mid-20th century Incised signature to underside: Maria Povika 2.375” H x 3.5” Dia. $400-600
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1290
Maria [Pond Lily] Povika Montoya Martinez (1887-1980, San Ildefonso Pueblo) A blackware pottery dish, mid-20th century Incised signature to underside: Maria Povika 1” H x 6.125” Dia. $400-600
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1291
1292
A small redware jar, mid/late 20th century Incised signatures to underside: Santana / Adam With slip-painted banded feather motifs to shoulder 2.75” H x 3.375” Dia.
Two works:
Santana & Adam Martinez (1909-2000 & 1903-2000, San Ildefonso Pueblo)
$200-400
Two San Ildefonso Pu
Anita Martinez (1927-199 A small vase, mid-20th ce Incised to underside: Ani With slip-painted band o 3.75” H x 2.75” Dia.
Juan Tafoya (1949-2006, A small jar, 1976 Incised to underside: JUA With slip-painted band o 3” H x 5” Dia. 2 pieces $200-300
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ueblo blackware pottery vessels
94, San Ildefonso Pueblo) entury ita Martinez / [cloud cipher] of stepped motifs to shoulder San Ildefonso Pueblo)
AN TAFOYA / SAN ILDEFONSO / 76 of feather motifs to shoulder
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1293
Florence Browning (b. 1931, Santa Clara Pueblo)
A blackware pottery jar, late 20th century Signed to underside: Florence Browning / Santa Clara Pueblo With deeply incised Avanyu motif 3.875” H x 6.875” Dia. $200-400
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1294
Paqua [Frog Woman] Naha (c. 1890-1955, Hopi-Tewa)
A polychrome pottery olla, early/mid-20th century Signed in slip with artist’s frog cipher with straight-line ‘toes’ The wide shouldered jar with a band of red and brown avian motif panels on a cream slip ground 5.75” H x 8.25” Dia. $500-700 Provenance: Private collection, Southern California
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1295
Van & Lela Gutierrez (1870-1956 & 1895-1966, Santa Clara Pueblo)
A small polychrome redware pottery jar, mid-20th century Signed to underside: Van + Lela The six-color jar with banded geometric motifs on a cream slip ground above a terracotta wash 5.25” H x 5.75” Dia. $300-500
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1296
Jean Sahme Nampeyo (1948-2024, Hopi-Tewa)
A polychrome pottery jar, late 20th/early 21st century Signed to underside: JEAN SAHME NAMPEYO With red and brown band of feather motifs issuing from shoulder on a terracotta ground 5.625” H x 7.875” Dia. $300-500
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1297
Elvira Polacca Nampeyo (b. 1968, Hopi-Tewa)
A carved polychrome pottery lidded seed jar, 1989 Incised and in-filled signature and date to underside: ELVIRA POLACCA NAMPEYO / 89’ With inset and mounted turquoise tubular bead accents, carved with a tawa katsina to top 3.125” H x 5” Dia. $200-400
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1298
Two Hopi Pueblo carved polychrome pottery jars Two works:
Marty Naha & Elvira Nampeyo (b. 1970 & b. 1968, Hopi-Tewa) A small pictorial seed jar, 1993 Signed and dated to underside: Marty & Elvira / ‘93 / Nampeyo With slip-painted incised decorations depicting a dancing katsina figure to one side 3.875” H x 4.25” W x 2.375” D Tom Polacca (1935-2003, Hopi-Tewa) A carved pottery jar, late 20th century Signed: Tom Polacca With slip-painted incised decorations depicting a katsina figure and bands of feathers 5.625” H x 4.75” Dia. 2 pieces $500-700
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1299
Sylvia [Featherwoman] Naha (1951-1999, Hopi-Tewa)
A polychrome pottery jar, late 20th century Signed to underside with artist’s feather cipher and: S The three-color jar with red and brown lizard motifs alternating with hachured geometric motifs on a white slip ground 6.25” H x 4.125” Dia. $200-400
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1300
Two Hopi Pueblo polychrome pottery bowls Two works:
Marilyn Shula Sakeva (1955-2019, Hopi-Tewa) A polychrome pottery bowl, late 20th/early 21st century Signed to underside: Marilyn Shula Depicting a bird figure at center interior 2.25” H x 8.5” Dia. Ella Mae Talashie (1921-1995, Hopi-Tewa) A polychrome pottery bowl, late 20th century Signed to underside: ELLA MAE TALASHIE Decorated with avian motifs 1.25” H x 6” Dia. 2 pieces $200-400
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1301
Two Hopi Pueblo polychrome pottery items
Late 20th century Tile signed: Shannon Shula; katsina signed and dated, possibly in another hand: M. Shula / 9/6/84 Comprising a tile depicting a lightning katsina, and a tile putsqatihu katsina 2 pieces Tile: 5” H x 4.75” W; Putsqatihu: 7.5” H x 3.125” W $200-400
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1302
Two Mojave pottery dolls
In the manner of Annie Fields (1884-1971, Mojave) Each with horsehair, 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 $400-600
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1303
Two Hopi Pueblo polychrome yellowware pottery bowls Two works:
Marilyn Shula Sakeva (1955-2019, Hopi-Tewa) A low jar, late 20th/early 21st century Signed to underside: M. Sakeva With red and brown banded geometric motifs and two butterfly/moth motifs 3.875” H x 7.5” Dia. Louise Mahle (b. 20th century, Hopi-Tewa) A three-color bowl, late 20th century Signed in pen to underside: Louise Mahle With red and brown band of geometric motifs to interior rim 3.75” H x 9.125” Dia. 2 pieces $300-500
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1304
A group of Southwest Pueblo pottery vessels Five works:
Alberta Adams (b. 20th century) A redware tall neck jar, mid/late 20th century Signed to underside: A. Adams With banded black geometric motifs on a red slip ground 6.125” H x 4.75” Dia. Dora Tse Pe (1939-2022, San Ildefonso Pueblo) A blackware dish, late 20th century Incised to underside: Dora 1.5” H x 5.125” Dia. Brandon Gonzales (b.1983, Santa Clara Pueblo) A blackware dish, 1988 Incised to underside: 7/88 / Brandan Gonzales / 4 yrs old 1.625” H x 4.25” Dia. A small redware vase, late 20th century Signed to underside, possibly reading: Annabelle With black banded geometric motifs on a red slip ground 3.375” H x 2.75” Dia. A blackware bowl, mid/late 20th century Signed in pencil illegibly to underside With deeply carved bord wing motifs 3.125” H x 5.375” Dia. 5 pieces $200-400
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1305
Four Southwest Pueblo blackware pottery vessels Four works:
Barbara [Sunbeam Tahn-Moo-Whe] Gonzales (b. 1947, San Ildefonso Pueblo) Three sgraffito seed pots, late 20th/early 21st century Each incised to underside: S THAN-MOO-WHE / [cloud cipher]; two numbered ‘4 7’ or ‘3 7’ Comprising one depicting a bighorn sheep and spider with inset turquoise and coral accents, another decorated with a spider with inset turquoise, and the last an owl 3 pieces Bighorn: 1.75” H x 3.75” Dia.; Each round: 2.125” H x 2.875” Dia. Ray Tafoya (1956-1994, Santa Clara Pueblo) A sgraffito seed pot, 1981 Incised to underside: [mountain cipher] / R Tafoya / SCP / 4/81 With applied turquoise and coral accents, depicting fish, a lizard, a turtle, and a frog 2.125” H x 2” Dia. 4 pieces total $400-600 3 6 6 A r t o f t h e Am e r i c a n We s t — Day 1 l Tu e sd ay, J u n e 3 0 , 2 0 2 6
1306
Three Hopi Pueblo redware pottery jars Three works:
Anita Polacca (b. 1924, Hopi-Tewa) A black on red jar and vase, mid/late 20th century Each signed to underside: anita Polacca Each painted with geometric motifs 2 pieces Jar: 5” H x 4.375” Dia.; Jar: 4” H x 3” Dia. Marilyn Shula Sakeva (1955-2019, Hopi-Tewa) A round seed pot, late 20th century Signed to underside: Marilyn Shula Painted with stepped and raincloud motifs 3.875” H x 4.25” Dia. 3 pieces total $200-400
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1307
Three Hopi Pueblo polychrome redware pottery jars Three works:
Emma Naha (b. 20th century, Hopi-Tewa) Two reedware vessels, mid/late 20th century Each signed to underside: EMMA NAHA With banded geometric motifs 2 pieces Taller: 3.625” H x 2.375” Dia. Marilyn Shula Sakeva (1955-2019, Hopi-Tewa) A redware jarlet, mid/late 20th century Signed: Marilyn Sakeva With banded geometric motifs 2” H x 2.875” Dia. 3 pieces total $200-400
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1308
Three Hopi Pueblo redware pottery vessels Three works:
Hattie Navajo (c. 1866-1960, Hopi-Tewa) A black on red bowl, mid/20th century Signed to underside: Hattie Navajo With bands of raincloud motifs 3.5” H x 7.25” Dia. Frieda Poleahla (1918-1994, Hopi-Tewa) A black on red bowl, mid/late 20th century Signed to underside: Frieda Poleahla With banded bird wing motifs to shoulder 4.125” H x 5.75” Dia. A black on red vase, mid/late 20th century Signed to underside possibly reading: annabelle adams With geometric motifs to shoulder and body 6.75” H x 4.875” Dia. 3 pieces $200-400
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1309
Three Hopi Pueblo polychrome yellowware pottery vessels Three works:
Marcia [Ant Woman] Rickey (1918-1994, Walpi/Hopi-Tewa) A pottery wedding vase, mid/late 20th century Signed with artist’s flying ant cipher to underside With brown and red swirling geometric motifs 8.375” H x 7.5” W x 4.375” D Josephine Kachinmana (b. 20th century, Hopi-Tewa) A pottery jar, mid-20th century Signed to underside: Josephine Kachinmana With brown and red stepped and swirling geometric motifs 4.125” H x 4.5” Dia. Theresa [Payamqa] Sahme Harvey (1904-1981, Hopi-Tewa) A pottery jar, mid/late 20th century Signed to underside: Theresa Harvey With brown and red swirling geometric and feather motifs 3.875” H x 4.5” Dia. 3 pieces $200-400
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1310
Two Pueblo pottery bowls Two works:
Alice Adams (b. 20th century, Hopi-Tewa) A Hopi polychrome redware low bowl, mid/late 20th century Signed and inscribed to underside: APP 45 / Alice Adams / Tewa, Village / 1st Mesa With black and white banded geometric motifs on a red ground 4.125” H x 11” Dia. An Acoma Pueblo low bowl, late 20th century With black fine-line and geometric motifs on a white slip ground, with terracotta wash interior 3.125” H x 9” Dia. 2 pieces $200-400
1311
Three Hopi Pueblo polychrome yellowware pottery vessels
Mid-20th century Each unmarked Comprising a bowl, a low bowl, and a jar, each decorated with black and red avian motifs on a yellow slip ground 3 pieces Largest bowl: 3.625” H x 3.625” Dia.; Jar: 4” H x 4.625” Dia. $200-400
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1312
A group of six Hopi Pueblo polychrome yellowware pottery jars Six works:
Joanne Youyetewa (b. 20th century, Hopi-Tewa) Two pottery bowls, mid-20th century Each signed: JOANNE YOUYETEWA / [roadrunner cipher]; one inscribed: 1st MESA With banded geometric motifs 2 pieces Larger: 3.5” H x 5.75” Dia.; Shorter: 2.25” H x 4” Dia. Joanne Tsanatewa (b. 20th century, Hopi-Tewa) A pottery jar, late 20th century Signed: JOANNE / TSANATEWA / [roadrunner cipher] With a band of geometric motifs 3.625” H x 5.75” Dia. Theresa [Payamqa] Sahme Harvey (1904-1981, Hopi-Tewa) A pottery jar, mid-20th century Signed to underside: Theresa Harvey With red and brown swirling feather and stepped motifs on a cream ground 5.125” H x 5” Dia. Janey Seechoma (b. 20th century, Hopi-Tewa) A pottery low bowl, late 20th/early 21st century Signed to underside: Janey / [artist’s cipher] With red and brown kiva step and geometric motifs on a crem slip ground 2.5” H x 4.625” Dia. Earlene Jackson (b. 20th century, Hopi-Tewa) A small pottery bowl, 2009 Signed and dated to underside: Earlene Jackson / 09 / Hopi / [roadrunner cipher] With banded brown geometric motifs on a cream slip ground 2.625” H x 4.5” Dia. 6 pieces total $400-600
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1313
A group of ten diminutive Southwest Pueblo pottery items
Mid-20th century-early 21st century Each but two variously signed Comprising a Helen [Feather Woman] Naha (1922-1993, Hopi-Tewa) olla, an Emma Naha (b. 20th century, Hopi-Tewa) polychrome yellowware seed jar, a Stella Teller (b. 1929, Isleta Pueblo) polychrome olla, a Joanne Tsanatewa (b. 20th century, Hopi-Tewa) seed jar, a Mary Tenorio (b. 1946, Santo Domingo Pueblo) redware jar, a ‘Myra Garcia’ blackware bowl, two ‘L. Concho’ jars, a polychrome yellowware olla, and a blackware dinosaur figure 10 pieces Largest: 2.75” H x 2.25” W; Smallest: 1” H x 1.5” Dia. $200-400
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1314
An Acoma or Laguna Pueblo polychrome pottery olla
19th century The three-colored jar with red and lack banded foliate motifs on a white slip ground above a terracotta wash and puki indentation 5.25” H x 6.875” Dia. $400-600
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1315
Eva Histia (1914-2005, Acoma Pueblo)
A polychrome pottery canteen and woven sash, mid-20th century Signed to underside: E, Histia, / Acoma N, Mex, With orange and black bird and feather motifs on a white slip ground, with a corn stopper and braided handles mounted with an associated sash Canteen: 7” H x 8” W x 7.625” D; Sash: 66” L $200-400
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1316
Two Acoma and Laguna Pueblo polychrome pottery canteens Two works:
Regina Pino (b. 20th century, Laguna Pueblo) A pottery canteen, late 20th century Signed to underside: R. Pino / Laguna With orange and brown bird avian motifs on white slip ground 5.625” H x 6” W x 4.125” D A pottery canteen, late 20th century Signed to underside: M. Sena / Acoma. N.M. Possibly Margaret Sena (b. 20th century, Acoma Pueblo), with black geometric and fine-line designs on white slip ground 7.125” H x 6.5” W x 3.25” D 2 pieces
$300-500
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1317
A group of six small Pueblo pottery vessels Six works:
Vivian Seymour (b. 1960, Acoma Pueblo) A polychrome fine line jar, late 20th/early 21st century Signed to underside: V. SEYMOUR / ACOMA, NM With red and black geometric and fine-line motifs on a white slip ground 2.75” H x 3.875” Dia. Vangie Tafoya (b.1944, Jemez & San Ildefonso Pueblo) A black on white jar, late 20th century Signed to underside: V. TAFOYA / JEMEZ With alternating black floating geometric motifs on a white slip ground 1.75” H x 2.125” Dia. Victoria Histia Garcia (b. 20th century, Acoma Pueblo) A polychrome jar, late 20th century Signed to underside: Vicki Garcia / Acoma, N.M. With red and black alternating Kokopelli and geometric designs on a white slip ground 2.125” H x 3.125” Dia. Marie Edna Coriz (b. 1946, Jemez Pueblo) A wedding vase, late 20th century Signed to underside: M. Edra Cariz / Santo Domingo PUEBLO With two spouts and black geometric motifs on a red slip ground 4” H x 3.25” W x 2.25” D Marie Chinana (b. 20th century, Jemez Pueblo) A diminutive polychrome jar, late 20th century Signed to underside: M CHINANA / JEMEZ With red and black banded feather motifs on a cream slip ground 1.25” H x 1.375” Dia. Anna Marie Lovato (b. 1954, Santo Domingo Pueblo) A polychrome bowl, late 20th century Incised to underside: AMTL / SDP With black and white geometric banded design to shoulder above a terracotta wash 2” H x 2.5” Dia. 6 pieces $200-400
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1318
A group of six small Southwest Pueblo pottery items
20th century One turtle signed: Lucy M. Lewis; the other: ACOMA, N.M. Comprising two Zuni owl figures, a three-color jar, handled cup, and two Lucy M. Lewis (1890-1992, Acoma Pueblo) turtle figures 6 pieces Cup: 4” H x 5.5” W x 4.5” D; Larger turtle: 1.5” H x 3.5” W x 2.875” D; Larger owl: 4.375” H $200-400
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1319
Four Zuni Pueblo turquoise encrusted pottery fetish jars
Mid/late 20th century Each with ground turquoise applique and mounted with carved stone fetish animals and feathers, two with fetishes placed inside the jar 4 pieces Largest: 2.125” H x 3.5” W x 3.375” D; Smallest: 1.25” H x 2.375” W x 2.25” D $200-400
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1320
Margaret & Luther Gutierrez (1936-2018 & 1911-1987, Santa Clara Pueblo)
A large group of diminutive polychrome pottery items, mid/late 20th century Each variously signed Comprising animal storytellers, koshare clowns with grass accents, a mudhead, three jars, a frog, and five small figures, one of which serves as a pendant for a shell and turquoise necklace, together with a cat figure by Stephanie Naranjo (b. 1960, Santa Clara Pueblo) 16 pieces Largest: 3.375” H x 2.625” W x 2.125” D; Necklace length: 9.125” $200-300
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1321
A group of eight Southwest Pueblo blackware pottery animals
Mid/late 20th century Five variously incised with signature, two inscribed ‘M’ or ‘E’, and one incised: RG [conjoined] Comprising four bears and three turtles or lizards, four mounted with turquoise accents, by artists such as Kathy [Wan Povi] Sanchez (b. 1950, San Ildefonso Pueblo), Anacita Abeyta [Than Povi] Salazar (b. 1931, San Juan Pueblo), Adam Martinez (1903-2000, San Ildefonso Pueblo), and Cavan [Tse-whang Eagle Tail] Gonzales (b. 1970, San Ildefonso Pueblo) 8 pieces Largest: 2.625” H x 5” W x 2.5” D; Shortest: 1.125” H x 4” W x 2.5” D $300-500
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1322
1323
A polychrome pottery low oval bowl, late 20th/early 21st century Signed to underside: Robert Tenorio / Santo Domingo Pueblo With black geometric motif to interior and banded circles to exterior on white slip, above a terracotta wash 2.875” H x 9.625” W x 6.375” D
Circa 12th-15th centu Comprising two bow 3 pieces Larger bowl: 5” H x 1
Robert Tenorio (b. 1950, Santo Domingo Pueblo)
$200-400
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Three Ancestral P
$400-600
Puebloan pottery vessels
ury wls and a micaceous olla jar, two with corrugation to exterior
10” Dia.; Olla: 5.25” H x 6.5” Dia.
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1324
An Anasazi black on white pottery bowl Circa 9th century CE-14th century CE With black fine-line and stepped motifs on a white slip ground 4” H x 9.75” Dia. $300-500
1325
An Anasazi black on red pottery bowl Circa 9th century CE-14th century CE With fine-line geometric designs 4” H x 8.75” Dia. $200-400
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1326
A Hohokam carved stone paint palette
Circa 1000 CE-1450 CE; Southwest United States Grey slate with raised and carved border 1.25” H x 5.5” W x 3.25” D $300-500
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1327
Robert Glen
(1940-2023) “Bull Rhino,” 1991 Patinated and polished bronze on granite base Edition: 7/10 Signed, dated, and numbered in the casting: Robert Glen ©; impressed foundry mark: M / FONDERIA ITALY Bronze: 11.125” H x 18” W x 8.75” D; Overall: 11.75” H x 18.5” W x 9.5” D $800-1,200 Provenance: The artist Notes: This lot is accompanied by a purchase receipt and certificate of authenticity from the artist’s studio, dated August 22, 1993, and October 10, 1993, respectively.
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1328
A Whitehall copper deer weathervane Early 21st century Unmarked 33.26” H x 26” W x 2.125” D $200-400
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1329
Attributed to Carl Kauba
(1865-1922) Indian Scout with Canoe Patinated bronze Unsigned; impressed with Bergmann ‘bottle B’ foundry mark and: 3605 / GESCHUTZT 7.125” H x 8.5” W x 3.875” D $500-700
1331
A Dirk van Erp hammered copper flower basket
1913-1915; San Francisco Base impressed: Dirk van Erp [open box mark] The canoe-form basket with pierced flower vase design to handle 7” H x 11” W x 6.375” D $500-700 Provenance: The Collection of Sybil Rosen and Robert Fisher
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1330
After Frederic Remington
(1861-1909) “Mountain Man,” modeled 1903 Patinated bronze Edition: 42/100 Signed in the casting: Copyright by Frederic Remington; impressed edition 27.75” H x 18.25” W x 10.5” D $300-500
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1332
A Contemporary flip top standing desk
Early 21st century Unmarked The hinged top opening to reveal an open compartment above two drawers, and side pull-out surfaces, raised on squared legs joined by a box stretcher with front brass rail 46.75” H x 49” W x 37.5” D $600-800
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1333
A Stickley Harvey Ellis inlaid console cabinet, no. 89-1192
2013 With factory burn mark and two applied metal labels including Mission Reissue; stamped with date and: 89 1192 / #32; impressed: TT Each door with inlaid accent depicting a landscape scene in a cartouche within ivy designed by Harvey Ellis (1852-1904), opening to reveal three adjustable height shelves, possibly later fitted with power strip and pull-out CD storage racks, the verso with removeable sliding doors 28.5” H x 43.5” W x 22” D $600-800
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1334
A Stickley Mission style round side table, no. 89-663
2012 With factory burn mark and applied metal Mission Reissue label; stamped with date and model number: 89 663 / 32 With four spindle supports joined by a circular undertier 28.75” H x 29” Dia. $400-600
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1335
A Stickley reissued Roycroft chafing dish stand, no. 89-551
2006 Impressed with Roycroft orb at front; with Stickley piecrust burn mark and applied metal Mission Reissue label to interior; stamped with date and model number under the top: 89-55 / #32 With astragal glazed upper compartment, the cabinet door with hammered copper pull and lock plate, opening to reveal a single adjustable shelf 40.25” H x 32” W x 19” D $400-600
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1336
Two Stickley tile top plant stands, nos. 89-52 & 89-48
2011 & 2013 With factory burn mark and applied metal Mission Reissue label; stamped with date and model number: 89-48 [or] 89-52: / 32 Each with inset tile top, comprising one with upper gallery and joined by an H-stretcher with keyed mortise and tenon joints, and one with cut-out corners joined by a shaped X-stretcher 2 pieces Taller: 26.5” H x 13.5” W x 13.5” D; Shorter: 22.25” H x 17” W x 17” D $300-500
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1337
A Genco ‘Roly Poly’ pinball machine Introduced 1936 Serial number: 14004 40” H x 44” W x 23.5” D $400-600
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1338
A Folk Art painted wood windmill whirligig
20th century The windmill/weathervane with four articulating propellers centering a larger propeller, all swiveling on raised and tapered truss-form base 65.5” H x 40” W x 35.5” D $300-500
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1339
Paolo Soleri (1919-2013)
A Cosanti wind bell, mid/late 20th century; Paradise Valley, AZ With cast cipher The cast bronze bell with clapper and sheet copper fin Bell with chain and clapper: 24” H x 7.5” W x 6.5” D; Fin: 11” H x 6.875” W $500-700 Provenance: The Grace Family Collection, St. Helena, California
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1340
Lloyd Harting
(1901-1974) “Rock Refuge” Gouache and watercolor on paperboard Signed lower left: Lloyd Harting; titled and inscribed in ink: “LH-109-D” verso 11.25” H x 15” W $500-700 Provenance: Private Estate, Montecito, CA
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1341
Shawn Cameron
(b. 1950) Steer Oil on canvas laid to artist’s panel Signed lower center: Shawn Cameron 7” H x 5” W $400-600
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1342
Don Louis Perceval
(1908-1979) Horse and seated cowboy Watercolor and ink on paper Signed lower center: Don Perceval Image: 5.5” H x 4” W; Sheet: 12” H x 9.5” W $600-800
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1343
Robert H. Blair
(b. 1937) Window view of a rural landscape Oil on board Signed lower left: Robert H. Blair 8” H x 6” W $400-600
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1344
1345
Early/mid-20th century; Great Basin The twined conical bottle neck vessel sealed with pine resin pitch, with braided horsehair handles 11.25” H x 8.5” Dia. approximately
Mid-20th century; Centra The twined cradleboards and diagonal banding an green, orange, and black and one with a narrow ho 3 pieces Largest: 32”H x 15.75” W
A Paiute basketry jar
$200-300
Three Mono basketry
$300-500
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y cradleboards
al California s each with integral shaped hoods of varying sizes, and each with striped nd ticking style patterns, including a large board with painted dot motifs and k woven binding strap, one with red, white, and blue woven binding strap, ood and black, red, and white bindings
W x 8.5” D; Smallest: 25” H x 10.5” W x 9” D
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1346
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 $200-300
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1347
Three Mono winnowing basketry trays
Early/mid-20th century In graduated sizes 3 pieces Largest: 5.75” H x 18” W x 15.25” D; Smallest: 2.875” H x 8.375” W x 7.5” D $200-400
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1348
Four Mono Paiute basketry items
Early/mid-20th century; Great Basin Comprising two berry baskets, a winnowing tray, and an oval bowl with stacked diamond designs 4 pieces Oval: 4.75” H x 14.75” W x 7” D; Winnowing: 4.5” H x 11” W x 10.875” D; Larger berry: 11” L $300-500
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1349
Four Paiute or Washoe baskets
Mid-20th century; Great Basin Comprising three twined and one coiled, the largest lined in pitch to interior and with braided rim, each with banding 4 pieces Largest: 6” H x 8.75” W x 8.375” D; Smallest: 3” H x 5.5” W x 5.25” D $200-400
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1350
Two Papago polychrome basketry vessels
Early/mid-20th century, Tohono O’odham; Southwest United States The coiled baskets comprising a large lidded bowl with stepped band to sides, and a tray with central floral motif 2 pieces Bowl: 5.625” H x 7.625” Dia.; Tray: 1.75” H x 9.625” Dia. $100-200 Provenance: Private collection, Southern California
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1351
A group of Papago baskets
Early/mid-20th century, Tohono O’odham; Southwest United States Five coiled baskets comprising a small basketry tray woven by Amelia Ramon, with radiating hooked motifs in a ‘turtle back’ design (1.5” H x 9” Dia.), a large basketry tray with stylized animal motifs (1.75” H x 12.25” Dia.), a high-sided tray with floating stepped motifs (2.25” H x 11.5” Dia.), a polychrome oval tray with checkerboard stepped motifs (1.75” H x 11.5” W x 9” D), and a polychrome lidded basketry jar with floating geometric motifs (4” H x 6” Dia.) 5 pieces $100-200 Notes: The turtle-back tray with attached tag “Papago Indian Handicraft From Kitt Peak Arizona”, indicating the weaver.
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1352
A Yaqui rattle of moth cocoons
Mid/late 19th century; Northern Mexico With tag from Philbrook Museum, Tulsa, OK Each cocoon sewn into a hide strap 110” L $400-600 Notes: Cocoon rattles, known among the Yaqui and Mayo (Yoreme) peoples of northwestern Mexico as ténabaris or teneboim, are traditional percussion instruments made from the empty cocoons of the Four Mirrors butterfly (Rothschildia species), a giant silk moth native to the region. After the moth emerges, the lightweight silk cocoons are collected, filled with small pebbles, and sewn into long strands on heavy cotton cord. Worn around the ankles or lower legs, the rattles produce a distinctive dry, rustling sound as the wearer moves. Strands range from a few dozen cocoons to lengthy wraps extending several feet, as seen in the present example. Most commonly associated with Deer Dance and Pascola performances, cocoon rattles have been documented since at least the nineteenth century, with photographs from around 1870 depicting dancers wearing them around their ankles. Traditional Yaqui narratives relate that rattlesnakes attempted to attack the deer (Yo’awa) as it approached the Yaqui River to drink. The deer escaped, but the snakes succeeded only in wrapping themselves around its legs. The placement of cocoon rattles on the ankles and lower legs is said to recall this encounter.
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1353
A pair of Plains beaded hide moccasins
Mid-20th century Each with polychrome beaded geometric designs 2 pieces Each: 10.375” L x 4.25” W $200-400 Provenance: Private Estate, Southern California
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1354
Five pairs of Plains beaded hide moccasins
Late 20th/early 21st century Each with polychrome beaded geometric designs 10 pieces Largest: 10.375” L x 4.125” W; Smallest: 7.375” L x 3.375” W $200-400 Provenance: Private Estate, Southern California
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1355
A pair of Sioux beaded hide moccasins
Early 20th century; Northern/Central Plains Each with polychrome beaded geometric motifs and tin cone and thread accents 2 pieces Each: 10.25” L x 4.25” W $400-600
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1356
Martin Red Bear (b. 1947, Oglala/Sicangu Lakota)
A painted buffalo robe, 1995 Signed and dated: MRed Bear - 95 - Lakota Pigment on hide, with red, yellow, and black box-and-border and outlined anatomy designs 78” H x 70” W $1,000-1,500 Provenance: Private Estate, Southern California
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1357
Martin Red Bear (b. 1947, Oglala/Sicangu Lakota)
A painted buffalo robe, 1992 Signed and dated: M.Red Bear.92.Lakota Pigment on hide, depicting a yellow, red, black, and white medicine wheel, sacred animals, and five polychrome warriors on horseback 74” H x 81” W $1,000-1,500 Provenance: Private Estate, Southern California
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1358
A Plains painted and beaded elk hide robe
Mid/late 20th century Unsigned Pigment on hide, depicting eight warriors on horseback above nine rows of mounted glass beads, yarn tufts, and hide fringe strung with antler cross-sections and dew claws 69” H x 76” W $800-1,200 Provenance: Private Estate, Southern California
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1359
Merle Locke (b. 20th century, Oglala Lakota)
A painted hide, 1992 Signed and dated: M. Locke / -92Polychrome pigment on hide, depicting seven warriors on horseback and a half medicine wheel and skull below a landscape 41” H x 50” W $300-500 Provenance: Private Estate, Southern California
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1360
A Plains pictorial beaded hide doll cradle
Mid-20th century Beaded burlap with American flag motif, mounted to a wood board with hide strapping, brass tacking, and painted with American flags 18” L x 5” W x 7” D $400-600 Provenance: Private Estate, Southern California
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1361
A Plains style beaded cradle
Late 20th century With original retailer’s tag The lattice boards with brass tacking, the fabric-wrapped hide body adorned with floating geometric beaded elements centered by beaded hide tassels, with conforming lashing 40.75” L x 14.5” W x 11” D $300-500 Provenance: Acquired from Tipi Shop Indian Crafts, Rapid City, SD Private Estate, Southern California
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1362
A Plains style beaded hide dress with American flags
Mid/late 20th century The long dress with polychrome beaded bands at neckline and shoulders, the front with dual American flag motifs, shield motifs to front and back, and fringed elements to sleeves, sides, and hem, and multiple beaded tassels at center front and back Approximately 58” H (from neckline) x 20” W (across front underarms); sleeves: 19.5” (from neckline), 28” L including fringe $1,000-2,000
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1363
A Plains style beaded hide dress
Late 20th/early 21st century With beaded bands at neckline, sleeve ends, and bottom of dress, fringe elements at sleeves, sides, and hem, and beaded tassels at center front and back 38.5” L x 15.5” W (across front underarms); sleeves: 9” L; with fringe: 19” L $200-400 Provenance: Private Estate, Southern California
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1364
A Plateau/Plains style fringed hide coat
Mid-20th century The short coat with collar and lace-up front, the front adorned with imitation elk teeth, and with short fringing to shoulders, sleeves and hem Approximately 30” L x 23” W (across back at underarms); sleeves: 24” L $500-700
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1365
A Plains style beaded hide powwow/war shirt
Mid-late 20th century The long-sleeved shirt with multiple bands of polychrome striped beadwork in pink, blue, and yellow, with green pigment accents, and short fringing to sleeves, sides, and neckpieces, with blue wool blanket cloth trim to neck opening and cuffs, and open sides with hide laces, with natural shaped hem. Approximately 38” L x 22” W (across front at underarms); sleeves: 22” L $200-400 Provenance: Private Estate, Southern California
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1366
A Plains style beaded hide powwow/war shirt
Late 20th/early 21st century The pullover single hide shirt with polychrome white, green, and white beadwork panels in geometric designs and multiple horsehair tassels with metal cones, with partial white jersey lining 26” H x 45” W approximately $200-400 Provenance: Private Estate, Southern California
1367
A Plains style child’s beaded buckskin shirt
Mid-20th century The small long-sleeve shirt with two bands of beaded elements in a V at front, and fringe to shoulders and sleeves 24” H x 14.5” W (across underarms at back); sleeves: 15.75” L $200-400 Provenance: Private Estate, Southern California
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1368
A Southwest beaded hide pictorial vest
Mid/late 20th century With floating geometric designs above an eagle head and bear figure to front, the back decorated with two eagles and a bison, fully lined in red fabric to interior 17.5” H x 15” W (across back at underarms) $100-200 Provenance: Private Estate, Southern California
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1369
A Plateau style beaded hide vest and pants set
Mid-20th century Each embellished with tonal blue beadwork panels of floating diamonds conjoined with chevrons, comprising a vest with blue brocade fabric back and interior, a pair of conforming beaded hide pants, and a bead necklace featuring three beadwork plaques 3 pieces Vest: 20” H x 21.5” W (across back at underarms); Pants: 38” H x 19” W at front; inseam: 29.5”; Necklace: 30” L x 6” H $200-400 Provenance: Private Estate, Southern California
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1370
A Plateau style beaded hide vest and pants set
Mid-20th century Each decorated with blue and orange beadwork panels of floating serrated elements, comprising a vest with printed blue sateen fabric back and printed purple cotton back lining, and a pair of conforming beaded hide pants 2 pieces Vest: 22” H (from shoulder) x 18.5” W (across back at underarms); Pants: 33.5” H x 15.5” W at front; inseam: 25” $200-400 Provenance: Private Estate, Southern California
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1371
An Eastern Woodlands style beaded velvet jacket
Early 20th century With interior label: The Ward Stilson Co. / MFRS. of Society Goods / Anderson, Ind. The yellow cotton velvet snap-front coat with red velvet beaded elements including collar, front strips, cuffs, and tabbed fringed belt, each with polychrome floral and herringbone beadwork and large faceted glass paillettes, the collar, sleeves, belt, and hem with brown suede fringing, and the coat fully lined in linen/cotton 40” H x 23” W (across front underarms); sleeves: 23.5” L $200-400 Provenance: Private Estate, Southern California
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1372
Two Plateau wool shirts with faux elk teeth
Mid/late 20th century; Northwest United States/Canada Each shirt/tunic embellished with multiple applied imitation elk teeth front and back, comprising a red striped wool blanket pullover tunic shirt with cotton mix lining, as well as a smaller green and red wool tunic dress with beadwork at the neck and white fabric lining Larger: 31.5” H x 21” W (across back underarms); sleeves: 16” L; Smaller: 28” H x 15” W across back underarms); sleeves: 8” L $300-500 Provenance: Private Estate, Southern California
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1373
Nicolai Ivanovich
(1881-1955) Untitled, from the “Portfolio of Sixteen Lithographs,” 1946 Lithograph on wove paper From the edition of 978 Signed and inscribed in pencil lower right and lower left, respectively: Nicolai Fechin / P.R.; Northridge House, pub.; alternatively titled “Portrait of a Matriarch” or “la Abuela,” by repute Image: 15” H x 10.5” W; Sight: 15.5” H x 11.25” W $500-700 Provenance: Private estate, California
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1374
Nicolai Ivanovich Fechin
(1881-1955) “Farm Boy” Lithograph on BFK Rives paper Edition: 30/50 Signed and inscribed “P.R. 50.-30,” in pencil lower right: Nicolai Fechin Image: 14.5” H x 10.5” W; Sight: 15.25” H x 11.25” W $400-600 Provenance: Private estate, California
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1375
Nicolai Ivanovich Fechin
(1881-1955) Portrait of a young girl Lithograph on BFK Rives paper Edition: 4/50 Signed and inscribed “P.R. 50-4.” in pencil in the lower right and left corners: Nicolai Fechin Sight: 14.5” H x 10.5” W $300-500 Provenance: Private estate, California
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1376
Maxine Runci
(1915-1977) Portrait of a child Oil on canvasboard Signed lower right: M. Runci; with the artist’s copyright stamp and studio label, verso 10.125” H x 8” W $400-600
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1377
James Bama
(1926-2022) “Shoshone Chief,” 1974 Offset lithograph in colors on paper Edition: 110/1000 Signed and numbered in pencil lower left: Bama; signed and dated “’74” as part of the image lower left Sight: 22.25” H x 16.5” W $200-300 Provenance: Private Estate, Montecito, CA
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1378
Lorence F. Bjorklund
(1911-1978) A battle scene with a Native American falling off a rearing horse Pencil on paper Signed lower right: L.F. Bjorklund; inscribed in ink on the frame’s backing paper: “Original pencil drawing / reproduced on page 20 / ‘The Papers of the Order of Indian Wars’ / By John M. Carroll / My Catalog #1256” Sight: 12” H x 9” W $200-300 Provenance: Private Estate, Montecito, CA Literature: John M. Caroll, “The Papers of the Order of Indian Wars” (The Old Army Press, Ft. Collins, CO, 1975), p. 20 w w w. j o h n m o r a n . c o m 4 3 9
1379
Jacqueline Rochester
(1924-2010) “Way of the People,” 1984 Dyed fabric wall hanging Signed in ink lower right: Jacqueline Rochester; numbered and dated verso: 16-30 © ‘84; titled by gallery repute 53.5” H x 66” W $500-700 Provenance: Adagio Galleries, Palm Springs, CA Private collection, La Cañada, CA, from the above, 1985
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1380
A Nez Perce twined corn husk bag
Late 19th/early 20th century, Nimiipuu; Northwest Plateau The double-sided flat twined yarn bag with polychrome fibrous imbricated floating geometric motifs to each side, with hide lacing to top edge and knotted straps attached to one side 18.5” H x 13.875” D $300-500 Provenance: Private collection, Santa Ynez, CA
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1381
A Northern Plains hairpipe breastplate
Late 19th/early 20th century Mounted with James Monroe Peace Medallion, dated 1817 Carved bone, wire, and hide, with leather fringe, cut copper cones, and metal beading 16.5” H x 11.5” W $1,000-2,000
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1382
A Plains porcupine hair roach Late 20th/early 21st century Woven to a braided rope base 17” L $100-200
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1383
A group of Native American style skull crackers
Mid/late 20th century Each carved stone and wood, one with incised designs to the stone, two with beaded handles, each with hide elements 4 pieces Longest: 24.75” H x 6.75” W x 2.25” D; Smallest: 16.25” H x 5.625” W x 1.875” D $300-500
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1384
Four Plains style skull crackers
20th century Comprising three beaded shaft clubs and one hide-wrapped club, together with a rattle of cut tin cones 5 pieces Longest: 9.25” H x 6.625” W x 2.875” D; Tin cones: 7” H x 5” W x 6” D $300-500 Provenance: Private Estate, Southern California
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1386
Three So
1385
A group of Hopi Pueblo polychrome dance implements
Mid-20th century Comprising five painted wood or gourd rattles, two carved wood lightning sticks, and a carved wood dance rod, some mounted with feather accents or hide 7 pieces Longest rod: 21” L x 1.25” W x 0.375” D; Longest rattle: 17” L x 4.625” Dia. $200-400
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Late 20th Comprisin mounted Ga’an da 3 pieces Larger ne
$400-600
6
outhwest beaded adornments
h century ng a beaded hide sash with elaborate geometric motifs and chevrons, d with antler accents, and two beaded necklaces, one depicting an Apache ancer, the other with geometric motifs
ecklace: 17.5” H x 11.75” W; Smaller: 14.5” H x 11.25” W; Sash: 28” L
0
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1387
A group of Native American beaded hide items
Early 20th century and later Comprising a pair of gloves with beaded geometric elements, and five pouches of various sizes, one adorned with cowrie shell fringe, another mounted with feathers 7 pieces Each glove: 12” L from tip to opening x 3.75” W at wrist; Largest without feathers: 6.5” H x 11” W $300-500
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1388
A pair of Northeast beaded hide gloves and whimsy
Mid-20th century; Northeast United States/Canada Comprising a pair of gloves adorned with floral motifs, and a beaded heart-shaped whimsy with beaded tassel loop accents 3 pieces Each glove: 11.5” L from tip to opening x 3.5” at wrist; Whimsy: 6” H x 6.125” W x 2” D $100-200
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1389
Bernadine & Walter Ten Fingers (1951-2025 & 1950-2012, Sioux)
A beaded and quilled women’s breastplate, late 20th century Unmarked With geometric quillwork on fabric-lined board, mounted with sinew, beads, and cowrie shells 33.5” H x 13” W $200-400 Provenance: Private Estate, Southern California Notes: This lot is accompanied by a signed letter from The Heritage Center, Inc., Pine Ridge, SD, which attributes the artists, dated August 25, 1992, as well as a Polaroid photo of the piece.
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1390
Two Plains or Southwest beaded hide accessories
Mid/late 20th century Comprising a beaded belt with alternating cross and concentric diamonds, and a thunderbird necklace with chevrons and fringe ends 2 pieces Belt: 29.5” L; Necklace 18.5” L, width of central element: 4.5” W $200-400 Provenance: Private Estate, Southern California
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1391
Two Plains or Plains style beaded hide sheaths and holster
Mid-20th century and later Comprising a knife sheath with horsehair and tin cones, another sheath and metal knife with wood handle, and a pictorial pistol holster with thunderbird and floating diamond motifs and fringe 3 pieces Blue sheath: 8” L; Other: 8.25” L; Pistol holster: 8” H x 5” W $400-600 Provenance: Private Estate, Southern California
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1392
A group of Northern Plains beaded umbilical fetishes
Late 20th century One signed illegibly and dated 1993 Each polychrome beaded hide or leather, some with beaded fringe, two with quillwork 16 pieces Largest: 6.375” H x 4.75” W x 1.375” D; Smallest: 3.375” H x 2.5” W x 0.875” D $400-600 Provenance: Private Estate, Southern California
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1393
A Contemporary pictorial beaded canvas tobacco bag
Late 20th century Decorated with Canadian and American flags, a heartline buffalo, and other floating geometric elements, with hide fringe 19” H x 8.5” W $300-500
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1394
Three Plains beaded hide tobacco bags
Mid-20th century and later Each with beaded geometric designs and beaded tassel cinch 3 pieces Longest: 20.5” H x 6” W; Shortest: 17.25” H x 5” W $600-800 Provenance: Private Estate, Southern California
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1395
Two Plains style beaded hide bags
Late 20th/early 21st century Comprising a beaded tobacco bag with quillwork fringe and dreamcatcher adorned to cinch, and a beaded rifle cover with geometric floating design 2 pieces Tobacco with quillwork: 24.25” H x 7.75” W; Rifle: 45.5” L x 6.5” W $200-400 Provenance: Private Estate, Southern California
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1396
A group of Native American beaded items
Late 20th/early 21st century Comprising a sash with stars and lightning bolt motifs, two pairs of arm bands with geometric designs, and a beaded baseball 6 pieces Sash: 31” L; Each larger armband: 4.875” L x 4.5” W; Each smaller: 2.25” L x 3.25” W $200-400 Provenance: Private Estate, Southern California
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1397
A set of Plains beaded accessories
Late 20th/early 21st century Comprising a belt with metal ornaments, arm bands, headdress, leg bands, and a pair of moccasins in yellow, black, red, and white, the bands with cut tin fringe accents 8 pieces Each leg band: 10” L x 5” W; Belt: 22” L; Headband: 20.5” L; Each moccasin: 7.5” L x 4” W $200-400 Provenance: Private Estate, Southern California
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1398
A Plains beaded hide doll on horse
Early 20th century With polychrome beaded geometric designs to garments and shell earrings, with horsehair tail 10” H x 9” W x 2.5” D $200-400 Provenance: Private Estate, Southern California
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1399
A large group of Native American dolls
20th century Each stuffed fabric or hide, some with beadwork, applied yarn, or other decorative accents 23 pieces Largest: 20” H x 9” W x 3.75” D; Smallest: 3.75” H x 1.875” W x 1” D $400-600 Provenance: Private collection, Santa Ynez, CA
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1400
Rosie Yellowhair
(b. 1950, Navajo/Diné) “Rainbow Catcher” Navajo sandpainting in colors on board Titled with bio and artists description and inscription verso: Gallup Intertribal 2014 / Thanks & Many Blessing / Rosie Yellowhair Sight: 17.5” H x 17.5” W $300-500
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1401
Rosie Yellowhair
(b. 1950, Navajo/Diné) “Father Earth Mother Sky” Navajo sandpainting in colors on board Titled with bio and artists description and inscription verso: Gallup Intertribal 2014 Ryellowhair Sight: 7.375” H x 7.375” W $200-400
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1402
Tino Youvella (b. 1940, Hopi-Tewa/Laguna Pueblo)
A polychrome carved cottonwood “Blue Ahite” katsina, late 20th century Signed and inscribed to underside: [artist’s sun cipher] / Tino Youvella / Blue Ahite / Uncle of All / Mix Kachinas / Hopi Depicted with elaborate headdress and holding a whip Overall: 13” H x 6” W x 5.75” D $200-400 Provenance: Private Estate, Southern California
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1403
Dan Bert (b. 20th century, Navajo/Diné)
Two polychrome carved cottonwood katsinas, mid/late 20th century Each incised with title, artist’s bear claw cipher, and: D. Bert Comprising a “Hano Mana” and a “Kachin Mana” 2 pieces Hano: 13” H x 2.75” W x 2.625” D; Kachin: 14.375” H x 2.5” W x 2.5” D $200-400 Provenance: Private Estate, Southern California
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1404
A Southwest deer dancer headdress
Mid-20th century Enameled metal, animal pelt, and deer antlers, mounted to a leather headband 11.5” H x 13” W x 14” D $200-400
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1405
A Hopi polychrome wood dance tableta
Late 20th century Painted with katsina dance figures and a spider, with feather accents at top, mounted to a hide and fabric headpiece 14.75” H x 14.75” W x 10” D $200-400
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1406
A Hopi polychrome wood butterfly dance tableta
Late 20th/early 21st century The polik mana style headdress decorated with butterflies to each side and crested by kiva steps mounted with feathers, with hide and cord strapping With feathers: 17” H x 11.5” W x 0.625” D $200-400
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1407
Shannon Naja (b. 20th century, Hopi-Tewa)
A polychrome wood roadrunner dance tableta, late 20th/early 21st century Signed to underside: S. NAHA The hospoa style headdress decorated with katsina head and roadrunners at middle, crested by kiva steps mounted with feathers, with hide and cord strapping With feathers: 21” H x 15” W x 5” D $200-400
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1408
A Hopi polychrome wood dance tableta
Late 20th/early 21st century Decorated with maiden katsinas and crested by kiva steps mounted with feathers, wild grass, and a circular bundle of grasses, with cord strapping With ornamentation: 22.5” H x 16.25” W x 1.25” D $200-400
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1409
A Hopi polychrome wood dance tableta
Mid-20th century Decorated with feather motifs to each side and crested by kiva steps 17.125” H x 12.25” W x 0.375” D $200-400
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1410
A Hopi Pueblo polychrome wood dance paddle
Possibly late 19th century Each side decorated with an ogre katsina and banded geometric motifs 19.5” H x 4.625” W x 0.5” D $600-800
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1411
A Pueblo painted hide child’s dance bandolier
Early 20th century Decorated with pigments, depicting an eagle and rain clouds 8” H x 27.5” W $300-500
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1412
A Hopi Pueblo woven dance sash
Early 20th century; Arizona A long sash woven in cotton and wool in two pieces, with polychrome stylized ‘Broadface Katsina’ brocaded motif in black, green, blue, and red to each end, with fringed ends and red yarn stitching to edges and center seam 109” H x 12.5” W (including fringe) $600-800
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1413
A group of Hopi Pueblo textile items Five works:
Herbert Talahaftewa (b. 20th century, Hopi Pueblo) Mid-20th century With retail tag indicating weaver A long twill-woven cotton sash, woven in two parts, and each end with long, elaborate multiple ball tassel fringing 93” L x 5.5” H (including fringe) A group of Hopi Pueblo textile items Mid/late 20th century Comprising two cotton kilts, each with polychrome geometric embroidery to each short side, together with two pairs of arm/leg bands, one pair woven in red, green, and black banding, with red tassels, and the other pair embroidered on mesh with geometric motifs in red, green, white, and black yarn 6 pieces Kilts: 23” H x 46” W & 19.5” H x 47.5” W; Cuffs: 4.5” H x 11” W & 4” H x 11.5” W, tassels: 3” H 8 pieces total $300-500 Notes: Wedding belt with retail tag from Hopi Arts & Crafts, 2nd Mesa, Arizona, indicating Herbert Talahaftewa as weaver. w w w. j o h n m o r a n . c o m 4 7 5
1414
Three Chimayo and Navajo textiles
Mid-20th century Each woven in multicolor wool on a red ground, one with a central floating geometric element with opposed banding, another with stepped X-form, and one with central serrated diamond and arrows, converted into a pillowcase with sewn backing 3 pieces Largest: 19.25” H x 18.25” W; Smallest: 18” H x 17.5” W $200-400
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1415
Three Chimayo table textiles
Mid-20th century; New Mexico Each woven in red, natural grey, black, and cream wool, depicting a central floating geometric element with opposed banding, one converted into a pillowcase with sewn backing 3 pieces Largest: 20.75” H x 19.25” W; Case: 18.75” H x 17” W $200-400
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1416
A Chimayo textile vest
Late 20th century; New Mexico With applied label: Ortega’s / 100% All Wool / Hand Woven / Chimayo, N.M The boxy blue wool vest with multicolor serrated diamond motifs, knotted fringe accents, side splits, and a braided yarn tassel belt 23” H x 23” W $100-200
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1417
Machinque Peshewa (20th Century, Shawnee)
Two horsehead dance wands, mid-20th century Each signed and inscribed: MACHINQUE / PESHEWA / SHAWNEE / [indecipherable] Fur, hide, and brass tacks on carved wood, one with wood and glass beading 2 pieces Longer: 28.5” L x 3” W x 1.375” D; Shorter: 28.25” L x 3.875” W x 1.375” D $200-400
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1418
A Santa Fe style painted wood cabinet
19th century The two cabinet doors carved with floral motifs, mounted with metal pulls and latch lock, opening to reveal a single shelf, above two drawers with later ceramic pulls 60” H x 36” W x 16” D $400-600
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1419
A rustic birch bark cabinet
2002 Incised signature and date verso: C. HUOX Clad in birch bark to fronts and sides, decorated with applied wood heartline and painted hide motifs, the three cabinets with antler pulls, each opening to reveal multiple shelves and painted interior 53.25” H x 21.25” W x 10.5” D $200-400
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1420
Three Pendleton wool blankets
Late 20th century Each with factory tag indicating fiber content In Mexican serape styles with banded designs, one with fringe 3 pieces Two larger: 77” H x 64.5” W; Smaller: 71.5” H x 62.5” W $200-400 Provenance: Private Estate, Southern California
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1421
Three Pendelton wool blankets
Late 20th century Each with factory tag indicating fiber content; one further tagged with pattern title and inscription Comprising two blankets in the “Chief Joseph” pattern, and a “Sioux Star” blanket 3 pieces Beige: 65” H x 59” W; Dark brown: 65.25” H x 53” W; Star: 78” H x 65.5” W $200-400 Provenance: Private Estate, Southern California
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1422
Three Pendleton wool blankets
Late 20th century Each with factory tag indicating fiber content; two further tagged with pattern name and inscription Comprising a “Circle of Life” blanket, designed 1992, a “Sunset Fading Away from the Swan” portrait blanket depicting Chief Clarence Burke of Walla Walla Umatilla Cayuse Tribes, Nez Perce Nation, (b. 1892), and a blanket with Native American-style designs 3 pieces Circle: 78” H x 64” W; Portrait: 79.5” H x 61.5” W; Black/brown: 77” H x 65” W $200-400 Provenance: Private Estate, Southern California
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1423
Two Hudson Bay Company point blanket wool coats
Mid/late 20th century Each with label for Hudson’s Bay Company; large coat with additional Made in England label Comprising a long oversized point blanket striped wrap coat with hood, wide sleeves with fringing, and self-tie belt, likely repurposed from an older blanket, together with a long sleeved striped wool jacket with button front and flap patch pockets and partial lining to shoulder 2 pieces Larger: 49” H at CB; 27” W across back at underarms; sleeves from neck: 31” Smaller: 30” H at CB; 22” W across back at underarms; sleeves from neck: 25.5” $300-500 Provenance: Private Estate, Southern California
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1424
A painted denim jacket, attributed to Marilyn Shula Sakeva, Hopi-Tewa
Marilyn Shula Sakeva (1955-2019, Hopi-Tewa) Late 20th/21st century A Trader Bay custom jean jacket with Hopi dancer motifs With Canyon River Blues label Featuring five polychrome painted Hopi katsina dancer motifs, the blouson button-front jacket in blue denim with green cotton twill accents and large front pockets Size: XL; 27” H x 26” W (across back underarms); dropped sleeves: 24” L $200-400
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Consign Today
Art of the American West September 15, 2026
Consignment Deadline August 5, 2026 Auction Inquiries: info@johnmoran.com 4 9 0 A r t o f t h e Am e r i c a n We s t — Day 1 l Tu e sd ay, J u n e 3 0 , 2 0 2 6
SINCE 1969
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art - jewelry - decorative objects - furnishings and more Sold at John Moran Auctioneers:
Kathryn Woodman Leighton, (1875-1952) “Weaving in Her Hogan”
Price Realized: $51,300 SINCE 1969
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Condition Reports 4 9 2 A r t o f t h e Am e r i c a n We s t — Day 1 l Tu e sd ay, J u n e 3 0 , 2 0 2 6
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1001 Two repaired rod breaks at the rim, subsequently, the rim is out of round. With dust accumulation and shelf wear commensurate with age and use. Scattered single stitch losses throughout. With a 1” long area of soiling/surface grime to exterior at center. 1002 The exterior with several scattered single or double stitch losses. The rim, exterior, and underside with rubbed wear to the coloration. Overall good condition with dust accumulation and wear commensurate with age and use. 1003 Overall good condition with dust accumulation and wear commensurate with age and use. Rubbed wear to exterior, most apparent in the designs, with scattered stitch breaks, partial breaks, or loss of coloration. 1004 Overall good condition with dust accumulation and wear commensurate with age and use. With at least one stitch break to rim and a few scattered single stitch breaks or losses to interior and exterior. The underside and rim each with rubbed wear to coloration. Slight discoloration to interior. 1005 Overall good condition with dust accumulation and wear commensurate with age and use. 1006 Overall good condition with dust accumulation and wear commensurate with age and use. With a single stitch break to rim and one to foot rim. Slight darkening to exterior.
Condition Reports
1007 Overall good condition with dust accumulation and wear commensurate with age and use. With rubbed wear to coloration at rim of shoulder and a single stitch loss at underside. Slight discoloration throughout.
494
1008 Overall good condition with dust accumulation and wear commensurate with age and use. Slight fading to exterior, with scattered rubbed wear to the coloration of designs, concentrated at rim and shoulder edge. The shoulder with a single stitch loss in the flat area. 1009 With discoloration throughout exterior. Overall good condition with dust accumulation and wear commensurate with age and use. The rim with scattered single stitch losses, the neck sagging slightly. At least three stitch losses to body or shoulder.
1010 Overall good condition with dust accumulation and wear commensurate with age and use. With at least four single stitch losses to exterior. 1011 Slightly irregular form. Otherwise overall good condition with dust accumulation and wear commensurate with age and use. 1012 Overall good condition with dust accumulation and wear commensurate with age and use. Several areas of single or double stitch losses to exterior. The underside with rubbed wear to the coloration. Slight darkening to interior. 1013 Overall good condition with dust accumulation and wear commensurate with age and use. Several scattered single stitch losses to interior, with a few to exterior. The rim and foot rim each with rubbed wear to the coloration. 1014 Overall good condition with dust accumulation and wear commensurate with age and use. Slight fading and discoloration throughout. The rim with two rod breaks and scattered single or double stitch losses or breaks. A few scattered single stitch losses to exterior, and a 0.75” long segment of stitch loss to foot rim. 1015 Scattered evidence of insect grazing throughout. With dust accumulation and wear commensurate with age and use. Some fading/discoloration throughout. One break to rim rod bundle. The rim with a 0.375” area of stitch loss near the..., with two other single stitch losses. Two stitch losses to foot rim. 1016 Overall good condition with dust accumulation and wear commensurate with age and use. Some discoloration throughout. 1017 With dust accumulation and wear commensurate with age and use. The rim with areas of stitch loss or breaks, the longest measuring 2” long. A few small areas of stitch loss to foot rim and a two-stitch loss at underside. 1018 Overall good condition with dust accumulation and wear commensurate with age and use. Fading to rim, shoulder, and interior. With at least one stitch loss to exterior.
1020 Overall good condition with dust accumulation and wear commensurate with age and use. 1021 Overall good condition with dust accumulation and wear commensurate with age and use. One rod break to rim and a pea-sized stain to underside. 1022 Overall good condition with dust accumulation and wear commensurate with age and use. One partial stitch loss to waist. 1023 Overall good condition with dust accumulation and wear commensurate with age and use. 1024 Overall good condition with dust accumulation and wear commensurate with age and use. 1025 With a rough weave. With dust accumulation and wear commensurate with age and use. The rim with one stitch loss and one break at the taper. Several single or double stitch losses along the waist. Fading to exterior, with soiling throughout. 1026 Overall good condition with dust accumulation and wear commensurate with age and use. Two single stitch losses to rim. 1027 The exterior has been shellacked. With dust accumulation and wear commensurate with age and use. 1028 Areas of staining to lower portion and base. Rim with a 0.75” long rea of stitch loss, with at least one more stitch loss apparent to rim. Several single scattered stitch losses to interior and exterior. Areas of stitch loss to underside, the largest segment measuring 0.625” long. With dust accumulation and wear commensurate with age and use. 1029 Overall good condition with dust accumulation and wear commensurate with age and use.
1030 With a 1” long area at widest part of the body with about 5 lost stitches. With three more areas along the hip and foot rim with double or triple stitch losses. With dust accumulation and wear commensurate with age and use. Several spots of darkening to underside and adjacent areas. 1031 Each with soiling and signs of traditional use. One lacking a handle and with many stitch losses to rim and throughout. The other with tears and losses to fabric applied to rim, a large break to tapered end of rim rod bundle, which is loose, and heavy stitch loss to foot rim with others scattered throughout. Each with dust accumulation and wear commensurate with age and use. 1032 With five stitch losses or breaks to rim. The foot rim with a 0.875” area with stitch losses. Overall good condition with dust accumulation and wear commensurate with age and use. 1033 At least two single stitch losses to rim, with rubbed wear to some colored ticking, with other scattered areas of rubbed loss to coloration to body, the largest measuring 1.25” long. Overall good condition with dust accumulation and shelf wear commensurate with age and use. 1034 Overall good condition with dust accumulation and wear commensurate with age and use. With a single stitch break to foot rim and darkening to exterior and interior. 1035 Soiling throughout, mostly to interior, with some discoloration throughout. With dust accumulation and wear commensurate with age and use. A few partial stitch breaks to body and a few to underside. 1036 The rim with multiple stitch losses, the longest continuous segment measuring 0.375” long. With an exterior 0.625” long segment of stitch loss at the waist. With dust accumulation and wear commensurate with age and use. Darkening to exterior and interior. 1037 With dust accumulation and wear commensurate with age and use. Discoloration to body and interior. Scattered single and multiple stitch loss segments to interior, exterior, and underside.
Condition Reports
1019 Overall good condition with dust accumulation and wear commensurate with age and use. Several scattered single or double stitched losses with a few breaks to body exterior.
495
1038 With dust accumulation and wear commensurate with age and use. Several single or double stitch losses to rim, two areas of stitch loss to underside, the longest measuring 0.375” long, and a few scattered stitch breaks and losses at the waist. Darkening to exterior and interior. 1039 With a previous collection tag wired to interior: 140. Overall good condition with dust accumulation and wear commensurate with age and use. 1040 The rim with heavy stitch losses, the longest segment measuring 3” long. Stitch losses at center of coil start, the exterior with scattered losses and breaks throughout. With dust accumulation and wear commensurate with age and use. Discoloration throughout. 1041 Overall good condition with dust accumulation and wear commensurate with age and use. Some fading/ discoloration throughout. One pea-sized stain to underside. 1042 Overall good condition with dust accumulation and wear commensurate with age and use. 1043 Overall good condition with dust accumulation and wear commensurate with age and use.
Condition Reports
1044 At least one small break to visor weaving. Beading to visor with two detached segments. Overall good condition with minor shelf wear and minimal wear commensurate with age.
496
1045 The largest with more soiling and a 2” long loss to one rod at center. Each overall good with dust accumulation and minor shelf and handling wear commensurate with age. 1046 Overall good condition with dust accumulation and wear commensurate with age and use. The rim with a 1” long area of loose weave with a few stitch losses, as well as a few scattered single stitch losses. 1047 Losses to pine pitch concentrated at base. With soiling, dust accumulation, general wear commensurate with age and use.
1048 Heavy losses to pine pitch throughout. With soiling, dust accumulation, and general wear commensurate with age and use. One handle nearly separated from its mounting. 1049 Losses to pine pitch throughout, concentrated at base, with cracking throughout. With soiling, dust accumulation, general wear commensurate with age and use. The horsehair strap is broken at middle, with fraying at junctures. Deteriorating and loose bits of pitch to interior. 1050 This item is sold as-is. With many stitch losses to rim, heavy soiling, and discoloration throughout. With a 2.25” x 3” hole. With dust accumulation and heavy wear commensurate with age and use. 1051 Two adjacent 1.25” long tears close to top rim. Scattered single stitch losses to edge rim. With dust accumulation and wear commensurate with age and use. 1052 Two with rim issues including repairs, small tears, and attendant losses. Each with discoloration, dust accumulation, and wear commensurate with age and use. 1053 This lot is sold as-is. Each with dust accumulation and wear commensurate with age and use. The Washoe bowl with stitch loss to entire rim and discoloration throughout. One with a rim rod break. Another with a few stitch losses to rim. The largest with irregular discoloration and a 0.375” long area of stitch loss to foot rim. 1054 The gathering basket with handle broken at one juncture, with attendant loose stitches. The bowl with a few stitched losses to rim. Each overall good condition with dust accumulation and wear commensurate with age and use. 1055 Overall good condition with dust accumulation and wear commensurate with age and use. Slight fading to interior, the exterior with scattered localized areas of minor soiling. 1056 Overall good condition with dust accumulation and wear commensurate with age and use. Fading throughout, with course weave. The rim with three stitch losses, with a few to the body exterior.
1058 Overall good condition with dust accumulation and wear commensurate with age and use. With at least three stitch losses to exterior. The underside with a 1.5” x 0.75” area of black marks. 1059 Overall good condition with dust accumulation and wear commensurate with age and use. With at least one stitch loss to exterior. 1060 Losses to pine pitch throughout, concentrated at base, with cracking throughout. With soiling, dust accumulation, and warping to the form commensurate with age and use. 1061 With dust accumulation and wear commensurate with age and use. Three stitch losses to rim. The foot rim with many segments of stitch losses. 1062 The largest with two stitch breaks to handles and a row of seven rim stitches with partial losses and breaks. The oval with fading to interior and scattered stitch losses to underside. Each flat with heavier soiling and a few stitch breaks. Each overall good condition with dust accumulation and wear commensurate with age and use. Each with minor soiling. 1063 Smallest Northwest Coast lacking lid. Lidded pine needle with three stitch losses with attendant loose elements. Losses and fraying to fabric of pincushion. Each overall good condition with dust accumulation and wear commensurate with age and use. 1064 With older losses, soiling, and general wear commensurate with age and use. 1065 With small losses, abrasions, fading, and soiling throughout. 1066 The larger with two stitch losses at shoulder with attendant loose elements, as well as two at the foot rim. The smaller with stitch breaks, losses, and bundle losses at the rim. Each with dust accumulation and wear commensurate with age and use.
1067 Overall good condition with dust accumulation and wear commensurate with age and use. 1068 With four large tears in the hide at the sides. One break to leather lashing. With shelf wear, stiffening to hide, scuffs, scratches, and minor soiling commensurate with age. 1069 With a 6” x 2” area of abrasions, small losses, and deeper scuffs to shoulder and just below, obtrusive to carvings. With shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With an inherent pea-sized indentation to middle of body. 1070 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 1071 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 1072 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 1073 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 1074 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 1075 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Two rice-sized shallows chips to rim with a few fleabites. Wit a 2.5” long vertical deeper scratch near base. 1076 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Wear to patina on bear’s back and ears.
Condition Reports
1057 Overall good condition with dust accumulation and wear commensurate with age and use. Each side with slight discoloration to lower third, with at least a few stitch losses to exterior.
497
1077 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a 1” long area and a pea-sized area of moth grazing with exposed warp, with another 1.25” long shallower area at side A, losses to the fringes, and scattered small spots and stains to both sides. 1078 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: heavy fading throughout, scattered pulled threads, and areas of loose weaving, particularly at corners and short ends. 1079 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few small areas of moth grazing, one with dime-sized hole, reweaving at one short end, breaks to selvage cording with attendant loose weave, and heavy fading throughout. 1080 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: areas of stiffening throughout, heavy dye migration throughout, with scattered stains and spots, fading, and several breaks to selvage cording including a 2.5” long loss at one corner with attendant loose threads.
Condition Reports
1081 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few small holes, areas of loose weave, pulled threads, and scattered stains and spots including one at a corner the size of a quarter, losses to selvage cording, with attendant loose weave, concentrated at corners, one short end with reweaving to border and a 9” long area with losses and loose threads, and a few small areas of dye migration in the cream.
498
1082 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered stains, a few breaks in selvage cording along one long edge, and a few small areas of dye migration in the cream field. 1083 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: out of square, side A with areas at center with paint flecks/remnants, three corners with losses to selvage cording and attendant loose weave, one corner with reweaving, scattered small stitch repairs, and fading throughout.
1084 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a 6” x 2.25” area of damage to warp and attendant loose weave, as well as another area the size of a quarter, scattered spots and stains, the largest measuring 2.25” x 1.75”, a 3” x 3” area of moth grazing to one side with expose warp, and fading throughout. 1085 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: likely reweaving at one short end, and side A with two pea-sized spots of moth grazing with exposed warp. 1086 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: two corners with 3” long losses to selvage cording with attendant loose weave, scattered spots and stains, and fading throughout. 1087 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered pulled threads. 1088 Overall generally good appearance. The full sheet with deckled edges. Pale light-staining to the sheet where exposed through window of the overmat. An approximately 1” H band of slight surface skinning with attendant minor remnants of old adhesive extending horizontally, from one vertical margin edge to the other, through the upper margin (just outside upper platemark, not affecting the image). The sheet is hinged to the back mat with white paper tape in places along the recto of the upper margin edge. Framed under glass: 24.75” H x 20” W x 2” D 1089 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.
1091 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. A few raveled threads to side edges. 1092 Overall good condition with dust accumulation, minor creasing and light wear commensurate with age and use. A couple of loosened bead strands. A few scattered smudges to wool. 1093 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. 1094 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: slight fading to side A and scattered pulled threads. 1095 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered faint stains, side A with a 4” x 4” area of darker stains, scattered stitched repairs, wear to selvage edges and cording, and side B with areas of dye migration. 1096 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a 7” x 7” area of heavy staining/trafficked wear, heavier staining to side B, losses to selvage cording at edges and corners with attendant losses to weave and loose weave, one corner with larger losses, scattered stains to each side, scattered stitched repairs, and at least two pea-sized holes. 1097 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered areas of moth grazing throughout with areas of exposed warp and one dime-sized hole, side B with stains to two corners, and several break in selvage cording of long edges. 1098 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered pulled threads, and one corner with a piece of Velcro stapled.
1099 Overall good appearance. Not examined out of the frame. Framed under glass: 17.25” H x 20.25” W x 1.5” D 1100 Overall good appearance. The colors vibrant. The full sheet with deckled edges. The sheet with unpainted margins beyond the image that reveal some of the artist’s precise, underlying, original guidelines. Old adhesive staining attendant with previous masking tape, and rows of slight impressions with related pinpoint-sized holes, presumably from previously stapling (skillfully done), all along each edge of the unpainted margins, not affecting the image, and possibly in the hand of the artist. Very unobtrusive, occasional specks of sheen, only visible in raking light, near the extreme outer edges of the upper and lower image. The sheet is loose, secured to the back mat with four clear archival corners. Framed under glass: 32.5” H x 39.625” W x 2” D
1101 Overall good appearance. The colors vibrant. An approximately rice-sized area of what appears to be a stray black pencil or casein mark, presumably in the hand of the artist. Occasional specks of glue residue are scattered along the extreme edges of the painted surface. A very unobtrusive thin border of light-staining just outside the image. Each edge of the unpainted margins shows remnants of old adhesive staining, attendant with prior masking tape, with one band of masking tape still intact at the center of the lower edge, all not affecting the image. An approximately 11” horizontal row of slight impressions with related pinpoint-sized holes, presumably from previous stapling, along the left portion of the lower edge of the unpainted margin, not affecting the image, and possibly in the hand of the artist. The extreme edges of the sheet are slightly unevenly trimmed, likely in the artist‚Äôs hand. The sheet is loose, secured to the back mat with four clear archival corners. Framed under glass: 31” H x 29.375” W x 1.625” D
Condition Reports
1090 Overall good condition with dust accumulation, creasing, and typical signs of wear commensurate with age and use. Issues include, but not limited to: very faint yellowing and light surface soiling to cotton center, a couple of faint spots, very faint dye transfer to one area between red wool and cotton area, each corner slightly curled, and a few loose threads to weave.
499
1102 Overall generally good appearance. Small foxmarks scattered occasionally throughout, and a few larger foxmarks and/or surface stains along the outer sheet edges. An unobtrusive pinhole and a 1” H x 0.25” W band of surface skinning in the upper portion of the left sheet edge, as well as a few other minor peasized (or smaller) spots of surface skinning, primarily in the background of the upper half. Old tape remnants and staining along the verso sheet edges, with two very thin 2.5” pieces of the tape folded over to the recto along the upper and left sheet edges, as well as a few pale, thin 3” (or smaller) bands of staining from old tape remnants in places along each sheet edge. The sheet with slight cockling. The sheet is loose, secured to the back mat with four clear archival corners. Framed under glass: 24.75” H x 17.75” W x 1.5” D 1103 Visual: Overall good appearance. A few light vertical hairline surface scuffs center left, the largest is about 10” H, and a rice and pin sized abrasion in the same area. Blacklight: No evidence of restoration. Unframed
Condition Reports
1104 Overall good condition with dust accumulation and wear commensurate with age and use. Three stitch losses to rim and scattered areas of stitch losses or breaks throughout the shoulder and body, the longest measuring about five stitches in the same row, concentrated at the widest areas.
500
1107 Visual: Overall good appearance. Areas of light craquelure, mainly within the sitter’s clothing and to the right of the sitter’s head (in the background). One pinhead spot of craquelure in the white area center left that is starting to cup but appears stable. Areas of frame abrasion with pigment loss along the edges, especially in the upper left corner. The largest spot is 0.25” H x 3.5” W. Light stretcher bar creases. A damp stain on the verso’s upper right edge measuring 5” H x 4” W, with long vertical drip marks that traverse the canvas. The damp staining does not appear to affect the recto, with the probable exception of some of the paint loss in the recto’s upper left corner edge. Blacklight: A little hard to read under blacklight but does not appear to have any restoration. The canvas is possibly unvarnished with the exception of an area in the shadow of the sitter’s face. Splash marks and grime visible under blacklight and some in raking light. Frame: 52.5” H x 44.75” W x 2” D 1108 Visual: Overall good appearance. A light pressure mark in the lower right quadrant with a bulls-eye crack measuring 2” H x 1.5” W. Occasional fine, scattered craquelure. There is a nail hole at the center-left extreme upper edge. An occasional ricesized abrasion along the right vertical outer edge. Blacklight: No evidence of restoration. Frame: 43.5” H x 35.5” W x 2” D
1105 Visual: Overall good appearance. Scattered areas of craquelure, primarily in the center of the upper half.
1109 Visual: Overall good appearance. Slight varnish discoloration. A few scattered areas of fine craquelure. As mentioned, the canvas has been laid to Masonite.
Blacklight: No evidence of restoration.
Blacklight: No evidence of touch-up.
Unframed
Frame: 30.5” H x 26.75” W x 2.25” D
1106 Visual: Overall good appearance. Slight varnish discoloration. As mentioned, the canvas has been laid to Masonite.
1110 Visual: Overall good appearance.
Blacklight: No evidence of touch-up.
Blacklight: Certain pigments outlining the figure’s head and shoulders fluoresce under blacklight, but likely not due to restoration.
Frame: 35.25” H x 30.25” W x 2.5” D
Frame: 25.25” H x 21.25” W x 3” D 1111 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 25.25” H x 21.25” W x 3” D
Blacklight: No evidence of restoration. Frame: 32.75” H x 27” W x 2” D 1113 Visual: Overall good appearance. Blacklight: A few scattered pea-sized spots of possible touch-up in the background of the upper left quadrant.
1120 Visual: Overall good appearance. Some light surface grime. Blacklight: No evidence of restoration. Frame: 28.5” H x 24.5” W x 2” D 1121 Visual: Overall good appearance. Very slight varnish discoloration. Blacklight: No evidence of restoration.
Frame: 36.75” H x 31.75” W x 3.5” D
Frame: 28.25” H x 32.25” W x 2.75” D
1114 Visual: Overall good appearance. Extremely fine craquelure in places visible only with a loupe.
1122 Visual: Overall good appearance. Slight varnish discoloration. A few tiny unobtrusive flecks of stray pigment along the left portion of the lower edge.
Blacklight: The darker red pigments fluoresce under blacklight, but this appears to be in the hand of the artist. Frame: 17.25” H x 19.25” W x 2” D 1115 Visual: Overall good appearance. A few scattered tiny flecks of pigment losses primarily near the centers of the left and right edges. A 1.5” diagonal surface scuff along the left portion of the upper edge. A few small flecks of gold leaf transfer along the upper portion of the right edge. Blacklight: No evidence of restoration. Frame: 32.5” H x 37.75” W x 3.5” D 1116 Spear element with a slight bend below hand. Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 1117 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 1118 One segment of bowstring detached, with bent arrow, and possibly bent bow. With dust accumulation, scattered minor scuffs, and darkening/ oxidation to bronze commensurate with age. The base with large repaired break and small attendant losses. 1119 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
Blacklight: A pea-sized touch-up in the lower portion of the left edge, and a few thin bands of touch-up along the left portion of the lower edge. Frame: 23.25” H x 29.25” W x 2” D 1123 Overall good appearance. Slight paper toning. One foxmark along the center of the right edge. Not examined out of the frame. Framed under glass: 19.5” H x 26.5” W x 1.75” D 1124 Each overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Each with felt applied to underside. 1125 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Scratching to the plinth, which is not mounted to bronze. 1126 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 1127 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Wear to patina and a pea-sized spot of verdigris at the base.
Condition Reports
1112 Visual: Overall good appearance.
501
1128 Visual: Overall good appearance. Light surface grime. Blacklight: No evidence of restoration.
1129 Visual: Overall good appearance.
1138 Visual: Overall good appearance. Small scattered areas of fine craquelure. A few scattered areas of tiny flecks of pigment losses primarily in the sky in the upper right quadrant.
Blacklight: No evidence of restoration.
Blacklight: No evidence of restoration.
Frame: 20.5” H x 35.5” W x 1.25” D
Frame: 20.75” H x 24.75” W x 1.5” D
1130 Visual: Overall good appearance. A pea-sized area of unstable craquelure in the lower portion of the mountain in the upper right quadrant.
1139 Visual: Overall good appearance.
Blacklight: No evidence of restoration.
1140 Visual: Overall good appearance.
Frame: 34” H x 50” W x 2.5” D
Frame: 31.75” H x 37.5” W x 3” D 1131 Visual: Overall good appearance. Very slight varnish discoloration. Blacklight: A 2.5” H scattered band of pinpoint-sized touch-ups along the center of the left sight edge, in the figure’s headdress. Frame: 24.25” H x 16.25” W x 1.5” D 1132 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
Condition Reports
1133 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
502
1137 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
1134 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Bronze not attached to plinth. 1135 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 1136 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
Blacklight: No evidence of restoration.
Blacklight: No evidence of restoration. Frame: 30.5” H x 42.5” W x 2.5” D 1141 Visual: Overall good appearance. Small scattered areas of fine craquelure. Blacklight: Long thin scattered bands of touch-up along the outer edges, primarily along the lower right quadrant edges. Frame: 36” H x 44.75” W x 3” D 1142 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. The wood plinth with nicks at the edges. 1143 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 1144 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
1145 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. The book overall good condition with some cockling to front board and pages and minor shelf wear and bumping at corners. The bookstand with 0.5” diameter chipped loss at one corner and slightly smaller chip to back lower edge. Bookstand and bronze base with some minor soiling.
1152 With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Wear to finish throughout, with a repaired chip at front left bottom corner, and possible small touch-ups throughout. Heavy oxidation to sliding door track. Minor soiling to caning. The top with a 1.5” x 1.25” area of impression in the finish. Heavy scratching and some soiling to interior.
1146 Visual: Overall good appearance. Scattered light craquelure. Paint shrinkage in places, especially the darker pigments.
1153 Overall good condition with scattered scuffs, scratches, nicks, abrasions, and soiling commensurate with age. One break in the caning. Soiling to drawer interior.
Frame: 34.25” H x 58.5” W x 3” D 1147 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 16.75” H x 18.5” W x 1.75” D 1148 Visual: Overall good appearance. Pale light-staining. Blacklight: No evidence of restoration. Frame: 23.5” H x 19.5” W x 2” D 1149 Visual: Overall good appearance.
1154 Each leg with possible repair at the juncture. With scattered scuffs, scratches, wear to finish, and minor soiling commensurate with age. 1155 Each with shelf wear and scattered minor scuffs and scratches commensurate with age. Each book with minor shelf wear. 1156 Each with hanging hardware verso. Each overall good condition with minor shelf and handling wear commensurate with age. 1157 Lacking reigns element usually in figure’s right hand. Otherwise overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
Frame: 18” H x 22” W x 1.5” D
1158 The spear element unmounted, with losses to the paint. Overall good condition with dust accumulation, soiling, and handling wear commensurate with age.
1150 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Plinth with two large abrasions with losses to the wood.
1159 Not attached to plinth. Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Loss to gold-toned finish of plaque with attendant oxidation.
1151 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Rubbed wear to patina on child’s head and outer rim of hat.
1160 Visual: Overall good appearance. A series of ricesized surface scuffs, overall measuring about 1.5” H x 0.25” W in the drying rack at the right of center. Scattered occasional minor surface grime.
Blacklight: No evidence of restoration.
Blacklight: No evidence of restoration. Frame: 37” H x 47.25” W x 1.5” D
Condition Reports
Blacklight: One pea-sized spot of possible touch-up right of center of the extreme upper edge. A few scattered pinpoint dots that fluoresce, but these appear to be the ground surface showing through.
503
1161 Overall good appearance. Slight paper cockling. Not examined out of the frame. Framed under glass: 17.25” H x 21.5” W x 1.75” D 1162 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
Frame: 17.25” H x 21.25” W x 1.5” D 1171 Visual: Overall good appearance.
1164 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
Frame: 20” H x 26” W x 2” D
1166 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Corners and edges of plinth with abrasions and small losses. 1167 Each with stiffening, soiling, staining, and older wear commensurate with age and use. A few scattered tears in each. 1168 Visual: Overall good appearance. Blacklight: Two 1” H x 5” W (or smaller) touch-ups in the left horse’s belly, and a few small flecks of touchup on the right horse’s tail.
Condition Reports
Blacklight: No evidence of restoration.
1163 Overall good condition with scattered scuffs, scratches, abrasions, nicks, and indentations commensurate with age. Scattered chipped losses, concentrated to the lower half and underside. The lower half also with some moisture spots/stains.
1165 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
504
1170 Visual: Overall generally good appearance. A peasized damp stain upper center, in the cloud. An occasional pea-sized (and smaller) scattered foxmark. A small cluster of fly-specks to the left of center near the lower edge. Likely yellowed surface.
Frame: 26.75” H x 30.75” W x 2” D 1169 Overall good appearance. Not examined out of the frame. Framed under glass: 21” H x 23.25” W x 1.25” D
Blacklight: No evidence of restoration. Areas fluoresce, likely due to pigments, varnish (or lack thereof), and process.
1172 Visual: Overall good appearance. A pinhead-sized speck of grime in the sky near the center of the upper edge. Blacklight: No evidence of restoration. Frame: 24.75” H x 20.75” W x 2” D 1173 Visual: Overall good appearance. Occasional areas of light craquelure. Scattered spots of surface grime. Blacklight: No evidence of restoration. Frame: 30” H x 41” W x 2” D 1174 Some soiling and minor staining to base. Two inherent losses to verso. A C-shaped 3” long scuff near figure’s head. Otherwise good condition with minor shelf and handling wear commensurate with age. 1175 With a large vertical repaired break/crack with attendant small losses. Older small chips to rim, deeper scratches to body, and flaked losses to polychrome. Rubbed wear and soiling to polychrome throughout. 1176 Overall good condition with minor shelf wear and scattered minor scuffs and scratches commensurate with age. 1177 Overall good condition with dust accumulation and wear commensurate with age and use.
1179 Each with dust accumulation and wear commensurate with age and use. Each with discoloration throughout. The bowl with stitch losses to rim, the longest segment measuring 2” long, as well as scattered segments of stitch losses to exterior and more concentrated to underside, with the longest segment measuring 1.875” long. The tray with five stitch losses to rim and one to underside. 1180 ‘Done in the Open’ with heavy wear to boards with staining, soiling, losses, and tanning. Scattered tears or creases to margins of dust jackets. Each with inked number too upper margin of front free end paper. Each with shelf wear and minor bumping to spine ends and corners commensurate with age. 1181 Four with paper label applied to spine at bottom. The slipcase of presentation copy with tears and loose edges. Some with small tears at corners or margins of dust jackets. Each with inked number too upper margin of front free end paper. Each overall good condition with shelf wear and minor bumping to spine ends and corners commensurate with age. 1182 Wieghorst with tears to front corner of dust jacket. Borein paintings with a tear in the dust jacket at upper left of cover. Two with library stickers applied to spine. Each with inked number too upper margin of front free end paper. Each overall good condition with shelf wear and minor bumping to spine ends and corners commensurate with age. 1183 ‘Dixon: Artist’ with loose at front hinge. A few with paper labels applied to lower spine. Each with inked number too upper margin of front free end paper. Each overall good condition with shelf wear and minor bumping to spine ends and corners commensurate with age. 1184 A few with small tears at edges of dust jacket. Each with inked number too upper margin of front free end paper. Each overall good condition with shelf wear and minor bumping to spine ends and corners commensurate with age. 1185 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
1186 Bronze not attached to marble base, which has a 0.25” long chipped loss long one edge and heavy wear where the bronze meets the top surface. Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 1187 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 1188 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 1189 Each with scuff, scratches, soiling, oxidation, and indentations commensurate with age. Each andiron with heavier rusting, concentrated to the base. 1190 Each with bends, nicks, soiling, losses to enameling, and oxidation/rust throughout commensurate with age. 1191 Visual: Overall good appearance. A few scattered small areas of fine craquelure. Blacklight: No evidence of restoration. Frame: 20.5” H x 24.5” W x 2.5” D 1192 Visual: Overall good appearance. There is a 3” long diagonal hairline black ink mark along the lower right vertical edge of the painting, further extending onto the frame. Blacklight: No evidence of restoration. Frame: 23.75” H x 41.75” W x 0.75” D 1193 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 19.25” H x 16.25” W x 2” D 1194 Overall good appearance. Not examined out of the frame. Framed under glass: 25” H x 31” W x 1.25” D
Condition Reports
1178 Each with dust accumulation and wear commensurate with age and use. The oval with heavy stitch losses to rim and foot rim. Each with fading and some soiling.
505
1195 Overall good appearance. Two small clusters of ricesized surface staining or grime in the upper portion of the two brick pillars on either side of the gate. Not examined out of the frame.
1204 Visual: Heavy craquelure throughout with areas in the upper left quadrant that are beginning to cup. Stretcher bar creases along each edge. An old varnish layer with heavy surface grime.
Framed under glass: 25” H x 31” W x 1.25” D
Blacklight: No evidence of restoration. The modification of the P to B is not evident under blacklight.
1196 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Abrasions and indentations to protrusions at top of owl’s head. 1197 Abrasion at the end of bow. Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. The base with some nicks and small losses at edges, with some soiling. 1198 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 1199 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 1200 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
Condition Reports
1201 Lacking feathers on figure’s head. With dust accumulation, scattered minor scuffs, and darkening/ oxidation to bronze commensurate with age.
506
1202 One foot with repaired break and attendant glue dripping to surrounding area. The tabletop with a 7” long V-shaped deep scratch, more concentrated scratches generally, and wear to wood finish. Chipped losses at ends of bottom supports, scattered chips and nicks throughout at edges and corners. Underside of tabletop with moisture stains to the finish and a white handprint stain. With scattered scuffs, scratches, nicks, and indentations commensurate with age. 1203 The component issuing the light fixtures is not firmly mounted to the base. With dust accumulation, scattered scuffs and scratches, and darkening/ oxidation to bronze commensurate with age. Rubbed wear and localized areas of loss to patina. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.
Frame: 75” H x 63” W x 3” D 1205 Overall good appearance. Not examined out of the frame. Framed under glass: 15.25” H x 16.5” W x 2” D 1206 Visual: Overall good appearance. Frame abrasion and a few pea-sized (or smaller) pigment losses with some areas of unstable craquelure in places along the upper and left edges. Blacklight: No evidence of restoration. Frame: 32” H x 38” W x 2.75” D 1207 Visual: Overall good appearance. Slight varnish discoloration. Soft scattered areas of frame abrasion along each edge. Slight wear to the board along the outer edges with a 2.5” H x 0.125” W area in the lower portion of the extreme left edge where the surface of the board is slightly lifting, none of which are visible as framed. Blacklight: No evidence of restoration. Frame: 30” H x 46” W x 3” D 1208 Visual: Overall good condition. A small group of approximately pea-sized areas lacking varnish in the sky of the upper right quadrant. A speck of grime in the sky to the left of the figure. Blacklight: No evidence of restoration. Frame: 60” H x 46” W x 3.5” D 1209 Overall good appearance. The sheet is loose with full margins with deckled edges. Pale time staining showing in the deckle of the outer margins, with more noticeable time staining at the right edge. Toning visible in the margins and verso. A few scattered pin-head sized foxmarks verso, not affecting the recto. The sheet is loose, not matted. Unframed
1210 Overall good appearance. The sheet is loose with full margins with deckled edges. Very pale time staining showing in the deckle of the outer margins, with more noticeable time staining on the left edge and bottom left corner. The margins show pale toning. The sheet is loose, not matted.
1216 Visual: Overall good appearance.
Unframed
1217 Visual: Overall good appearance. A few very fine 2” (or smaller) soft surface scuffs in the upper right corner.
Unframed 1212 Overall good appearance. The sheet is loose with full margins with deckled edges. A small foxmark on the center right, possible small area of faint printer’s ink in the center right side margin. Very pale time staining showing in the deckle of the outer margins, with more noticeable time staining on the bottom edge, left to center, and the top right corner. The sheet is loose, not matted. Unframed 1213 Overall good appearance. The sheet is loose with full margins with deckled edges. Very pale time staining showing in the deckle of the outer margins, with more noticeable time staining on the lower edge and right edge. Light-staining visible in the margins. A pinhead sized foxmark verso, not visible recto. Toned from age verso. The sheet is loose, not matted. Unframed 1214 Overall good appearance. The full sheet with deckled edges and the colors still vibrant. The sheet is tipped to an invisible piece of foamcore from the verso of the sheet edges, and this piece of foamcore is subsequently affixed to a fabric-covered back mat. Framed under Plexiglas: 31.25” H x 37.25” W x 1.75” D 1215 Visual: Overall good appearance. Blacklight: No evidence of restoration. Framed: 45.25” H x 45.25” W x 3” D
Frame: 22” H x 26” W x 3.25” D
Blacklight: Certain brush strokes in the clouds fluoresce under blacklight, uncertain if due to restoration. Frame: 36.25” H x 42.5” W x 2.5” D 1218 Visual: Overall good appearance. Soft stretcher bar creases along each edge, primarily visible in raking light. A 1.5” horizontal surface scratch with a few attendant tiny flecks of pigment loss in the background near the center of the left edge. Blacklight: No evidence of restoration. An uneven layer of varnish has been applied. Frame: 34.75” H x 40.75” W x 3” D 1219 Visual: Overall good appearance. Slight varnish discoloration. The tacking edges have been removed and, as mentioned, the canvas has been relined. Blacklight: Two dime-sized (or smaller) touch-ups in the right of center of the sky. A few dime-sized (or smaller) touch-ups scattered along the left edge. Other small dots, flecks, and dashes of touch-up scattered occasionally throughout. Frame: 14.375” H x 17.5” W x 4” D 1220 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 29.75” H x 35.75” W x 1.75” D 1221 Visual: Overall good appearance. Slight varnish discoloration. Blacklight: No evidence of restoration. Uneven varnish application. Frame: 22.75” H x 28.75” W x 2” D
Condition Reports
1211 Overall good appearance. The sheet is loose with full margins with deckled edges. Very pale time staining showing in the deckle of the outer margins. The sheet is loose, not matted.
Blacklight: A rice-sized touch-up in the background of the lower left quadrant.
507
1222 Visual: Overall good appearance. A few scattered soft surface scuffs, the largest measuring 4.5” diagonally in the sky in the upper left quadrant. Tiny specks of grime scattered occasionally throughout. Blacklight: A 1” H thin band of touch-up along the lower portion of the left edge. Scattered spots of possible mold throughout, visible only under blacklight. Frame: 24.5” H x 30.5” W x 2.25” D 1223 Visual: Overall good appearance. Three linear horizontal abrasions lower left and one vertical linear abrasion along the lower left edge at the corner, the largest is about 3.5”. The very outer edges are worn with abrasions and pea-sized (and smaller) losses with the exception of the upper left corner which has a 0.5” H x 0.5” W area of loss. Occasional spots of surface grime. Blacklight: No evidence of restoration. Unframed 1224 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 10.75” H x 9.625” W x 2” D 1225 Overall good appearance. The paperboard evenly toned throughout, both recto and verso, likely due to age. Occasional surface skinning and remains of old masking tape and brown paper in places along the verso edges.
Condition Reports
Framed under glass: 24” H x 20” W x 0.5” D
508
1226 The blueish patina side with a 6” x 3” area of wear to patina and attendant oxidation. With dust accumulation, scattered minor scuffs, and darkening/ oxidation to bronze commensurate with age. 1227 Overall good appearance. With full margins and deckled edges. Light-staining. Pale scattered foxing throughout, most of which are primarily visible in raking light. A few soft handling marks scattered in the outer margins. Very soft cockling in the margin edges. The sheet is framed floating, presumably tipped to the back mat in places from the verso corners and edges. Not examined out of the frame. Framed under glass: 31.25” H x 23.25” W x 1.5” D
1228 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 23” H x 23” W x 3.5” D 1229 Overall good appearance. A long piece of tape along the upper edge, only 0.125” (or less) of which is showing along the upper sight edge, presumably in the hand of the artist. Not examined out of the frame. Framed under glass: 31” H x 36.75” W x 2” D 1230 Losses to pine pitch throughout, concentrated at base and waist, with cracking throughout. With soiling, dust accumulation, and warping to the form commensurate with age and use. 1231 Overall good condition with dust accumulation and wear commensurate with age and use. Previous dealer’s notes inked to underside. 1232 With dust accumulation and wear commensurate with age and use. Discoloration/darkening to exterior and interior. Heavy losses to feathers, with losses to beadwork concentrated to the shoulder. 1233 Overall good condition with dust accumulation and wear commensurate with age and use. One partial stitch break to foot rim. 1234 With dust accumulation and wear commensurate with age and use. At least two beads missing, with heavy losses to previously extant feathers. Discoloration/darkening to exterior. 1235 Overall good condition with dust accumulation and wear commensurate with age and use. Darkening and discoloration to exterior and interior. With at least two single stitch losses to body. 1236 The rim with a three-row rod break. With a 0.25” long area of stitch losses at center exterior. With dust accumulation and wear commensurate with age and use. Darkening to exterior body and interior. 1237 Overall good condition with dust accumulation and wear commensurate with age and use. Sticker ghost to underside.
1239 Each overall good condition with dust accumulation and wear commensurate with age and use. The larger with at least two stitch losses and three stitch breaks, with general discoloration to the lighter ground throughout. 1240 Each with dust accumulation and wear commensurate with age and use. The largest with fading and losses to beading, with attendant stitch loss. 1241 Overall good condition with dust accumulation and wear commensurate with age and use. With about six stitch losses or partial losses to rim, and a few scattered stitch losses to body. Fading to top of lid. 1242 With a 2.5” x 2” area of staining. Overall good condition with dust accumulation and wear commensurate with age and use. Fading throughout. 1243 Heavily warped and in irregular shape. Scattered losses to quillwork. With dust accumulation and wear commensurate with age and use. 1244 Visual: Overall good appearance. Not examined out of the frame. Blacklight: No evidence of restoration. Framed under glass: 13.5” H x 19.5” W x 1.5” D 1245 Overall good appearance. Scattered grime under the glass but this does not appear to affect the image. Not examined out of the frame. Framed under glass: 37” H x 32” W x 2” D 1246 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 20” H x 24” W x 1.75” D 1247 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 12.5” H x 14.75” W x 2” D
1248 Overall good appearance. There is a rice-sized discoloration, possibly stray pigment, along the very outer upper edge on the right side. The title on the overmat is faded, but an additional watercolor sketch in the lower right of the overmat has vibrant color. Not examined out of the frame. Framed under glass: 21” H x 33” W x 1.5” D 1249 Overall good appearance. Not examined out of the frame. Framed under glass: 16.625” H x 29” W x 1.5” D 1250 Each with dust accumulation, scattered scuffs and scratches, and darkening/oxidation to bronze commensurate with age. Each with wear to the patina of areas in relief with more concentrated scuffing. Some wear to the matting, one frame with separation at corners. Each framed: 35.5” H x 35.5” W x 5” D 1251 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Previous retailer’s sticker applied to plinth. 1252 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 1253 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Scattered areas of wear to patina including the top of figure’s head and areas of the base. 1254 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Plinth with a 0.5” x 0.25” chipped loss at one edge. 1255 All overall good appearance. “Uphill on the Stage Trail” was mounted to paper and then mounted to a back mount, all as issued, with likely toning to the paper. “Military Escort of the Mail” has an area of light, scattered, pinhead-sized (and smaller) fox marks in the upper right corner. Not examined out of the frames. Each framed under glass; Frame of largest: 11.75” H x 14” W x 1.5” D; Frame of smallest: 8.5” H x 10.5” W x 1.5” D
Condition Reports
1238 Overall good condition with dust accumulation and wear commensurate with age and use.
509
1256 Overall good appearance. Not examined out of the frame. Framed under glass: 19.125” H x 24.625” W x 1” D 1257 Overall good appearance. With margins. Not examined out of the frame. Framed under glass: 19” H x 24.625” W x 1” D 1258 Overall generally good appearance. Pale lightstaining, primarily along the edges of the overmat window opening. An occasional pale foxmark scattered in the margins. A small cluster of 0.25” hairline surface abrasions in the left portion of the upper platemark. Small areas of minor surface skinning scattered throughout. Three 0.25” H x 2” W bands of surface staining along the recto and verso of the upper margin edge. A few minor 2” W (or smaller) flattened creases along the leftmost portion of the lower margin edge. Tiny unobtrusive paper losses scattered occasionally along the margin edges, primarily in the upper margin. The sheet is hinged to the back mat with three pieces of clear hinging tape along the upper margin edge. Framed under glass: 17.125” H x 22.125” W x 1” D 1259 With margins and velvety burr. Significant pinpoint foxing throughout the image and margins. Significant mat-burn and pale light-staining. Not examined out of the frame. Framed under glass: 15.25” H x 18” W x 0.75” D
Condition Reports
1260 Overall good appearance. With margins and touches of velvety burr. Occasional pinpoint-sized flecks of stray printer’s ink in the margins. Not examined out of the frame.
510
Framed under Plexiglas: 15” H x 18.75” W x 0.75” D 1261 Overall good appearance. The artist board is taped to the overmat with white paper tape from the verso of its edges. Framed under glass: 19.75” H x 17” W x 1” D 1262 Overall good appearance. Not examined out of the frame. Framed under glass: 19.75” H x 16.875” W x 1” D
1263 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 one pea-sized area of moth grazing, side B with staining in the cream of the basket. 1264 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Scattered minor pulled threads. 1265 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 17” x 8” area of scattered moth grazing, scattered breaks in the selvage cording, one corner with losses to cording with attendant loose weave, and side A with a 13” x 9” area of rubbed wear/abrasion. 1266 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: each side with spots/staining to one third, and scattered areas of loose weave with attendant expose warp. 1267 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. 1268 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, scattered pulled threads at center, and possible reweaving to short edges with attendant areas of loose weave. 1269 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: several small areas of moth grazing, and one edge with a pea-sized are of a break in the selvage cording with attendant loose threads. 1270 The image visually good condition with minor dust accumulation commensurate with age. The drum with some losses to lashing concentrated to right side, a 2.5” long tear verso, soiling and staining throughout, and stiffening to hide. Beater with soiling and wear to the fabric.
1271 Overall good appearance. The full sheet. A few very tiny, unobtrusive surface abrasions along the left portion of the extreme lower edge. The sheet is loose, not matted, but placed into a foam core shadowbox.
1279 The hand drum with a 1.5” x 1” repaired hole. Rubbed wear and losses to ceremonial polychrome. Each with stiffening to hide, soiling, and scuffs and scratches throughout commensurate with age.
Unframed
1280 Overall good condition with minor soiling, dust accumulation, and scattered scuffs and scratches commensurate with age.
Framed under Plexiglas: 36” H x 45.5” W x 2” D 1273 Overall good appearance. Not examined out of the frame. Framed under glass: 19.75” H x 16.75” W x 2” D 1274 Overall good appearance. Not examined out of the frame. Framed under glass: 19.5” H x 13.25” W x 1.75” D 1275 Overall good appearance. The full sheet with deckled edges. The collaged silver and brass relief of a Zuni olla is slightly tarnished, as predicted by the artist (see quote from artist reprinted below). The sheet is framed floating, hinged to the back mat in places from the verso of the upper sheet edge. Not examined out of the frame.
1281 Overall good condition with minor scuffs and scratches commensurate with age. 1282 Each with soiling, older staining, dust accumulation, stiffening to babiche, lacing and leather elements, and scattered nicks, scuffs, scratches, and indentations commensurate with age. 1283 Missing most of the horsehair string. With shelf wear, rubbed wear to polychrome, dust accumulation, and minor scattered scuffs and scratches commensurate with age. 1284 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 6” H x 5” W x 2” D 1285 Visual: Overall good appearance. Blacklight: No evidence of restoration. Appears unvarnished.
Framed under Plexiglas: 30.625” H x 23.125” W x 0.75” D
Frame: 6” H x 5” W x 1.75” D
1276 Overall good appearance. Not examined out of the frame.
1286 Visual: Overall good appearance. Slightly discolored and uneven varnish layer.
Framed under glass: 20.75” H x 17.75” W x 2” D
Blacklight: No evidence of restoration. A few spots fluoresce but this appears to be due to the uneven varnish application.
1277 With cracks in the wood, losses at edges and extremities, and losses to polychrome throughout. With shelf wear, scuffs and scratches, and soiling commensurate with age. 1278 Multiple repairs throughout including to at least one head protrusion, the mouthpiece, at the neck, one to the verso near bottom of garments, and multiple to the base. With scuffs, scratches, nicks, small losses, and rubbed wear and losses to polychrome commensurate with age. Wear to applied elements.
Frame: 17.75” H x 15.75” W x 2” D 1287 Overall good appearance. Mat staining along the edges of the window opening in the sky. Not examined out of the frame. Framed under glass: 24.25” H x 20.25” W x 1.5” D
Condition Reports
1272 Overall good appearance. The full sheet with deckled edges. The outermost vertical edges of the paper are curling upward slightly, more visible on the right side. The sheet is framed floating, hinged to an invisible backing board in places along the verso of the sheet edges. Not examined out of the frame.
511
1288 Overall good appearance. Not examined out of the frame. Framed under glass: 23.5” H x 17” W x 2” D 1289 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 1290 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Previous dealer’s sticker applied to underside. 1291 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 1292 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 1293 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
Condition Reports
1294 Scattered scuffs and scratches to shoulders, shelf wear, a few scratches and small marks/spots, and inherent firing marks commensurate with age. Some rubbed wear to cipher and previous dealer’s penciled notes.
512
1295 The rim with a pea-sized chipped loss, two rice-sized, and multiple fleabites and slip chips. Scattered losses to slip decorations throughout. The underside with previous dealers’ sticker remnants. With shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 1296 With a 2” long vertical crack issuing from rim. With dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Rubbed wear to underside obtrusive to signature, with mounting putty residue. 1297 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With at least three losses to turquoise beads.
1298 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 1299 Shallow chipped losses to underside, obtrusive to marks. With shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 1300 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The smaller with losses to polychrome throughout. The larger with four sticker ghosts to underside. 1301 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Each with rubbed losses to slip decorations. 1302 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. 1303 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Rubbed wear to polychrome of each. 1304 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 1305 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 1306 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Shula with loss to signature slip paint. 1307 Each with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The round Naha with some moisture damage to slip decorations. The Sakeva with rubbed losses to the polychrome.
1308 Each with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Losses to underside of Poleahla bowl, obtrusive to signature. The vase with rubbed losses to black slip painted designs.
1317 Lovato with small chipped losses mostly to slip decoration at rim, the Garcia and the Cariz also with wear to slip at rims. Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
1309 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Each with rubbed losses to the polychrome throughout.
1318 Larger turtle with a chipped loss at one foot. Cup with a pea-sized chip to rim. Larger owl with staining, each with rubbed wear and losses to polychrome. Vase with a small chip and fleabites to rim, with some spalling to body. Each with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age.
1311 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Scattered losses to polychrome, with small chips to slip paint of each. The jar with a pea-sized spalling loss. 1312 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Each with rubbed wear to the polychrome. Harvey with an inherent pea-sized indentation to body and a few rice-sized chipped losses to slip at rim. 1313 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Some with rubbed wear and small losses to the slip decorations. 1314 Repaired/restored from multiple breaks with losses. With shelf wear, soiling, scattered scuffs and scratches, and inherent firing flaws commensurate with age. 1315 Cracks in the slip and soiling throughout, with rubbed wear to the decorations, concentrated at spout. With shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Sash overall good condition. 1316 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The larger with some rubbed losses to slip painted decorations.
1319 Each overall good condition with shelf and handling wear, losses to turquoise, and minor soiling and dust accumulation commensurate with age. Largest jar with a large portion of underside not encrusted with turquoise. 1320 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. One clown missing its grass accent to head. 1321 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. One Cavan with deeper scuffs. 1322 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 1323 Larger bowl broken and reassembled, with small attendant losses. The olla with heavy older losses to rim. The smaller bowl with a 0.75” long loss to rim, with other small losses. Each with soiling, scuffs, scratches, and fire clouding commensurate with age and use. Each with mounting putty residue to underside. 1324 Reassembled from broken pieces, with some losses. Older chipped losses to rim. Fire clouding throughout, with older scuffs, scratches, and soiling commensurate with age. Mounting putty residue to underside. 1325 Reassembled from broken pieces, with some losses. Older chipped losses to rim, the largest measuring 1” x 0.625”. Fire clouding throughout, with older scuffs, scratches, and soiling commensurate with age. Mounting putty residue to underside.
Condition Reports
1310 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Adams with fire clouding and sticker ghost to underside.
513
1326 The underside with a loose layer. With soiling, losses, and wear commensurate with age. 1327 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 1328 Possibly with repair to antlers. With heavy oxidation, verdigris, soiling, staining, and with scuffs, scratches, and indentations commensurate with age and outdoor use. 1329 Heavy wear to patina throughout. Otherwise overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 1330 Overall good condition with dust accumulation, scattered scuffs and scratches, and darkening/ oxidation to bronze commensurate with age. 1331 The handle with a slight bent at one juncture. The interior with more soiling and heavier oxidation. With scattered minor scuffs and scratches, stains, and darkening/oxidation commensurate with age. 1332 Overall good condition with scattered scuffs and scratches commensurate with age. The front panel with a 14” x 3” localized area of heavy deeper scratches, and the front edge of flip-top with a few nicks and heavier scratching. Localized areas of scratching to interior compartment.
Condition Reports
1333 Overall good condition with scattered minor scuffs and scratches commensurate with age. The interior with deeper and more concentrated scratches to shelf surfaces and minor soiling.
514
1334 Overall good condition with scattered minor scuffs and scratches commensurate with age. 1335 Overall good condition with scattered minor scuffs and scratches commensurate with age. Includes two keys. Please note, this is not the illuminated model. 1336 Each overall good condition with scattered minor scuffs and scratches commensurate with age. Each with some staining in the grout surrounding the inset tile.
1337 Wear to bottoms of legs, which are slightly loose from their mounting. With scuffs, scratches, nicks, and soiling commensurate with age. Proper working order unknown, condition of original parts also unknown. 1338 Overall fair to good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The upper propeller with one broken blade, which has been retained with the lot. One stretcher at the base is detached. Joints and junctures are shaken and some are loose. Allover paint is cracked and the wood is weathered, possibly intentionally “antiqued.” This item is sold “as-is.” 1339 Overall good condition with scuffs, scratches, oxidation, and verdigris to bronze commensurate with age. 1340 Overall good appearance. A pinhead-sized fleck of gold paint along the upper portion of the left edge. Paperboard toning visible in the background and the sky. Frame: 17.5” H x 21.5” W x 2” D 1341 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 16” H x 14” W x 2.5” 1342 Overall good appearance. The sheet is hinged to the back mat from the verso of the upper corners with archival tape. Framed under glass: 14” H x 12.75” W x 1.25” W 1343 Visual: Overall good appearance. Not examined out of the frame. Blacklight: No evidence of restoration. Framed under glass: 17.75” H x 15.75” W x 2” D 1344 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.
1346 Each overall good condition with dust accumulation and light wear commensurate with age and use. Some dangles lacking bead ends. 1347 Each overall good condition with dust accumulation and wear commensurate with age and use. The largest with a few scattered stitch breaks.
1356 Overall good condition with dust accumulation in fur, minor soiling and handling wear, and inherent flaws commensurate with age. Several holes throughout, likely inherent, with rubbed wear and cracking to pigments. 1357 Overall good condition with dust accumulation in fur, minor soiling and handling wear, and inherent flaws commensurate with age. Several holes throughout, likely inherent, with a few tears from possible previous mounting.
1348 Each overall good condition with dust accumulation and wear commensurate with age and use. The oval basket with a rim rod break.
1358 Overall good condition with minor soiling, handling wear, and inherent flaws commensurate with age. One repaired 2” long tear, two areas of tears repaired with hide by maker, and multiple holes at corners of hide from previous mounting. Fading to illustrations.
1349 Some of irregular shape. Each with scattered stitch breaks, one with a rod break to rim, and each with fading to exterior. Overall good condition with dust accumulation and wear commensurate with age and use.
1359 Overall good condition with soiling, handling wear, and inherent holes and tears commensurate with age. Several holes at edges and corners from previous mounting. Scattered spots and stains, concentrated to margins.
1350 Each overall good condition with slight dust accumulation, minimal fading and shelf wear commensurate with age and use. The lid with a few faint marks.
1360 Overall good condition with dust accumulation, minor soiling, and shelf and handling wear commensurate with age.
1351 Each overall good condition with dust accumulation, slight fading, and shelf wear commensurate with age and use. The high-sided tray with multiple stitch losses to center of interior base. The lidded jar with rubbed wear/shredding to finial and to lid edge. 1352 Overall good condition with general wear and minor soiling commensurate with age. 1353 Each with soiling and general wear, with stiffening to hide commensurate with age. 1354 Each with wear and soiling to underside and general wear commensurate with age. 1355 Each with soiling, general wear, and stiffening to hide commensurate with age.
1361 With dust accumulation, minor soiling, and minor shelf and handling wear commensurate with age. 1362 Overall fair condition with dust accumulation, soiling, creasing, and wear commensurate with age and use. The hide with scattered marks, stains, dye transfer, and areas of rubbed wear. A small tear to front neckline. A few scattered natural small holes, and a few small scattered stitched repairs. 1363 Overall good condition with dust accumulation, minor soiling, creasing, and minor wear commensurate with age and use. The hide with a few scattered marks, and minor stains. A couple of seams with slightly loose stitching. A small patched hide repair to one shoulder seam at sleeve top.
Condition Reports
1345 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.
515
1364 With dust accumulation, soiling, stains, extensive creasing and wear commensurate with age and use. The hide with extensive stiffening and distortion, primarily to lower section and to sleeves. Scattered small holes throughout, some natural to the hide. Scattered patched repairs. Collar with failed seams and areas of stitch loss. 1365 Overall good condition with dust accumulation, light soiling, creasing, and minor wear commensurate with age and use. The hide with a few scattered marks. A few areas of minor rubbed wear to green pigment. 1366 Overall good condition with light dust accumulation, creasing, and minor wear and faint soiling commensurate with age and use. With a few scattered faint marks overall. A few scattered inherent holes to the hide. One front shoulder with a split and a larger hole to the hide, 2” x 1.5”. 1367 Overall good condition with dust accumulation, minor soiling, creasing, and wear commensurate with age and use. The hide with a few scattered marks, minor stains, and areas of slight darkening. 1368 Overall good condition with dust accumulation, light creasing, and wear commensurate with age and use. A few scattered minor spots.
Condition Reports
1369 Each overall good condition with dust accumulation, minor soiling, creasing, and rubbed wear commensurate with age and use. The hide with scattered marks, minor stains, and areas of slight darkening. Beadwork on vest and pants worked through brown grocery bag paper, the vest interior with dye transfer from bags.
516
1370 Each overall good condition with dust accumulation, minor soiling, creasing, and rubbed wear commensurate with age and use. The hide with scattered marks, minor stains, and areas of slight darkening. The pants wit ha small hole to one side hip. 1371 With dust accumulation, soiling, heavy creasing, and wear commensurate with age and use. Scattered areas of dark dye transfer and red staining. Scattered losses to beads and paillettes, with loose threads in places. Stiffening and curling to fringe elements. A break to cord lacing at back hem fringe. Lining with areas of soiling, scattered stains, and dye transfer, especially to neck and to hem.
1372 Each overall good condition with dust accumulation, minor creasing, and wear commensurate with age and use. Green tunic with a few scattered patchy spots/marks to green wool, and minor staining to white sleeve edging and to white lining. 1373 Overall good appearance. A light handling crease in the center right vertical edge. Very faint paper toning. Not examined out of the frame. Frame: 22.25” H x 18” W x 2” D 1374 Overall good appearance. Light-staining. Not examined out of the frame. Framed under glass: 23” H x 19” W x 3.75” D 1375 Overall good appearance. Pale light-staining. A small foxmark just below the figure’s left eye, and a few pale foxmarks scattered along the outer edges. Not examined out of the frame. Framed under glass: 24.75” H x 21” W x 2.25” D 1376 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 18.5” H x 16.25” W x 2.25” D 1377 Overall good appearance. Not examined out of the frame. Framed under glass: 31” H x 25” W x 1.25” D 1378 Overall good appearance. Not examined out of the frame. Framed under glass: 17.25” H x 14.25” W x 0.75” D 1379 With wood dowel. Overall good condition with minor dust accumulation commensurate with age. Possibly with slight fading. 1380 Each side with at least two repaired tears measuring 2”-3” long. Each side with rubbed wear and losses to imbrication. Losses to the cording at top at leather straps. With soiling and general wear commensurate with age.
1382 Overall good condition with some soiling and rubbed wear to base and some distressed areas of porcupine hairs at edges. 1383 Each with abrasions at the two ends of stone. Each overall good condition with scuffs, scratches, minor soiling, staining, stiffening to hide, and general wear commensurate with age. 1384 Each overall good condition with scuffs, scratches, minor soiling, staining, stiffening to hide, and general wear commensurate with age. Oxidation to metal components. Two with losses to beading at end. One with a large chipped loss to stone, another with a smaller loss. 1385 One with repair to handle. Each with scattered scuffs, scratches, losses to polychrome, rubbed wear, and minor soiling and dust accumulation commensurate with age. Wear to the feather accents. 1386 Each overall good condition with minor wear commensurate with age.
1393 Overall good condition with some staining to top of canvas and a few scattered small stains elsewhere. 1394 The longest with a dime-sized hole. Staining to the darkest brown bag. Each with stiffening, soiling, and dust accumulation commensurate with age. 1395 Each overall good condition with minor soiling and general wear commensurate with age. The tobacco bag with some losses to quillwork of each side. 1396 Each overall good condition with minor wear commensurate with age. 1397 Leg bands with some breaks in the bead strands. Each overall good condition with minor wear. 1398 Overall good condition with rubbed wear to hide, dust accumulation, and soiling commensurate with age. 1399 Each with soiling, dust accumulation, and general wear commensurate with age and use. 1400 Overall good condition.
1387 Largest pouch and three others with staining, one rounded pouch with stiffening to hide. Each with soiling and general wear commensurate with age.
Framed: 29” H x 29” W x 1.375” D
1388 Each with soiling and rubbed wear commensurate with age. Gloves with creasing and cracking to the hide, with more soiling and staining from use.
Framed: 17.25” H x 17.25” W x 1” D
1389 Overall good condition with minor dust accumulation and soiling commensurate with age. 1390 Each overall good condition with minor wear commensurate with age. The belt with soiling and staining to fabric. 1391 Blue sheath with losses to beadwork at the opening. Each with soiling, stiffening to hide, and general wear commensurate with age and use. Oxidation to knife. 1392 Each overall good condition with minor wear commensurate with age.
1401 Overall good condition.
1402 Missing one half of a hand-held implement. Otherwise good condition with minor shelf wear and dust accumulation commensurate with age. 1403 Each overall good condition with dust accumulation, minor soiling, shelf wear, and minor scuffs and scratches commensurate with age. 1404 This lot does not include the stand pictured. Overall good condition with soiling, dust accumulation, and general wear commensurate with age. 1405 Losses to feather accents at top. With scuffs, scratches, nicks, and small losses at edges and corners commensurate with age.
Condition Reports
1381 Losses to metal beads, one bone element, and leather fringe. With some stiffening to hide, minor soiling, and general wear commensurate with age.
517
1406 Some losses to feathers at top. With scattered minor scuffs and scratches and small nicks at edges and corners commensurate with age. 1407 Small chipped losses to beak. Some losses to feathers at top. With scattered minor scuffs and scratches and small nicks at edges and corners commensurate with age. 1408 Some losses to feathers and wild grass at top. With scattered minor scuffs and scratches and small nicks at edges and corners commensurate with age. 1409 Heavy staining and moisture damage. Remnants of feathers at top. With scattered minor scuffs and scratches and small nicks at edges and corners commensurate with age. Lacking strapping. 1410 With a 6” long vertical crack in the wood. Each side with soiling, staining, and losses to polychrome. With scuffs, scratches, and older losses at edges commensurate with age. 1411 Large tear to the strapping at one juncture. With soiling, rubbed wear, stiffening, and losses to the pigmentation commensurate with age.
Condition Reports
1412 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: areas of faint yellowing and light surface soiling to cream cotton, a couple of faint spots, and a few loose threads to weave.
518
1413 Each overall good condition with dust accumulation, creasing, light soiling, and typical signs of wear commensurate with age and use. The wide sashes each with patchy yellowing and surface soiling to cream cotton areas, and scattered spots and small stains. The cuffs each with minor pilling to threads and a couple of areas of loose stitching. 1414 Each with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: two each with a pea-sized area of moth grazing, the pillow with broken seam and small areas of exposed warp.
1415 Each with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: pillow case with one seam broken, yellowing, staining, and losses to fringes, the largest with a few pulled threads, and the last with a few small areas of moth grazing. 1416 Overall fair condition with dust accumulation and typical signs of wear commensurate with age and use. The front and shoulders with extensive patchy fading, likely from display. The interior with a few safety pins holding collar and pockets in place. 1417 One missing an ear. Each with soiling, staining, and general wear commensurate with age. 1418 With soiling, scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The rear panels with infilling and reinforcement. Scattered losses at edges and corners, with losses to paint throughout interior and exterior. 1419 Overall good condition with dust accumulation, scattered scuffs and scratches, and minor soiling throughout commensurate with age. 1420 Each with soiling and general wear commensurate with age. Issues including but not limited to: the smaller with scattered spots and stains, one larger with scattered moth grazing to each side, and another larger with two pea-sized areas of moth grazing to side A. 1421 Each with soiling and general wear commensurate with age. Issues including but not limited to: the beige with scattered stains to fringe and a 2.5” x 2.5” area of hardened staining to side A, the dark brown with heavy losses to fringe, a quarter-sized stitched repair at middle, and three dime-sized areas of moth grazing to side A, and the star with two small areas of shallow moth grazing to side A. 1422 Each with soiling and general wear commensurate with age. Issues including but not limited to: circle with a pea-sized areas of moth grazing to side A at edge, the black/brown with scattered small areas of moth grazing to side A, and the portrait with a peasized area of moth grazing to side A.
1423 Each with dust accumulation, minor creasing, and wear commensurate with age and use. Long coat with wear to original blanket label, protected by net covering.
Condition Reports
1424 Overall good condition with minimal wear and light creasing commensurate with age and use.
519
John Moran Auctioneers, Inc SPECIALISTS
Head of Sale, Native American Art Kim Jarand Vice President, Specialist Maranda Moran Director, Fine Art Katherine Halligan, AAA President, Auctioneer Jeffrey J. Moran Director, Furniture and Decorative Arts Jen Kurtz Senior Specialist, Furniture & Decorative Art Angela Past Specialist, Post-War & Contemporary Design Matthew Grayson 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 Department Administrator, Furniture & Decorative Arts /Jewelry Jessica Crosbie Cataloguer, Furniture & Decorative Arts Grant Stevens Sally Andrew Cataloguer, Silver Jewelry & Decorative Art 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
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 Office Supervisor Joseph Fields 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 Manager, PR/Social Media Media & Website Designer
PHOTOGRAPHY
Senior Photographer, Head of Photography Photographer Photographer Photographer
FOUNDERS
Nathan Martinez Brenda Smith Brian Olivas Keith Berson Madison Torres Wyatt Beserra Chloe Daniels
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.
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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.
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