Art of the American West — June 3, 2025 | John Moran Auctioneers
Art of the American West
SINCE 1969
Tuesday, June 3, 2025
Maranda Moran Vice President, Head of Sale Specialist, Silver, Western & American Indian Art m.moran@johnmoran.com
Sally Andrew Cataloguer, Silver Jewelry & Decorative Arts s.andrew@johnmoran.com
Grant Stevens Cataloguer, Decorative Arts g.stevens@johnmoran.com
Madison Ari Cataloguer, Fine Art m.ari@johnmoran.com
Mario Esquivel Office Manager m.esquivel@johnmoran.com
A Northwest Coast carved horn and wood spoon 20th century
Likely Tlingit or Haida, the carved goat horn potlatch spoon with a figural totemic carved wood handle featuring an inset abalone shell eye
16” L x 3.625” W x 6” D
$500-700
An Inuit doll
Early 20th century; Nunavik, Northern Quebec, Canada
A standing figure with carved green stone face, padded body, and with fabric clothing including felted wool parka and hood, hide boots, shearling wool trim accents and yarn embroidery
12” H x 7.25” W x 5” D approximately
$200-400
Notes:
This lot accompanied by a retail tag indicating Port Harrison [Inukjuak] as area of attribution. Inukjuak is a northern village located on Hudson Bay at the mouth of the Innuksuak River in Nunavik, in the Nord-du-Québec region of northern Quebec, Canada.
3
Tresham Gregg (b. 20th century)
“Sea Wolf Battles the Giant Killer Whale,” 1986
Carved and painted wood
Signed, dated, and titled in pencil verso: Tresham Gregg / ‘86
33” H x 19” W x 0.75” D
$500-700
4
A Southwest-style silver and set stone picture frame
Late 20th/21st century
Stamped for shop verso: J. Alexander / [teepee motif]
Made from German silver, a “J. Alexander Rustic Silver” contemporary frame with stamped Southwest motifs to edges and four set blue stones to each corner, with glass insert
7.125” H x 9” W; opening verso: 4” x 6”
473.5 grams gross
$200-400
A small California Mission basket
Early 20th century; Southern California
The small bowl with central star flower motif and flared rim
2.25” H x 7.125” Dia.
$200-400
A small polychrome California Mission pictorial basket Early 20th century; Southern California
A coiled low bowl featuring a Gila monster or rattlesnake motif to center and a band of alternating triangles to sides
2.5” H x 5” Dia.
$500-700
A polychrome California Mission basketry tray
Early 20th century; Southern California
A coiled small flared tray with multiple contrasting motifs to sides 1.75” H x 9” Dia.
$400-600
A polychrome California Mission pictorial basket
Early 20th century; Southern California
A large coiled oval bowl with a wide band of multicolored stylized floral/faunal motifs to sides
5” H x 11.5” W x 9” D
$800-1,200
A polychrome California Mission basket
Early 20th century; Southern California
A coiled globular bowl with four geometric abstract motifs to sides and floral motif to base
4” H x 7.25” Dia.
$400-600
A polychrome California Mission basketry tray
Early 20th century; Southern California
A coiled low bowl with concentric five point stars/flower motifs in alternating positive and negative contrast
2.75” H x 9.25” Dia.
$400-600
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A polychrome California Mission basketry bowl
Early 20th century; Southern California
The coiled bowl with all over floral and geometric pattern
4.5” H x 9.75” Dia.
$500-700
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A polychrome California Mission pictorial basket
Early 20th century; Southern California
A coiled low bowl with contrasting leaf and butterfly motifs to sides and floral motif to base
2.5” H x 6.5” Dia.
$400-600
Two small polychrome California Mission baskets
Early 20th century; Southern California
Two diminutive coiled globular low bowls, each with contrasting floral motifs
Larger: 2” H x 5: Dia.; Smaller: 1.875” H x 3.25” Dia.
$300-500
14
Marion Kavanagh Wachtel (1870-1954)
“Street in Walpi — No 21”
Watercolor and pencil on paper
Signed lower left: Marion Kavanagh Wachtel; titled in pencil, verso Sheet: 12.125” H x 16.125” W
$1,000-1,500
Provenance:
Sold: John Moran Auctioneers, Monrovia, CA, Art of the American West, September 8, 2019, lot 92
Acquired by the present owner from the above
Marion Kavanagh Wachtel (1870-1954)
Young Native American woman
Watercolor on paper
Signed and with the artist’s device in the lower left corner: Marion Kavanagh
Sight: 12.5” H x 8.25” W
$700-900
Provenance:
Private collection, Los Angeles, CA, by inheritance
Sold: John Moran Auctioneers, Monrovia, CA, Art of the American West, September 8, 2019, lot 92
Acquired by the present owner from the above
16
Gene Speck (b. 1937)
“Breaking Through the Mist,” 2000 Oil on panel
Signed and dated lower left: Gene Speck 2000; signed again and titled in pencil on the frame’s backing paper 11” H x 14” W
$1,500-2,000
17
Gerald Cassidy (1879-1934)
Navajo weaver
Ink, ink wash, and gouache on Strathmore paper laid to Japanese paper
Signed lower right: Gerald Cassidy
Sheet: 14.5” H x 11.5” W
$2,000-3,000
Provenance:
Owings-Dewey Fine Art, Santa Fe, NM
Biltmore Galleries, Scottsdale, AZ
Private Collection, Arizona
Sold: Jackson Hole Art Auction, Jackson, WY, September 14, 2013, Lot 58
Sold: Jackson Hole Art Auction, Jackson, WY, September 14-15, 2018, Lot 12
Acquired by the present owner from the above
John Coleman (b. 1949)
John Coleman is an acclaimed Western sculptor and mythic storytelling. A full-time sculptor since its president in 2009. His many honors include Award at the Prix de West.
“Art is putting a spiritual face on a historical idea. viewer’s story, not yours.” - John Coleman
sculptor known for his bronze works exploring Native American themes, classical form, since 1994, he was elected to the Cowboy Artists of America in 2001 and served as the Kieckhefer Award for Best of Show and the James Earle Fraser Sculpture idea. It has to be a metaphor, so that the viewer can understand it. It has to be the
18
John Coleman (b. 1949)
“The Navajo Dance,” 2006
Cold-painted bronze on rotating wood plinth Edition: 19/35
The Cowboy Artists of America is an exclusive organization of artists that was founded in 1965 by four prominent western artists, Joe Beeler, Charlie Dye, John Hampton, and George Phippen.
19
John Coleman
(b. 1949)
“Maiden from Second Mesa,” 2020
Patinated and cold-painted bronze on wood plinth
Edition: 3/35
Signed, dated, titled, and numbered in the casting verso: John Coleman / CA Bronze: 9” H x 6.5” W x 4.25” D; Overall: 10.375” H
$1,000-1,500
Notes:
The Cowboy Artists of America is an exclusive organization of artists that was founded in 1965 by four prominent western artists, Joe Beeler, Charlie Dye, John Hampton, and George Phippen.
John Coleman (b. 1949)
“Girl from Wind River,” 2012 Cold-painted bronze on wood plinth Edition: 35/35
The Cowboy Artists of America is an exclusive organization of artists that was founded in 1965 by four prominent western artists, Joe Beeler, Charlie Dye, John Hampton, and George Phippen.
:
“In Girl from Wind River,” Coleman portrays a young woman from the Eastern Shoshone or Northern Arapaho Tribes, which share the 2.2 million-acre Wind River Reservation in Wyoming. She gazes past the viewer with quiet dignity, wearing traditional turquoise necklaces with silver Isleta crosses and shell earrings, alongside a red trade bandana—her adornment subtly reflecting a time of cultural transition.
The Cowboy Artists of America is an exclusive organization of artists that was founded in 1965 by four prominent western artists, Joe Beeler, Charlie Dye, John Hampton, and George Phippen.
The Cowboy Artists of America is an exclusive organization of artists that was founded in 1965 by four prominent western artists, Joe Beeler, Charlie Dye, John Hampton, and George Phippen.
“Ghost Dancer” references a powerful spiritual resistance that arose during the early reservation era. Believers held that through its sacred rituals, they would be protected from harm and reunited with their traditional way of life. In this bronze, Coleman captures the poignant moment of the dancer’s plea, preserved in form for future generations to reflect upon.
Gerard Curtis Delano (1890-1972)
Gerard Curtis Delano was renowned for his vivid landscapes of the Southwest. Originally from Massachusetts, his career as a successful magazine illustrator. He such noted artists as Harvey Dunn, Dean Cornwell, environment profoundly influenced his transition
Delano’s paintings are known for their bold use Unlike many artists of his time, he approached spiritual traditions. His work captured not only the especially regions like Monument Valley. Through balancing romanticism with authenticity.
vivid portrayals of the American West, particularly Navajo life and the dramatic Massachusetts, Delano studied at the Art Students League in New York and began He later attended the Grand Central School of Art, where he studied under Cornwell, and N.C. Wyeth. In the 1930s, he moved to Colorado, where the Western transition to fine art.
use of color, stylized realism, and respectful depictions of Navajo people and culture. Indigenous subjects with sensitivity, often portraying scenes of everyday life and the beauty of Navajo life but also the grandeur of the Western landscape, Through his art, Delano helped define the visual language of the American West,
Private Collection, Newport Beach, CA, acquired from the above, 1969
Notes:
This lot is accompanied by a copy of a sales receipt dated March 25, 1969 from the gallery mentioned above.
A framed vintage Hermès “Pani La Shar Pawnee” Carré silk scarf Circa 1984; France
Marked in the weave: Hermès-Paris / Oliver
Designed by Kermit Oliver (b.1943), and entitled “Pani La Shar Pawnee”, the silk twill scarf with handrolled edges, signed in plate, “Oliver,” in blues, greens and reds, designed with a central figure of a seated Pawnee chief on a deep blue field with fine line printed gold figures, and a green and multicolored border with various figures on horseback, professionally mounted and framed behind plexiglas
Scarf: 35” H x 34.5” W
$500-700
Literature:
This design illustrated: Nadine Coleno, “The Hermès Scarf: History and Mystique” (London: Thames & Hudson, Ltd, 2009), 50, 208-217.
Notes:
Kermit Oliver (b. 1943) is the only American artist to create designs for the French fashion house, Hermès, and this vibrant Carré scarf, “Pani La Shar Pawnee,” (1984) was his first.
A celebrated painter who studied and worked in Houston before moving to Waco, Texas, Oliver’s work reflects his Texas heritage and his interests in mythology, religion, and history. His paintings create “strange, lushly illustrated worlds populated by people and animals realistically drawn but placed in surreal juxtaposition,” both “superbly opulent and generous, full of adventure and history.” It was this reputation that led to a successful collaboration with Hermès in the 1980s, leading to sixteen designs by Oliver between 1984-2014.
Oliver was born in Refugio, Texas, where his father worked as a cowboy on a cattle ranch. His evident talent for drawing the cattle, horses, and the south Texas flora and fauna led him to study at Texas Southern University in Houston, where he was a student of the artist, Dr. John T. Biggers. He graduated in 1967 with Bachelor of Fine Arts and art education degrees. After a short time teaching art, he decided not to pursue teaching as a career, and worked for most of his life as both an artist and a full-time mail sorter for the US Postal Service. This balance of work and art allowed Oliver freedom to maintain a steady income and pursue art on his own terms. He retired from the postal service in 2013 and continued working as an artist. Oliver was the first African-American artist in Houston to be represented by a major gallery and has been featured in numerous exhibitions, including a 2005 retrospective at the Museum of Fine Arts, Houston.
Oliver’s relationship with Hermès began in 1980 when Hermès was looking for an American artist to design a scarf with a Southwestern theme, and Oliver was recommended by Lawrence Marcus of Neiman Marcus. As the first of the sixteen scarves, this portrait scarf (1984) depicts Native American “Pani La Shar Pawnee” with key attributes including a peace pipe with a sculpted horse, a feather bundle, and fur, bone, and bead trimmed ornaments and clothing, surrounded by a frieze of riders likely inspired by the sketches of Karl Bodmer, and in the corners are peace pipes and bison skulls “studded” with eagle feathers in multiple colors and offered in various colorways which ultimately required 35 screens to produce the completed design.
The subsequent Hermès designs of Kermit Oliver explored themes from American history and the natural world. While “a painter first and foremost, Oliver elegantly unites his pictorial compositions with the constraints of the scarf format.” Alvia Wardlaw, curator of Oliver’s 2005 retrospective exhibition, noted that “The love of flora and fauna that you see in Kermit’s art began in that childhood where he was free to roam around Refugio and ride horses and hunt and sketch and draw...His visual sensibility with regards to the Texas landscape which he makes a metaphor for the wonders of the universe was born out of those youthful experiences.”
References:
https://en.wikipedia.org/wiki/Kermit_Oliver Nadine Coleno, “The Hermès Scarf: History and Mystique” (London: Thames & Hudson, Ltd, 2009) 45; 74 Cheryl Anderson, “Postcards from France,” Classic Chicago Magazine, April 15, 2023: https:// classicchicagomagazine.com/hermes-designs-and-designers/
25
A pair of Plateau-style beaded gauntlet cuffs
Late 19th century; Northwest United States
Two beaded tapered cuffs with allover blue and black stepped design edged by rows of white, brown, and green beads, each with applied hide fringing to one edge, all worked to a canvas backing, and each held closed with three cotton ties
2 pieces
Each: 9.25” H x 11.5” W & 7” W; fringe: 6.5” L (variable)
$500-700
27
A pair of Cree beaded hide mittens
Late 19th century; Northern Great Plains/Canada
Each hide leather mitten with wide gauntlets featuring scrolled beadwork in white, dark blue, and green, worked on a red wool ground, with fine white bead edging
2 pieces
12” & 11.5” H x 6.625” W
$300-500
A Plateau beaded bag
Early/mid-20th century; Northwest United States
A multi-colored rectangular bag with the front featuring geometric motifs worked in beads of blue, green, red, and orange on a yellow field, with two hide handles, and with velvet edge binding, a quilted velvet back, and pink sateen lining 10” H x 8.5” W
$200-400
Burel Naha (b. 1944, Hopi-Tewa)
A Hopi polychrome pottery bowl, late 20th/21st century
Signed to base with artist’s katsina and feather marks
The narrow-necked olla jar with elongated shoulders, featuring three spider and web motifs, and geometric banding to sides and neck
7.25” H x 9.75” Dia.
$800-1,200
Burel Naha (b. 1944, Hopi-Tewa)
A Hopi polychrome pottery seed pot, late 20th/21st century
Signed to base with artist’s katsina and feather marks
An elongated seed pot with spider and web motif, with katsina medallions and arrow/thorn accent banding to sides 7.75” H x 4.5” Dia.
$600-800
A Gila polychrome pottery bowl
Prehistoric
The three-color pot with black on white geometric motifs to interior 5.125” H x 9.25” Dia.
$600-900
A polychrome Hupa/Yurok/Karuk basketry bowl
Early/mid-20th century; Northern California
A twined globular bowl with floating stacked rectangular bird motifs in brown and yellow imbricated stitches
3.625” H x 6.5” Dia. approximately
$300-500
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A polychrome Hupa/Yurok/Karuk basket
Early/mid-20th century; Northern California
A twined bowl with complex imbricated zigzag banding to body, and ticking bands to top and base
5” H x 7” Dia.
$200-400
A polychrome Hupa/Yurok/Karuk basket
Early 20th century; Northern California
A twined globular tall bowl with overall diagonal stepped triangle motifs, with zigzag banding to rim
5.75” H x 8” Dia. approximately
$500-700
A polychrome Hupa/Yurok/Karuk basketry bowl
Early 20th century; Northern California
A low bowl with a double band of imbricated triangles
4.5” H x 8” Dia. approximately
$400-600
35
A polychrome Hupa/Yurok/Karuk lidded basket
Early/mid-20th century; Northern California
A tall twined basketry jar with diagonally stacked imbricated geometric motifs to body and to lid, with ticking bands and an openwork rim 5.5” H x 6” Dia. approximately
$200-400
36
A polychrome Hupa/Yurok/Karuk basket
Early 20th century; Northern California
A small twined bowl with five imbricated floating hourglass diamond motifs 4” H x 6” Dia. approximately
$300-500
37
A polychrome Hupa/Yurok/Karuk basketry hat Early 20th century; Northern California
The twined hat with intricate imbricated dark brown and taupe banded stripe and floating geometric motifs
3” H x 7.25” Dia. approximately
$400-600
38
A polychrome Hupa/Yurok/Karuk basketry hat
Early 20th century; Northern California
A twined hat with an imbricated geometric band to center and hooked banding to crown and edge
3” H x 6.75” W x 7” D approximately
$400-600
A large polychrome Hupa/Yurok/Karuk basket
Early 20th century; Northern California
A tall twined tapered globular bowl with a geometric band of stacked triangles and ticking bands to top and base
9.25” H x 13” Dia. approximately
$500-700
A large polychrome Hupa/Yurok/Karuk basketry bowl
Early 20th century; Northern California
A tall twined bowl with five floating stacked hooked triangle overlay motifs and complex geometric bands to top and base
7.75” H x 11.5” Dia. approximately
$400-600
Two small polychrome Hupa/Yurok/Karuk baskets
Early 20th century; Northern California
Comprising a globular twined bowl with imbricated diagonal zigzag and triangle motifs, and a diminutive globular bowl with overall imbricated zigzag diagonal ticking 2 pieces
Larger: 3.5” H x 4.5” Dia.; Smaller: 2.5” H x 4” Dia.
$200-400
42
A group of Hupa/Yurok/Karuk baskets
Early/mid-20th century; Northern California
Three twined baskets comprising a small bowl with a band of imbricated triangle motifs (3.25” H x 5.5” Dia.), a polychrome flat sifting tray with concentric bands of plain and geometric motifs, with an openwork coiled ticked rim (9.875” Dia.), and a tall polychrome bowl with diagonal stepped pointed motifs and a coiled openwork rim (4.75” H x 6.5” Dia.)
3 pieces
$400-600
43
A large Hupa/Yurok/Karuk basketry tray
Early 20th century; Northern California
A twined flared tray with three swirled stepped zigzag arms radiating from the center and with ticking accents and banding to edge 5-6” H x 16.75” Dia. approximately
$400-600
45
A Hupa/Yurok/Karuk mush bowl
Late 19th/early 20th century; Northern California
A large twined basket with pale zigzag overlay banding
4.5” H x 10” W x 9” D
$200-400
44
A large polychrome Hupa/Yurok/Karuk basketry tray
Early 20th century; Northern California
A twined tray with imbricated overlay stepped triangle motifs, a floral/star center and triangular banding to edge, all worked to the interior
3.5” H x 15” Dia.
$400-600
46
With the incised signature lower left: Heinie Hartwig; titled verso 16” H x 20” W
$1,000-1,500
Heinie Hartwig (b. 1937)
“Blackfoot Encampment” Oil on Masonite
With the incised signature lower right: Heinie Hartwig; titled verso 12.25” H x 25.25” W
$1,000-1,500
Heinie Hartwig (b. 1937)
“Kiowa Sundown” Oil on Masonite
With the incised signature lower right: Heinie Hartwig; titled verso
$1,000-1,500
48
Heinie Hartwig (b. 1937)
“Winter Sundown” Oil on Masonite
12” H x 24” W
With the incised signature lower right: Heinie Hartwig; titled verso 6” H x 12” W
$600-800
Heinie Hartwig (b. 1937)
“Prairie Sundown” Oil on Masonite
50
Heinie Hartwig (b. 1937)
“Abstract #250” Oil on Masonite
Signed and titled in ink, verso: Heinie Hartwig 40” H x 30” W (or reverse)
$500-700
Notes:
According to an inscription on the verso, the work in this lot can be turned in any direction for display.
51
Hulan Fleming (b. 1933)
Teepees in a landscape at sunset, 2002 Oil on Masonite
Bronze: 21.5” H x 16.25” W x 10.5” D; Overall: 23.25” H x 17.25” W x 12” D
$800-1,200
53
Mehl Lawson (b. 1942)
“Vaquero Country”
Patinated bronze on wood plinth
Edition: 1/50
Signed, titled, and numbered in the casting: Mehl Lawson / CA Bronze: 9.25” H x 8” W x 4.125” D; Overall: 11.25” H x 9” W x 6.375” D
$800-1,200
Notes:
The Cowboy Artists of America is an exclusive organization of artists that was founded in 1965 by four prominent western artists, Joe Beeler, Charlie Dye, John Hampton and George Phippen.
54
Fred Fellows (b. 1934)
“Rearranging the Kitchen”
Patinated bronze on wood plinth
Edition: 17/100
Signed and numbered in the casting: Fellows / CA; further attributed and titled to metal plaque applied to plinth Bronze: 12.625” H x 8.875” W x 4.5” D; Overall: 14.125” H x 9.25” W x 5.75” D
$800-1,200
Notes:
The Cowboy Artists of America is an exclusive organization of artists that was founded in 1965 by four prominent western artists, Joe Beeler, Charlie Dye, John Hampton and George Phippen.
Sold: John Moran Auctioneers, Monrovia, CA, Decorative Art Auction, April 16, 2016, lot 1246
Acquired by the present owner from the above
Charles Marion Russell
(1864-1926)
Charles Marion Russell is considered one of the most significant featuring the life of the working cowboy and conflict between co painting, works on paper, bronzes, and in many illustrated letters,
Russell was born in St. Louis, Missouri in 1864 into a wealthy family manufacturing. His great grandfather had been the Chief Justice businesses eventually, instead, Russell was more interested in listening were famous frontier adventurers. Russell also spent time down town. Through these experiences, Russell developed a keen interest western heroes. Art also interested Russell from a young age. He schoolbooks. His principal subjects were cowboys and Indians. At Russell ran away to Montana at age 14 but his family caught up at age 18, Russell set out again for Montana, this time with his family’s The work was not interesting to Russell and his sheep herding tenure how to trap in the wild. After about two years in Montana, Russell
During this early period in Montana, Russell constantly sketched Utica, Montana, commissioned Russell to paint a picture for his bar, oil painting, “Breaking Camp” (Amon Carter Museum collection), Department’. Russell exhibited several works at Calkins & Featherly his first national exposure as an illustrator. In the winter of 1888 to
By 1892, Russell was a full-time and popular painter in Montana, visited the World’s Columbian Exposition in Chicago, where he had leaving his work as a cowboy behind.
Friendly and without a strong business sense, Russell in this period saloon in exchange for bar debts. While he was becoming famous, September 9, 1896. The couple moved to Great Falls, and Nancy his reputation and ended his practice of giving away his art. Instead, Works foundry in New York. A year later, in 1899, Russell published
By 1903, Russell had a national reputation. The couple built a log-cabin days. That winter, the couple went to New York to promote his first Exposition. This initial exhibition in New York was a failure and no but started a business relationship with Tiffany & Co. who started
Between 1909 and 1914, Russell was exhibiting nationally and in Folsom Gallery in New York (1911), and at the Dore Galleries in London Montana for a mural for the Montana House of Representatives
Russell was at the height of his career by 1915, and was in huge and charm of a friendly cowboy. By 1920, Russell’s health had started attack in Great Falls in 1926 at age 62.
artists of the American West. Working in a variety of mediums, Russell focused on dynamic narrative compositions cowboy versus Indian and man versus beast. He is celebrated today for his cowboy humor both in various mediums of letters, short stories and lively correspondence.
family that owned coal mines and the company Oak Hill Firebrick and Tile Works involved in brick and tile Justice of the Supreme Court of Missouri Territory. While expectations were that Russell would take over the family listening to his grandmother, Lucy Bent Russell, tell stories of the adventures of her brothers, the Bent Boys, who at the docks along the Mississippi River listening to stories from the explorers and fur traders that passed through interest in becoming a cowboy, and to that end became a proficient rider and adopted the ways and manners of his He started making models out of beeswax, given to him by a family friend, but was also constantly sketching in his At age 12, in 1876, he enrolled in a life-drawing class at Washington University in St. Louis.
to him and sent him to Burlingame Military Academy in New Jersey, where he lasted for just a few months. In 1880, family’s blessing. He arrived in Helena, and a family friend, Willis L.W. ‘Pike’ Miller, gave him a job as a sheep herder. tenure was short lived. Russell met Jake Hoover, a trapper and hunter, who taught him about animal behavior and ell went to work as a night herder.
during his off hours and slowly developed a local reputation as an artist. In 1885, James Shelton, a saloon owner in bar, and gave Russell room to paint in the back of the saloon, as he did not have a studio. An early exhibition of an collection), occurred in 1886 at the St. Louis Exposition and Music Hall Association Third Annual Exhibition in the ‘Amateur erly in Helena in 1887. In 1888, one of Russell’s sketches appeared in “Harper’s Weekly,” his first paid illustration and to 1889, Russell lived with the Blood Indians in Alberta, Canada.
, and he occasionally contributed illustrations for books or magazine stories published nationally. In 1893, Russell had several paintings on view in the Montana Pavilion. That same year he decided to turn to painting full time,
period would often give his sketches and paintings to friends and, at times, would paint a commission for the local famous, Russell was not particularly financially successful. That changed after Russell married Nancy Cooper on Nancy became Russell’s business manager. Because of Nancy’s business prowess, she helped Russell continue to build Instead, she facilitated sales at increasingly strong prices. In 1898, Russell cast his first bronzes at the Roman Bronze published Pen Sketches, a collection of prints of cowboy life. Both endeavors were successful.
log-cabin studio in Great Falls that Russell decorated with a collection of artifacts and memorabilia from his cowboy first eastern art exhibition via St. Louis, where Russell had several paintings in the Louisiana Purchase International no paintings sold. In 1904, Russell tried showing in New York again, and this time he not only sold several paintings, started to sell the artist’s small bronzes. While in New York, Russell also received illustration commissions.
internationally including at the Alaska-Yukon-Pacific Exposition in Seattle (1909), his first one-person show at the London (1914) where he sold a painting to the Prince of Wales. In 1911, he received a commission from the State of that depicts Lewis and Clark Meeting the Salish Indians at Ross’ Hole (1912).
demand and commanded large prices for his work. Despite this success, however, Russell maintained the character started to weaken, and he began to winter in California to escape the harsh Montana climate. Russell died of a heart
Charles Marion Russell (1864-1926)
“At the End of the Rope,” 1919
Gouache, watercolor, and pencil on illustration board
Signed, dated, and with the artist’s skull device lower left: C.M. Russell / 1919 13.25” H x 19.5” W
$120,000-180,000
Provenance:
The Artist’s Estate, Great Falls, MT
Nancy Russell, wife of the artist, Great Falls, MT
C.R. Smith, President of American Airlines, acquired from the above, May 1941
Homer E. Britzman, CO and Beverly Hills, CA, 1941
Charles S. Jones, Walter V. Dobbs, and Wallace K. Downey (who transferred his interest to Earl C. Adams, attorney for the Russell estate, San Marino, CA)
Estate of Homer E. Britzman, CO and Beverly Hills, 1953
Mrs. Homer E. Britzman, by inheritance from the above
Hammer Galleries, New York, NY, (Armand and Victor Hammer acquired partial ownership from the above), 1957, no. 17717-46
Private Collection, Healdsburg, CA, circa 1959, from the above
By family descent
Exhibited:
Los Angeles, CA, Department of Municipal Art, City Hall, Tower Gallery; San Francisco, California, California Palace of the Legion of Honor; Helena, Montana, Historical Society of Montana; Great Falls, Montana, The Trigg - C.M. Russell Foundation, “Charles M. Russell,” travelling exhibition, August 1957-February 1958, no. 46
Calgary, Canada, Western Canada Art Circuit, The Coste House, Calgary Allied Arts Council, n.d.
Literature:
“Antiques,” October 1959, LXXVI (4), p. 275, illustrated in an advertisement for Hammer Galleries
“Charles M. Russell, A Catalogue Raisonné,” online only, University of Oklahoma Press, Norman, Oklahoma, reference #CR.UNL.32
Notes:
“At the End of the Rope,” painted in 1919, embodies the subject and action of Russell’s most beloved works, executed at the height of his career with impeccable detail and fidelity of form, and a first-hand knowledge of calf roping. Russell grounds the mounted cowboy and roped calf on a dusty plain and focuses all of the viewer’s attention on the central roping action by backing the scene with a horizon band of painterly and atmospheric clouds or dust. Utilizing an effective combination of gouache, watercolor and pencil, Russell captures fine details in the cowboy and his Western wear, the horse and its Western tacking, and the calf’s twisted body as it is pulled airborne by the taut rope. Russell creates palpable drama and paints with pure authenticity in “At the End of the Rope.” The painting’s exciting narrative and exacting detail exhibits a culmination of the artist’s many years as a working American cowboy and his lifelong and deep immersion in its culture.
A stag antler console table
Late 20th century
The table with deer horn-support construction below a beveled glass top set in a wood frame
31.5” H x 62.5” W x 25” D
$500-700
A set of carved antler fireplace tools
Late 20th century
Each enameled metal tool with carved antler handle, comprising a shovel, a broom, a fire poker, and tongs, set in a conforming stand with antler base
Signed lower left: M. Albrechtsen; signed again, titled, and numbered “#726” in ink, verso 40” H x 44” W
$2,000-4,000
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A Contemporary Mission-style sideboard
Early 21st century
With burn mark to upper drawer interior: Bassett / Made in USA; numbered with factory stencil verso
The wood sideboard with brass hardware, featuring an upper plate rack mounted to a corbeled top surface, above three drawers centering opposed hinged cabinet doors, raised on four legs joined by an undershelf
Bronze: 2.25” H x 14.75” W x 9.5” D; Overall: 22.5” H x 16.25” W x 10.75” D
$1,000-2,000
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A Contemporary Mission-style wardrobe
Early 21st century
Lower console with burn mark to upper drawer interior: Bassett / Made in USA; each numbered with factory stencil verso
The wood wardrobe with brass hardware, comprising an upper console with two hinged cabinet doors revealing two adjustable shelves, a sliding shelf, and a single drawer, above a lower console with five drawers
2 pieces
Upper console: 47.5” H x 38.25” W x 20.25” D; Lower console: 30.5” H x 38.25” W x 20.25” D
$800-1,200
Dale William Nichols (1904-1995)
Important American Regionalist painter Dale William twenty, where he attended the Chicago Academy was Chicago-based for over a decade and quickly York between 1930 and 1950 and exhibited regularly, museums and at three World’s Fairs: Century of and San Francisco’s Golden Gate Exposition (1939). Chicago headquarters of Encyclopedia Britannica
By the 1940s, Nichols split his time between Nebraska active member of the Tucson Archaeological Society
William Nichols grew up in rural Nebraska before moving to Chicago at age Academy of Fine Arts and the Art Institute of Chicago. Following his studies, Nichols quickly achieved national notice. He was represented by Macbeth Gallery in New regularly, including a 1938 one-person exhibition at the gallery as well as in of Progress Chicago World’s Fair (1933-1934), New York World’s Art Fair (1939) (1939). Nichols also succeeded his mentor Grant Wood as the art editor at the Britannica in 1942.
Nebraska and a ranch and studio in Sedona, Arizona. There, Nichols was an Society and exhibited his work at the University of Arizona.
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Dale William Nichols (1904-1995)
Saguaro cacti in an Arizona landscape, 1944
Oil on canvas
Signed and dated lower right: Dale Nichols 1944 14” H x 20” W
$6,000-8,000
Provenance:
Alfred Eisner Jr. Collection, Chicago, IL, circa 1940s
Private collection, Los Angeles, by family descent
Notes:
Painted in 1944, the present painting captures the beauty and grandeur of the Southwest, presented in the artist’s signature regionalist style. A single rider travels through a rocky landscape punctuated with the distinctive forms of the Sonora Desert’s iconic saguaro cacti. Foreground and distant mountains bookend the composition, reinforcing the vast scale of the valley floor, while a golden and pink sunset sky lends a jewel-like glow to the scene.
Maynard Dixon (1875-1946)
Western, California and Modernist painter, muralist and illustrator age, Dixon led a quiet childhood sketching and listening to the Dixon to develop a lifelong fascination with the lives of the settlers
Dixon’s artistic skill was recognized early in his life. Living in rural as “Scribner’s” and “Harper’s Weekly” in order to improve his technique. American West, chief amongst them Frederic Remington. Remington’s sketch books to Remington for criticism and advice. On Septembe
Encouraged by this response, Dixon enrolled at the School of Design Despite being largely self-taught, Dixon found success as an illustrator states while building a career as a magazine illustrator using his extensive embraced a Bohemian lifestyle, frequenting Coppa’s Restaurant
In 1904 he moved into a studio on Pine Street in San Francisco where a year later the earthquake and fire destroyed his studio and most commission from the Southern Pacific Railroad to paint a mural for “Century,” “Scribner’s” and “McClure’s” Magazines followed, and born in 1910.
Dixon returned to California in 1912 at which point he abandoned Exposition, Dixon suffered a nervous breakdown. His marriage to
Three years later, in 1920, Maynard Dixon married social commentary Shortly after they married, Dixon shifted his energy to focus on painting compositions with hard horizon lines and vivid colors of the unfettered
Two years after his marriage to Lange ended, Dixon married artist As Dixon’s health declined, they made the decision to move from
They first moved into a home and studio in Mount Carmel, Utah (Donald J. Hagerty, “Desert Dreams: The Art and Life of Maynard until Dixon was no longer able to tolerate Utah’s higher altitudes Sonoran Desert where they enjoyed views of the Santa Catalina the Distant Mesa”, Tucson, 2018, p. 350).
Dixon’s Tucson studio “...window looked beyond the Rillito to the There has been only one who painted it as Dixon did, ‘Where many we have come to see the region through the forms and colors of Westways, “Personalities of the West,” May 1974, p. 86).
Despite significant health issues, Dixon “worked every day in his remain a testament to beauty, to a land and the people who are Dixon’s Arizona,” (Tucson Museum of Art, Tucson, AZ) November
illustrator Maynard Dixon was born in the vast flatlands of the San Joaquin Valley in 1875. Afflicted with asthma from an early tall tales of Native Americans and cowboys told to him by his paternal grandfather and six uncles. These stories pushed ettlers of the American West and the Indigenous peoples who originally inhabited the land.
California provided little access to formal art instruction, so Dixon turned to studying the engravings in periodicals such technique. Through these publications, Dixon became familiar with the work of contemporary artists illustrating the Remington’s heroic and technical depictions left an indelible impression on young Dixon, and at age 16, Dixon sent two September 3, 1891, Remington responded with support and enthusiasm to ‘draw, draw, draw’.
Design in San Francisco later in 1891, but he found the formal education to be stifling and left before the end of the year. illustrator and exhibited widely. He moved around frequently, often working as a cowpuncher throughout the Western extensive travel and job experiences as subject inspiration. At the turn of the 19th to 20th Centuries, Dixon had fully and spending a lot of time with friends including artist Xavier Martinez (1869-1943).
where he met artist Lillian West Tobey who made him consider settling down for the first time. They married in 1905 and most of his early works. The Dixons then lived across the Golden Gate in Sausalito until 1907 when he accepted a for their depot in Tucson, AZ. A stint living in New York and working as a magazine illustrator for publications including and he also significantly spent time in Coeur D’Alene, Idaho and Cutbank, Montana in 1909. A daughter Constance was
abandoned commercial art to concentrate on easel paintings and murals fully. During the 1915 Pan Pacific International to Tobey did not recover from this setback and the couple divorced in 1917.
commentary photographer Dorothea Lange. Their union would last until 1935 and produced two sons, Daniel and John Dixon. painting murals. The large surface area of mural painting taught him to distill his painting style into simple but powerful unfettered beauty of the American desert landscape.
artist Edith Hamlin in 1937. The artist-couple frequently painted side by side, sometimes working on similar compositions. from San Francisco to the drier climates of Arizona and Utah.
Utah in summer 1940 while a Mexican colonial style home and studio was being constructed on Prince Road in Tucson. Maynard Dixon”, Layton, Utah, Gibbs Smith, Publisher, 2010, p. 235.) The Tucson residence was finished in April 1941, and, altitudes or the journey, they split their time between the two locations each year, generally spending winter and spring in the Mountains, and summer and fall in the cooler climate of Utah. (Mark Sublette, “Maynard Dixon’s American West: Along
the Catalinas which he painted repeatedly in the molten light of the dying day. Painters of the desert are innumerable. many have looked,’ wrote Arthur Millier, ‘he is one of the few who have really seen. His vision of the West is so true that of his paintings. Thus great artists teach us to see nature.’” (Laurence Clark Powell, “Maynard Dixon’s Painted Desert,”
s studio, pouring every shred of remaining energy into his art” (Hagerty, p. 251). “His paintings and drawings of Arizona one with it, to loneliness and lonely places, to distance itself” (Thomas Brent Smith, “A Place of Refuge: Maynard November 2008, p. 39).
Maynard Dixon (1875-1946)
“Road to the Mountains (Santa Catalina Range),” 1943 Oil on canvas laid to artist’s board
Signed, dated, and inscribed lower left: Maynard Dixon / Ariz. 1943; signed again, titled, and inscribed with the artist’s Tuscon, AZ address and artist number “669” in a circle, all in pencil on the verso, and again on the verso of the frame’s backing board 16” H x 20” W
$50,000-70,000
Provenance:
Alfred Eisner Jr. Collection, Chicago, IL, 1943, acquired directly from the artist, by oral tradition at the University of Utah student center Private Collection, acquired from the above by descent
Literature:
Wesley M. Burnside, “Maynard Dixon: Artist of the West,” (Provo: Brigham Young University Press, 1974), p. 186.
Notes:
This lot is accompanied by the following publications:
“The Thunderbird Remembered: Maynard Dixon, the Man and the Artist,” Gene Autry Western Heritage Museum, 1994
“Space Silent Spirit: Maynard Dixon’s West,” Collection of Mr. and Mrs. A.P. Hays, Paradise Valley, CA, 2008
“Maynard Dixon: Art and Spirit,” DVD, 2008
In “Road to the Mountains (Santa Catalina Range)” and “Catalinas at Sundown” one can see Dixon’s absolute confidence as a painter and for his subject, and sense the intensity in which he worked during this final period. In both paintings, the artist’s hallmark “cubist realism” is evident with each composition broken into distinct 1/3 spatial elements from the foregrounds to the distant mountains that yield to desert skies. The mountains’ strong diagonal compositions are a play of sunlight and shadow serving to enhance and enliven the craggy cliff faces as late day pink sunlit hues sourced from the left contrast with deep shadows in purples and blues. While “Catalinas at Sundown” is a pure representation of the local Arizona landscape, Dixon includes a single rider on brown horseback walking directly toward the viewer in “Road to the Mountains,” positioning the figural vignette just below the center point of the composition.
We are grateful to Donald J. Hagerty, noted Maynard Dixon scholar, for his assistance in cataloging this lot.
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Maynard Dixon (1875-1946)
“Catalinas at Sundown” (Arizona), 1943 Oil on canvas laid to artist’s board
Signed, dated, and inscribed along the lower edge, at left: Maynard Dixon / Ariz Dec 1943; titled and inscribed with the artist’s Tuscon, AZ address and artist number “674” in a circle, all in pencil on the verso, and again on the verso of the frame’s backing board 12” H x 16” W
$25,000-35,000
Provenance:
Alfred Eisner Jr. Collection, Chicago, IL, 1943, acquired directly from the artist, by oral tradition at the University of Utah student center
Private Collection, acquired from the above by descent
Literature: Wesley M. Burnside, “Maynard Dixon: Artist of the West,” (Provo: Brigham Young University Press, 1974), p. 186.
Notes:
In “Road to the Mountains (Santa Catalina Range)” and “Catalinas at Sundown” one can see Dixon’s absolute confidence as a painter and for his subject, and sense the intensity in which he worked during this final period. In both paintings, the artist’s hallmark “cubist realism” is evident with each composition broken into distinct 1/3 spatial elements from the foregrounds to the distant mountains that yield to desert skies. The mountains’ strong diagonal compositions are a play of sunlight and shadow serving to enhance and enliven the craggy cliff faces as late day pink sunlit hues sourced from the left contrast with deep shadows in purples and blues. While “Catalinas at Sundown” is a pure representation of the local Arizona landscape, Dixon includes a single rider on brown horseback walking directly toward the viewer in “Road to the Mountains,” positioning the figural vignette just below the center point of the composition.
We are grateful to Donald J. Hagerty, noted Maynard Dixon scholar, for his assistance in cataloging this lot.
William Edward Dassonville (1879-1957)
“Maynard Dixon,” printed 1901 Warm-toned platinum print on paper tipped to a gray support sheet
Signed in ink lower left: W.E. Dassonville; inscribed in pencil “L.M. Dixon / No. 1” on the verso of the gray support sheet Image/Sheet: 6.5” H x 4.25” W; Gray support sheet: 6.75” H x 4.5” W
$1,500-2,500
Provenance:
The artist John Dixon, son of the artist, acquired from the above by descent Private Collection, acquired from the above
Literature:
Peter Palmquist, “Dassonville: William E. Dassonville, California Photographer (1879-1957)” (Nevada City, CA: Carl Mautz Publishing, 1999) plate 3.
A photographic album of The San Carlos Apache Indian Reservation with photographs by John Edward Jones, 1910 A photographic album belonging to and signed by Clara A. Nash from Thatcher, Arizona, dated Sun. January 23rd, 1910, all written in ink. The album includes 45 photographs by John Edward Jones (1863-1922), each photograph is tipped to a grey support sheet from the verso of each sheet corner of the photograph, all comprised in an oblong octavo album
Album: 6.25” H x 9” W x 1.125” D
$4,000-6,000
Notes:
This album captures the turn-of-the-century view of The San Carlos Apache Indian Reservation, in southeastern Arizona, established by executive order in 1872 as the first Apache reservation created and often referred to as “Hells Forty Acres” based on the poor health and environmental conditions.
Each photograph is tipped from each corner to a support sheet, as issued, and with a handwritten ink caption regarding the image. Photographs include a number of buildings on the reservation including the San Carlos building, the hospital, boys’ dormitory, girls’ dormitory, dining hall, post office, cottages, and the schoolhouse. Also featured are images of the Gila River, Wickiups, the police force, family portraits, and various other portraits of individuals on the reservation.
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A group of magic lantern glass photo slides Late 19th/early 20th century Each variously labeled The optical glass photo slides from various companies, each reputedly taken by George Thornton Emmons, an ethnographic photographer and U.S. Naval Lieutenant, set in Alaska and Seattle 19 pieces
Each: 3.25” H x 4” W
$200-400
Edith Hamlin (1902-1992)
Edith Hamlin was born in Oakland, California and spent composer who had also studied at the Mark Hopkins Century in San Francisco, Oakland and his hometown him on sketching trips in the Santa Cruz region.
Supported by her family, Hamlin received a scholarship attempt to establish her career as an artist in San Francisco Hamlin continued her studies at Columbia University’s
In 1932, Hamlin and fellow artist and friend Anna Katharine they stayed for the remaining summer and into the fall. about the portrayal of the Western landscape that would Hagerty, the present work was painted on this trip to New Exhibition in the Opportunity Gallery in New York with yet in her ultimate San Francisco destination.
After returning to San Francisco, Hamlin first met Maynard together on a WPA mural for Mission High School. Despite 1936. In 1934, Hamlin was one of 26 artists—four women Coit Tower. A year after her first divorce, Hamlin married
From 1939 until Dixon’s death in 1946, Hamlin and Dixon and homes seasonally in both locations. The couple-artists this period, while she also received mural commissions
Following Dixon’s death, Hamlin continued to spend time Southwest. She returned to San Francisco somewhat permanently
For decades after the artist was divorced and widowed, own murals and restoring and maintaining murals by Maynard
spent her formative years there and in Santa Cruz. Her father, Charles Hamlin, was a musician and Art Institute. Charles was an artist of some note and exhibited in the early decades of the 20th hometown of Santa Cruz. Hamlin’s first exposure to art was through her father, when she accompanied
scholarship to attend the California School of Fine Arts between 1922 to 1924. Following this study, an Francisco was interrupted by illness and a stint living in San Diego. Between 1929 and 1932, University’s Teacher’s College in New York while also taking and teaching art classes in the city.
Katharine Skeele left New York in early summer and road-tripped to Taos, New Mexico, where fall. Hamlin’s time in Taos was profoundly influential and provided her with new perspectives would have far reaching implications on her artistic practice. According to Hamlin scholar Don New Mexico, when the artist must have known she would participate in The Art Center’s with the present work and other paintings, despite not having any exhibition contracts lined up
Maynard Dixon while the artists both maintained studios in the North Beach district and worked Despite their artistic connection, Hamlin briefly married artist Albert Barrows from 1934 and women and 21 men—selected to execute 27 murals in interior spaces of the newly constructed married Maynard Dixon.
Dixon moved from San Francisco to Tucson, Arizona and Mt. Carmel, Utah, maintaining studios couple-artists often painted side-by-side and Hamlin’s work was strongly influenced by her husband in commissions for the Santa Fe Railroad’s Grand Canyon and Taos Pueblo locations.
time primarily in California, but also in Arizona and Utah, as well as other parts of the permanently in 1953 following a brief two-year remarriage to Frank Dale.
widowed, Hamlin continued her landscape and portrait-focused artistic practice while working on her Maynard Dixon. She died on February 18, 1992.
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Edith Hamlin (1902-1992)
“Night Blooming Cereus” (Taos), 1932 Oil on board
Initialed lower left: EH; signed and titled in ink on a partial exhibition label affixed verso 25” H x 22” W
$4,000-6,000
Exhibition:
New York, NY, The Art Center, Exhibition in the Opportunity Gallery, circa 1932
Notes:
The present work, “Night Blooming Cereus” (Taos), 1932, is arguably one of the most significant works by Edith Hamlin to come to market, offered for the first time from a Los Angeles collection. In the present work, Hamlin focuses the composition on the showy nocturnal yellow or white blooms of Cereus cacti that she positions to spectacularly fill the foreground. The genus Cereus is described as architectural in structure, with forms made of ribbing, ridges and protective spines. Hamlin juxtaposes these columnal forms and the plant’s otherworldly blooms against a nighttime Taos hillside landscape that features two distinct groupings of distant red-roofed adobe homes. Hamlin plays with ideas of natural and man-made structural coexistence in this almost surrealist composition, evoking further spectacle and drama with a Dixon-like highlighted dusky glow along the mountain ridge.
We are grateful to Donald J. Hagerty, noted Edith Hamlin scholar, for his assistance in cataloging this lot.
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An Old Hickory-style table and pair of side chairs
Late 20th century
Each unmarked
Comprising a small table, the top with bark edges, raised on natural wood legs, together with a pair of conforming side chairs, each with spindle back above a leather upholstered seat cushion
3 pieces
Table: 30” H x 41.5” W x 23.5” D; Each chair: 40.5” H x 18.5” W x 25.5” D approximately
$500-700
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An Iroquois carved burlwood bowl 19th century or earlier
With opposed rectangular cutouts for handles
7.625” H x 15” W x 13” D
$2,000-3,000
Millard Sheets (1907-1989)
Millard Sheets was an American artist and educator known 1907, in Pomona, California, Sheets grew up in a family one of the most influential artists of his generation, leaving
In 1926, when this work was painted, Sheets would have his formal education in art at the Chouinard Art Institute Pruett Carter. He later transferred to Pomona College, was during this time that Sheets discovered his love of
After graduating from Pomona College in 1930, Sheets of Art Project (PWAP) during the Great Depression. He schools, post offices, and other public buildings across
In addition to his work as a muralist, Sheets also created His watercolors were known for their luminous colors, California and other parts of the world he visited.
Sheets was also a passionate educator, and in 1953 he nearly two decades. During his tenure at Scripps, Sheets the country, and he mentored many of the leading artists
Sheets continued to work as an artist and educator until inspire artists and art lovers around the world. Today, his the Smithsonian American Art Museum, the Los Angeles
known for his contributions to the California School of watercolor painting. Born on June 24, family that valued art and encouraged his artistic talents from an early age. He went on to become leaving a lasting legacy in the world of art and education.
have been 19 years old and likely still living with his family in Southern California. Sheets began Institute in Los Angeles, where he studied under prominent artists such as F. Tolles Chamberlin and College, where he continued to hone his craft under the tutelage of Jean Mannheim and Phil Dike. It of watercolor painting, which would become his preferred medium for much of his career.
Sheets began his professional career as an artist, initially working as a muralist for the Public Works He would go on to work on numerous public art projects over the years, creating murals for across the United States.
created a significant body of work in watercolor, which he exhibited widely throughout his career. rich textures, and complex compositions, and were inspired by the landscapes and people of
he was appointed as the director of the Scripps College art department, a position he held for Sheets was instrumental in building the college’s art program into one of the most respected in artists of his generation, including Sam Francis and Karl Benjamin.
until his death in 1989, leaving behind a legacy of creativity and innovation that continues to his work can be found in major collections and museums across the United States, including Angeles County Museum of Art, and the Metropolitan Museum of Art.
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Millard Sheets (1907-1989)
“Street Scene” (likely Taos), 1926 Oil on canvas
Signed and dated lower left: Millard Sheets 1926; titled and inscribed in another hand, verso 16” H x 19” W
$3,000-5,000
Provenance:
Private Collection, gift from the artist Private Collection, acquired from the above by descent Private Collection, Texas, acquired from the above by descent
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James Swinnerton (1875-1974)
Smoke tree in a desert landscape Oil on canvas
Signed lower right: Swinnerton 30” H x 40” W
$3,000-5,000
Provenance: Private collection, acquired from a corporate collection Maxwell Alexander Gallery, Pasadena, CA
Marjorie Reed (1915-1996)
American artist Marjorie Reed’s vivid colors and expressive and imagined American West. While Reed depicted iconic image of the West, the stagecoach.
Born in Illinois in 1915 to a family of artists and art enthusiasts, Reed, was a commercial artist, and as Reed grew older Reed family moved to Los Angeles when Marjorie was Having done some commercial work for Disney, Reed and repetitiveness of animation work.
Reed’s artistic direction would change once she began Wilkinson Smith, Reed was encouraged to follow her great outdoors and life of cowboys and ranchers in the determined to capture the spirit of the West in her paintings. exploring the countryside around Los Angeles.
Reed befriended Captain William Banning, who had Model T, retracing the route of the famed Butterfield these sketches, Reed created colorful, exciting images
Reed completed her first series of Butterfield Stage paintings Reed would continue this research cycle, traveling, sketching, would continue through the 1960s and 1970s. Her passion times, spending much of her time in Tombstone, Arizona. publisher of the San Diego Union and San Diego Tribune, voluminous legacy of American art.
expressive strokes bring to life some of the most engaging and entertaining images of the real scenes of cowboys and ranchers, what sets Reed’s work apart is her fascination with the enthusiasts, Reed began dabbling in art at three years old. Reed’s father, Walter Stephen older and trained as an artist under him, she began to take on commercial work as well. The was 14, and later, like many Southern California artists, she took a job at Walt Disney Studios. Reed was taken into the animation department, but left soon after, disliking the regimentation
began taking art classes at Chouinard Art Institute in the mid-1930s. Under the tutelage of Jack her passion for the outdoors and ranch life. Reed had become passionately enamored with the the Southwest, and though she had been denied work in those fields, she became paintings. Some of her friends would even state that Reed would walk eighteen miles a day,
been a stagecoach driver. Reed was inspired by these tales of the stagecoach, set out in a
Butterfield Overland Mail Stage, and sketching out images for paintings to be completed later. From images of the Butterfield stagecoaches soaring across the plains of the Southwest.
paintings in 1957, with a book, “The Colorful Overland Stage,” published the same year. sketching, and painting, for the rest of her life. Other cycles of stagecoach and Western art passion for the images and history of the West would compel her to move over eighty Arizona. Her work became quite popular, collected by luminaries such as James S. Copley, the Tribune, and numerous private collectors. Marjorie Reed passed away in 1996, leaving behind a
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Marjorie Reed (1915-1996)
“Star Lit Trail”
Oil on canvasboard
Signed lower right: Marjorie Reed; signed again and titled in ink on an artist label affixed verso 12” H x 16” W
$1,000-1,500
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Marjorie Reed (1915-1996)
“In Apache Territory” Oil on canvasboard
Signed lower right: Marjorie Reed; signed again and titled in ink on an artist label affixed verso; inscribed in ink, verso: “Huachuca Canyon - Arizona” 12” H x 16” W
$1,000-1,500
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Marjorie Reed (1915-1996)
“Down into the San Pedro Valley” Oil on canvasboard
Signed lower left: Marjorie Reed; signed again and titled in ink on an artist label affixed verso 10” H x 14” W
$800-1,200
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Marjorie Reed (1915-1996)
“A Western Rancho,” 1940 Oil on canvas laid to board
Signed lower right: Marjorie Reed Lindgren; signed again, titled, and dated “1940” in pencil, all verso 13” H x 15” W
$600-800
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Marjorie Reed (1915-1996)
Four works:
“Stage Stop”
Colored pencil and brown ink on paper
Signed in brown ink lower center: Marjorie Reed; titled in brown ink on the lower edge of the overmat, at left
Sight: 7.5” H x 9.5” W
“Packin’ In”
Colored pencil and brown ink on paper
Signed in brown ink lower right: Marjorie Reed; titled in brown ink on the lower edge of the overmat, at left
Sight: 7.5” H x 9.5” W
“Putting to a Lively Team”
Colored pencil and black ink on paper
Signed in black ink lower right: Marjorie Reed; titled in black ink on the lower edge of the overmat, at left
Sight: 7.5” H x 9.5” W
“The Butterfield Stage Rolls On”
Colored pencil and black ink on paper
Signed in black ink lower center: Marjorie Reed; titled in black ink on the lower edge of the overmat, at left
Sight: 7.5” H x 9.5” W
$800-1,200
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Marjorie Reed (1915-1996)
Four works:
“ ‘Real Friends’— Navajoland —”
Colored pencil and graphite on paper
Signed and titled in pencil near the lower edge: Marjorie Reed Sheet: 10.75” H x 12.25” W
“Quiet your Squawking”
Colored pencil and graphite on paper
Signed and titled in pencil near the lower edge: Marjorie Reed Sheet: 10.5” H x 12.25” W
Untitled, stagecoach
Colored pencil and ink on paper
Signed lower right: Marjorie Reed Sheet: 8.75” H x 11.75” W
“Desert Playmates”
Colored pencil on yellow paper
Signed lower right: Marjorie Reed; titled in ink lower right, verso Sheet: 6.75” H x 10.125” W
$400-600
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Joe Beeler (1931-2006)
“Joe Beeler Portfolio,” 1978
The complete set of 20 reproductions after pen and ink drawings on Arches paper, some sheets with the full or partial watermark Edition: 57/100
Each plate signed and numbered in pencil in the lower margin: Joe Beeler CA; the title page with the numbering in ink; Northland Press, Flagstaff, AZ, prntr. and pub., and each plate with their blindstamp in the lower left margin corner; the title page and 20 plates, each loose, and separated by individual interleaving tissues, all housed together in the original, black, cloth-covered portfolio, stamped in silver, as issued
Each sheet: 13.75” H x 11” W (or reverse)
$400-600
Notes:
The portfolio in this lot was originally produced to accompany the Northland Press book, “F-F-F-Frank Polk,” however, the book mentioned is not sold together with this lot.
A Stetson Western cowboy hat
Late 20th/21st century
Band stamped: John B. Stetson Co. / 4X Beaver / XXXX / Made in USA
The black fur felt “Rancher” hat with four-inch shaped brim and grosgrain ribbon band, Size 7 5/8, with original box 6” H x 15” W x 16.25” D; inner band: 23” C
Bronze: 19.875” H x 14” W x 9.875” D; Overall: 21.5” H x 15.25” W x 12.125” D
$2,000-3,000
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Star Liana York (b. 1952)
“Midnight Smoke”
Patinated bronze on wood plinth Edition: 7/10
Signed and numbered in the casting: Star L York; further attributed and titled to metal plaque applied to base
Bronze: 7.75” H x 6.75” W x 5.25” D; Overall: 9” H x 7.25” W x 5.75” D
$600-900
Olaf Wieghorst (1899-1988)
Olaf Wieghorst, born in Denmark, became a leading Native American subjects. A child acrobat at Copenhagen’s lifelong passion for horses. At 19, he immigrated experience that deepened his connection to horses
After military service and ranch work in Arizona and patrolling Central Park while painting in his spare California, to pursue painting full-time.
His work earned national acclaim, including commissions Champion. Wieghorst’s paintings are held in major Whitney Gallery of Western Art.
leading interpreter of Western life through his paintings of horses, frontier figures, and Copenhagen’s Tivoli Theatre, he later worked on a stock farm, where he developed a immigrated to the United States and joined the 5th Cavalry, patrolling the Mexican border—an horses and the Western way of life.
and New Mexico, Wieghorst became a mounted policeman in New York City, spare time. As his artistic reputation grew, he retired in 1944 and moved to El Cajon,
commissions to portray iconic horses such as Roy Rogers’ Trigger and Gene Autry’s major collections, including the National Cowboy & Western Heritage Museum and the
Olaf Wieghorst (1899-1988)
Rider and horse in a snowstorm, 1985
Watercolor, gouache, and ink on grayish-green paper mounted to paperboard
Sold: John Moran Auctioneers, Monrovia, CA, “Art of the American West,” December 12, 2018, Lot 4037
Acquired by the present owner from the above
89 has been withdrawn
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Olaf Wieghorst (1899-1988)
“Plains Warrior on horseback with feathered lance” Watercolor, ink, and gouache on board
Signed and with the artist’s 2C device at lower left: O - Weighorst; titled by repute Board: 13.5” H x 11.875” W
$1,000-1,500
Provenance: Private Collection, Huntington Beach, CA. Sold: John Moran Auctioneers, Monrovia, CA, “Studio Fine Art,” August 8, 2017, Lot 2041 Acquired by the present owner from the above
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Olaf Wieghorst (1899-1988)
Native man on horseback
Ballpoint pen on paper mounted to paperboard
Signed and with the artist’s 2C device in ballpoint pen at lower left: O-Wieghorst Sheet: 10” H x 8” W (irreg.)
$1,000-1,500
Provenance: Mr. and Mrs. George Thackeray
Private collection, Southern California
Exhibited: San Diego, CA, Fine Arts Gallery of San Diego, July 23-August 29, 1976
Olaf Wieghorst (1899-1988)
“Thank You Note (Cowboy on horse),” 1960
Pen and ink on beige laid paper
Signed, dated, and inscribed in pen and ink in the lower margin: “Thanks for sharing your / camp fire” / Olaf Wieghorst / March 16/60;” titled from a label affixed to the frame’s backing paper
Image: 5.5” H x 5.25” W; Sheet: 12” H x 7.875” W
$600-900
Provenance: Private collection, Southern California
Edward Borein (1872-1945)
The imagery, romance, and mythology of the American by those who never experienced it. Few artists lived rode along the lonely dust-filled roads in stagecoaches of the Native American nations of the West firsthand.
The West was in Borein’s blood from the beginning. the Old West to a family of ranchers. The work of working with the cattle and horses on the ranch, down California, working as a cowboy on ranches After returning to northern California for a month-long encouraged by classmate Maynord Dixon to pursue and there began to send sketches out to magazine
After leaving the harsh conditions and grueling labor of the Old West. Borein set out for Mexico, learned Making his way north and back to the United States, Southwest. All the while Borein feverishly documented drawings and illustrations to be published.
At age 30 Borein boarded a train for New York City left behind, Borein adorned his Manhattan studio such as Buffalo Bill Cody, Will Rogers, and his old found meaning and purpose in the West, then-president Borein returned to California in 1921. He set up his paintings of the colorful characters he lived and worked for the rest of his life. He immersed himself in the creatives like Leo Carrillo, Walt Disney, and his friend most authentic artists of the American West.
American West have been painted, filmed, and written about for generations, but often lived the harsh and unrelenting life of the cowboys and vaqueros they depicted. Few stagecoaches and wagons across desolate landscapes. Or witnessed the culture and customs firsthand. One of those few who did was Edward Borein.
beginning. Born in 1872 in San Leandro, California, Borein grew up in the final decades of of the cowboy came naturally to Borein, who by age twelve was driving cattle. While Borein began to sketch. Aged 18 and bored of school, Borein left to travel up and ranches throughout the state, all the while capturing the life of the ranchers in drawings. month-long stint at the Art School of the San Francisco Art Association, Borein was pursue art as a career. Borein left school again and found work at the Rancho Jesus Maria, magazine publishers.
labor of Rancho Jesus Maria, Borein’s life became the epitome of the greatest legends learned Spanish, and journeyed from ranchero to ranchero through central Mexico. States, Borein spent time among the Native American nations of the American documented the life of the people and communities around him, continuously sending off
City and left behind the life of a cowboy for a professional artist. Longing for the life he studio with artifacts and trappings from California and Mexico. He entertained luminaries old friend from art school, Maynard Dixon. Borein also befriend another figure who then-president Theodore Roosevelt. Longing for the Western life he left behind, Edward his own studio in Santa Barbara, California, and began producing etchings and worked with. Already a thriving artistic center, Santa Barbara would be home to Borein the city, helping to establish the Fiesta Parade and holding court with notable artists and friend Will Rogers. Edward Borein died in Santa Barbara in 1945, hailed as one of the
Edward Borein (1872-1945)
Three works: Studies of western figures and horses, 1917
Each: Pencil on paper
One signed, dated, and inscribed in pencil, lower center: “Borein / San Edlefonso [sic] Pueblo / New Mexico / 1917;” one unsigned, but inscribed lower right: “Santa Clara New Mexico;” one unsigned and without any inscription
Sheet of each: 6” H x 9” W approx.
$1,500-2,500
Provenance:
Sold: John Moran Auctioneers, Monrovia, CA, “Art of the American West,” June 19, 2018, Lot 2272
Maxwell Alexander Gallery, Pasadena, CA
94
Edward Borein (1872-1945)
“Indians on the Warpath” India ink on paper
Appears unsigned; titled in blue ink in another hand on a gallery label affixed to the frame’s backing paper
Sight: 8” H x 10.5” W
$700-900
Provenance: Maxwell Galleries, San Francisco, CA
95
Edward Borein (1872-1945)
Cowboy with lasso on horseback Ink on paper Appears unsigned Sight: 8.125” H x 7” W
$400-600
96
Suanne Wamsley (20th century)
Two works:
Roper and calf, 1983
Pastel and traces of graphite on beige paper
Signed and dated in ink lower right: Suanne Wamsley / 1983
Signed, titled, and numbered in pencil in the lower margin: Harley M Brown; an information sheet printed to include the artist’s signature is affixed to the frame’s backing paper Plate: 12” H x 9” W; Sight: 13.75” H x 10.375” W
“Blossom”
Etching in brown on wove paper Edition: 53/500
Signed, titled, and numbered in pencil in the lower margin: Harley M Brown Plate: 11.75” H x 9” W; Sight: 13.75” H x 10.375” W
$200-400
Provenance: Sold: Hindman, Chicago, IL, “Western Paintings and Sculpture, Session II,” May 7, 2021, Lot 62
Velmalee “Vel” Miller (1936-2025)
Two works:
Moccasins, 1986
Cold-painted and patinated bronze on wood plinth Edition: 56/75
Bronze: 2.375” H x 4.375” W x 3.375” D; Overall: 3.25” H x 5.5” W x 4” D
$300-500
Sergei Bongart (1918-1985)
Sergei Bongart was a Ukrainian-born American in the Russian academic tradition, he fled Soviet-occupied quickly rose to prominence, earning numerous was next to that of fellow émigré Nicolai Fechin, charismatic figure, Bongart inspired generations painters in the West,” and his legacy endures
American painter celebrated for his expressive brushwork and bold use of color. Trained Soviet-occupied Ukraine during WWII, eventually reaching the U.S. in 1948. He numerous awards and accolades. Based in Los Angeles, Bongart’s Hollywood Hills studio Fechin, forming a unique hub of Russian artistic influence. A gifted teacher and generations of painters. Art critic Howard Burke called him “one of the most important through both his vibrant body of work and the many artists he mentored.
102
Sergei Bongart (1918-1985)
Lightning strike Oil on Masonite
Signed lower right: Sergei Bongart
21.75” H x 25.5” W
$1,000-2,000
Provenance: The Estate of Sergei Bongart
103
Sergei Bongart (1918-1985)
House and autumnal trees
Oil on canvas
Signed lower right: Sergei Bongart 24” H x 30” W
$1,000-2,000
Provenance: The Estate of Sergei Bongart
104
Sergei Bongart (1918-1985)
Green hills pastoral Oil on canvas
Unsigned 26” H x 32” W
$600-800
Provenance: The Estate of Sergei Bongart
105
Matt Smith (b. 1960)
“Along Kings Ranch Road,” 1987 Oil on canvas
Signed lower right: Matt Smith; signed again, titled, and dated in ink on the stretcher: 1987
18” H x 36” W
$3,000-5,000
Provenance: Moran Gallery, Scottsdale, AZ
106
Arthur William Best (1859-1935)
“Sonora Pass,” 1934 Oil on canvas
Signed and dated lower left: A W Best / 34; signed again, titled, and inscribed indistinctly with the artist’s address, verso 20” H x 24” W
$2,000-4,000
107
James Everett Stuart (1852-1941)
“Pyramid Peak and Lyons Creek from near Wilson’s Cattle Camp, California,” 1914 Oil on canvas
Signed, dated “Sept. 2 1914,” and numbered “1941,” all lower right: J E. Stuart; signed, dated, and numbered again, and titled, all verso 18” H x 12” W
$500-700
Provenance:
Sold: John Moran Auctioneers, Monrovia, CA, “Studio Fine Art,” August 21, 2018, Lot 2187
108
James Regimbal (b. 1949)
“Highway to Home,” 1998
Patinated and cold-painted bronze on a wood base Edition: 54/75
headpiece depicting Zuni katsina iconography to each side, acrylic stand W x 0.25” D; Stand: 7.5” H x 17.375” W x 2.75” D
(Filmmaker for National Geographic)
carved
Bork
111
A Hopi polychrome Hemis katsina figure
Late 19th/early 20th century
The painted carved cottonwood figure depicted with an elaborate tableta in three panels bound by cotton string, set in a later metal custom stand
Overall: 21.25” H x 7” W x 4.75” D
$9,000-12,000
112
Two Hopi polychrome carved wood figures
1930-1940
The painted carved cottonwood figures, one depicting a woman dressed in a manta and another depicting a male figure adorned with necklaces and a cellulosic headpiece 2 pieces
Woman: 8.125” H x 2.5” W x 4” D; Man: 9” H x 3” W x 2.875” D
$1,500-2,000
113
A polychrome Hopi pictorial basket
Early 20th century; Southwestern United States
A tall coiled cylinder basket with multiple dog figures with stitch overlay features around the rim and a stepped checkered zigzag band below 8.25” H x 10” Dia.
$300-500
A group of Hopi Pueblo items
Three works:
Philbert Dennis (1956-1999)
A Morning Singer katsina figure, late 20th century
Signed and inscribed to underside: Philbert Dennis / New Oraibi Ariz. / Morning Kachina / Flicker [illegible]
The painted carved cottonwood figure adorned with feathers, yarn, and a canvas cape, depicted with a bell and spruce tree 16” H x 9.75” W x 9.25” D
A Polik Mana katsina figure, mid-20th century
The painted carved cottonwood butterfly maiden figure adorned with glass bead earrings and necklace, and a shell pendant 15.75” H x 13” W x 2.375” D
A polychrome sash, mid-20th century
Woven in red, green, and tan wool fabric, depicting banded geometric motifs With fringe: 93” L x 4.25” W
3 pieces
$100-200
115
Theodore Roosevelt Lambert (1905-1960)
Snow-covered trees in Alaska, 1945 Oil on canvas
Signed and dated lower right: T.R. Lambert / 1945 16.25” H x 20.5” W
Tucson, AZ, Tucson Museum of Art, “Women Artists & the West Show and Sale,” February 23-March 24, 1996
A polychrome Chemehuevi basketry olla
Early 20th century; Great Basin/Southwest United States
A coiled globular jar with three stacked bands of triangles
4.75” H x 5.25” Dia.
$700-900
A Chemehuevi basketry olla
Early 20th century; Great Basin/Southwest United States
A coiled globular jar with three bands of linked squares
5” H x 5.5” Dia.
$500-700
120
A Pomo basket
Early 20th century; California
A small coiled jar with floating diamonds and crosses within larger diamonds
4” H x 5.25” Dia.
$400-600
A polychrome Chemehuevi basket
Early/mid- 20th century; Great Basin/Southwest United States
A coiled basketry tray with rim ticking, double zigzag banding, floating motifs to rim and a whirled star motif center 3.75” H x 14” Dia.
$600-900
122
A California basketry tray
Early/mid-20th century
The three-rod coiled tray with five contrasting stacked diamond arms issuing from the center
1.75” H x 13.25” Dia.
$400-600
A Chemehuevi basket
Early 20th century; Great Basin/Southwest United States
A coiled olla with five stepped columns
6.5” H x 8” Dia.
$200-400
A Gustav Stickley settle, no. 291 1907-1912; Eastwood, NY
With applied Gustav Stickley Craftsman paper label
The even-arm spindle settle with spindle back and siding, featuring a drop-in spring seat cushion upholstered in black leather, below three later added cottonupholstered back cushions
Without seatback cushions: 31.25” H x 78” W x 30” D
$4,000-6,000
Literature: Gustav Stickley, “Catalogue of Craftsman Furniture Made by Gustav Stickley at the Craftsman Workshops,” (Eastwood, NY: Gustav Stickley, 1909), p. 38
An Arts & Crafts armchair
Early/Mid-20th century
The wood chair with leather upholstered seat with brass tacking and corbeled armrests with beveled fronts, featuring inlaid accents to front-facing upper support terminuses, raised on four legs joined by opposed lateral and front medial stretchers
Dustin Van Wechel is a wildlife painter known advertising professional, he turned full-time to Award for Wildlife. The Art of the American West’s wolves, and geese, highlighting his deep connection he currently lives and paints in Colorado Springs.
for capturing the soul of the American West through its animals. A former to fine art in 2002 and has since earned top honors, including the Bob Kuhn West’s offerings of his works show intimate paintings of mountain goats, elk, connection to nature. Van Wechel’s work is widely exhibited and collected, and Springs.
127
Dustin Van Wechel (b. 1974)
“Lofty Goals” Oil on canvas panel
Signed lower right: D. Van Wechel; titled on a gallery label attached to the frame’s verso 14” H x 11” W
$1,000-2,000
Provenance: Trailside Galleries, Scottsdale, AZ
Notes:
This lot is accompanied by a handwritten card signed by the artist.
Dustin Van Wechel
(b. 1974)
“The Wait,” 2013 Oil on canvas panel
Signed lower right: D. Van Wechel; signed again, titled, and dated verso: ‘13 14” H x 11” W
$1,000-2,000
129
Dustin Van Wechel (b. 1974)
“Hunting Buddies” Oil on canvas panel
Signed lower right: D. Van Wechel; titled on a gallery label attached to the frame’s verso 16” H x 12” W
$1,000-2,000
Provenance: Trailside Galleries, Scottsdale, AZ
Notes:
This lot is accompanied by a copy of a handwritten card signed by the artist.
Dustin Van Wechel
(b. 1974)
“To Higher Ground” Oil on canvas panel
Signed lower left: D. Van Wechel; titled in ink in another hand on a tag attached to the frame’s hanging wire 12” H x 9” W
$1,000-2,000
131
Dustin Van Wechel
(b. 1974)
“Chasing Shadows,” 2020
Oil on canvas panel
Signed upper left: D. Van Wechel; signed again, titled, and dated verso: ‘20 12” H x 9” W
$1,000-2,000
Provenance: Broadmoor Galleries, Colorado Springs, CO
132
Dustin Van Wechel (b. 1974)
“Vagabonds,” 2021 Oil on canvas panel
Signed lower right: D. Van Wechel; signed again, titled, dated, and inscribed, all verso: 2021 / “Larry & Millie, Thank you both so much for adding another of my paintings to your collection! It’s so wonderful to see my work go to such fantastic people. I hope I get to see you both soon. All the best, D.” 11” H x 14” W
$1,000-2,000
133
Dustin Van Wechel (b.1974)
“Ivory Down,” 2017 Oil on canvas panel
Signed lower left: D. Van Wechel; signed again, titled, and dated verso: 2017 10” H x 12” W
$800-1,200
134
Signed upper left: D. Van Wechel
11” H x 14” W
$800-1,200
Dustin Van Wechel (b.1974)
Goose in a stream Oil on canvas panel
135
Dustin Van Wechel (b. 1974)
“Clean Up Crew,” 2016 Oil on canvas panel
Signed lower right: D. Van Wechel; signed again, titled, and dated verso: 2016 14” H x 11” W
$800-1,200
Provenance: Trailside Galleries, Scottsdale, AZ
136
After Jules Moigniez (1835-1894)
“Owl”
Patinated bronze on marble plinth
Signed in the casting: J. Moigniez
Bronze: 34” H x 23.5” W x 15.75” D; Overall: 35.75” H
$1,200-1,800
Chris Navarro (b. 1956)
“This Stinks,” 2010
Patinated and cold-painted bronze on wood base with paper and hide shade, electrified Edition: 8/18
Signed, dated, and inscribed in the casting: Chris Navarro / Jackson Quick Draw; further attributed and titled to metal plaque applied to base
Bronze: 31.75” H x 14” W x 5.25” D; Overall: 36.25” H x 17.25” W x 17” D; Shade: 7.375” H x 15.25” Dia.
$600-800
A pair of tripod floor lamps
Late 20th/early 21st century
The single-light tall lamps with black-painted composite tripod stands, each surmounted by a leather-stitched shade, one rawhide, one paper, electrified 2 pieces
Each frame: 76.5” H x 25” W x 19.5” D; Each shade: 14.75” H x 28.25” Dia.
$500-700
139
A Contemporary Mission-style trestle dining table and chairs
Early 21st century
Each with factory tag or stencil number, some pieces with Bassett paper label
Comprising a wood table with two extender leaves, featuring spindle side supports joined by an H-stretcher, including six conforming spindle-back dining chairs comprising four side chairs and two armchairs, each upholstered in a cotton fabric depicting diamond motifs 9 pieces
$800-1,200
Table short: 30.25” H x 44.25” W x 66” L; Leaves: 18” L; Armchairs: 41.25” H x 26.75” W x 25” D
A Contemporary Mission-style modular hutch
Early 21st century
One with applied sticker verso: Bassett; each numbered with factory stencil verso
Comprising two wood consoles with brass hardware, each featuring three drawers below a glazed cabinet door opening to reveal two adjustable-height glass shelves and a single display light, electrified
2 pieces
Each: 76.25” H x 30.25” W x 19.25” D
$1,000-2,000
Ray Hare (b. 1950)
Raised in Northern California, Ray Hare had dual sporting dreams. Focusing fully on art, Hare received scholarship to study art at the California College A Masters of Fine Art followed at San Francisco other professional artists.
Working out of his Orange County, CA studio, the Oakland Museum, San Francisco Museum includes high profile celebrity portrait commissions
Distinguished by larger-than-life photorealist and is emotional and detailed, visually challenging likeness. In “Follow,” four white horses gallop droplets the horses kick up form an abstracted gives the scene a photographic quality.
dual interests in art and sports growing up, before a back injury derailed his received numerous awards for his work in high school, and a full College of Arts where he earned a Bachelor of Fine Arts with High Distinction. Francisco State University, and Hare also received additional artistic training from
studio, Hare has exhibited widely at institutions throughout California including Museum of Modern Art and the Los Angeles Art Institute. Hare’s work also commissions of Oprah Winfrey, Ray Charles, Elizabeth Taylor and others.
and anatomically accurate depictions of animals and people, Hare’s work challenging the viewer with vibrant brushwork that comes together in accurate gallop in shallow water along an ocean shore. Close up, the painted water abstracted patterned web, but viewed at a distance, the artist’s precise realism
141
Ray Hare (b. 1950)
“Follow,” 2016
Acrylic on canvas
Signed and dated lower right: R. Hare .16; titled from a copy of the artist’s invoice
60” H x 84” W
$4,000-6,000
Provenance:
Private collection, Orange, CA, acquired directly from the artist
Notes:
This lot is sold together with a copy of an emailed invoice from the artist dated December 18, 2019.
142
Carrie L. Ballantyne (b. 1956)
“Cross Bell Baby”
Colored pencil on tan Ersta sanded paper
Signed lower right: CL Ballantyne; signed again, dated “1999,” and inscribed “Value Study - Mare & Foal” along the lower edge; titled near the center of the upper edge Sheet: 15.625” H x 21.75” W
$1,000-2,000
Provenance:
Estate of Phoebe Hearst Cooke
Sold: John Moran Auctioneers, Monrovia, CA, “Decorative Art Auction,” February 23, 2016, Lot 1284
Acquired by the present owner from the above
$500-700
Shawn Cameron (b. 1950)
Horse in an atmospheric landscape Oil on canvas
Signed lower right: Shawn Cameron 12” H x 9” W
144
Lindsay Scott (b. 1955)
Herding cattle
Graphite on wove paper
Signed in pencil lower left: Lindsay Scott Sheet: 7” H x 22” W
$800-1,200
Provenance: Richard James Galleries, Charleston, SC
145
Lindsay Scott (b. 1955)
A running herd of zebra
Graphite on wove paper
Signed in pencil lower left: Lindsay Scott Sheet: 6” H x 24” W
$800-1,200
Provenance: Richard James Galleries, Charleston, SC
146
Gary Ernest Smith (b. 1942)
Signed lower right: Gary E Smith; signed again, titled, and with the artist’s copyright statement, all in ballpoint ink on the verso of the stretcher
20” H x 16” W
$1,500-2,000
“Potato Bucket” Oil on canvas
David Lemon (b. 1945)
Born in San Diego in 1945 and raised in a Navy across the U.S. His expressive bronzes capture Art,” “Cowboys & Indians,” and “Western Horseman.” exhibited at the Autry Museum and continues moment between a young couple. The young rendering of early romance on the Plains, demonstrating
Navy family, this Western sculptor settled in Ennis, Montana, in 1989 after living capture the spirit of Native American and cowboy life and have appeared in “Southwest Horseman.” A former member of the American Indian and Cowboy Artists, he has continues to work from his Ennis studio. His bronze “Cheyenne Courtship” depicts a tender young woman holds a mirror reflecting her flute-playing suitor serenading her, a poetic demonstrating the artist’s gift for storytelling through form.
Bronze: 30” H x 13” W x 9.5” D; Overall: 32” H x 13” W x 11” D
$1,500-2,500
150
(b. 1955, Jemez Pueblo)
Figure of a woman
Carved alabaster
Incised signature and date: C. FRAGUA / ‘83
15.5” H x 14.5” W x 7.5” D
$300-500
Cliff Fragua
A Wasco sally bag basket
Early 20th century; Northwest United States
A soft twined “sally” bag with three rows of geometric banding and a drawstring to hide-bound rim
8.5” H x 6” Dia. approximately
$200-400
152
A polychrome Klamath basket
Early 20th century; Northern California/Oregon
A twined oval low bowl with four hooked triangle motifs and geometric banding to top, with quillwork imbrication accents, and with hooked bands and bird motif to base 4.25” H x 9.5” Dia. approximately
$600-900
A polychrome Klamath basketry bowl
Early 20th century; Northern California/Oregon
A tall twined bowl with two zigzag hooked bands
6.5” H x 9” Dia. approximately
$400-600
A polychrome Klamath basket
Early 20th century; Northern California/Oregon
A twined low bowl with four hooked striped triangle motifs to sides and a band of triangles and a star motif to base
4.125” H x 7” Dia. approximately
$200-400
A polychrome Pit River basketry bowl
Early 20th century; Northeast California
A tall twined bowl with zigzag stepped banding overlay
6.5” H x 9.75” Dia.
$500-700
156
A polychrome Pit River basket
Early 20th century; Northeast California
A tall twined basketry bowl with sawtooth zigzag banding
6.75” H x 9” Dia. approximately
$400-600
A polychrome Pit River basket
Early/mid-20th century; Northeast California
A low twined basketry bowl with diagonally stacked columns of geometric overlay motifs and floating striped bands
4.75” H x 9” Dia. approximately
$400-600
158
A polychrome Pit River basketry bowl
Early/mid-20th century; Northeast California
A tall twined bowl with four diagonally stacked columns of “deer rib” and arrow point geometric overlay motifs and ticked stripes
6.5” H x 9.5” Dia. approximately
$400-600
159
A polychrome Pit River basket
Early 20th century; Northeast California
A large oval twined basket with diagonal sawtooth columns in red and yellow overlay and a thick redbud edge rod rim with ticking stripe below 6” H x 11” W x 11” D
$200-400
160
An large polychrome Pit River basket
Early 20th century; Northeast California
A tall globular bowl with five diagonal stepped hooked columns radiating from the base and with serrated star motif to base 9” H x 12” Dia. approximately
$200-400
Notes:
This lot accompanied by a “Judges Award” purple ribbon from the 6th Grand National Indian Collectors / Western Relic Show, San Jose, CA, January 1974
161
A group of large Pit River baskets
Early/mid-20th century; Northeast California
Comprising three twined polychrome tall basketry bowls, each with zigzag triangle banding and floating triangular and sawtooth elements, the smallest with coiled rim 3 pieces
Largest: 8” H x 9.5” Dia. approximately; Smallest: 6” H x 8.5” Dia. approximately
$600-900
Three Pit River baskets
Early/mid-20th century; Northeast California
Comprising three twined bowls including a small polychrome bowl with floating geometric motifs (3” H x 5” Dia. approximately), a small polychrome globular bowl with hatched zigzag banding and floating triangular elements (3.5” H x 5.5” Dia. approximately), and a globular bowl with latticework to rim, and three bands of triangle motifs (3.75” H x 6.25” Dia. approximately)
3 pieces
$600-800
165
A group of Maidu baskets
Early 20th century; Northern California
Three coiled basketry bowls comprising a globular bowl with zigzag floating stepped motifs (4” H x 7.5” Dia. approximately), a shallow tapered bowl with a band of double arrow triangle motifs (2.625” H x 6.25” Dia.), and a small shallow oval boat-shaped bowl with a band of triangular points to the rim and a striped band to the base ( 2.25” H x 6” W x 4.25” D)
3 pieces
$300-500
164
A Maidu basket tray
Early 20th century; Northern California
A coiled flat basket with rim ticking with irregular zigzag starburst outer 1.25” H x 11” Dia.
$200-400
California ticking and central starburst outer band
163
A Maidu basket
Early 20th century; Northern California
A coiled bowl with five diagonal columns of stacked quail topknot geometric motifs
4” H x 8.25” Dia.
$400-600
166
A group of Klamath baskets
Early 20th century; Northern California
Three twined baskets comprising a tall narrow bowl with variegated banding to rim and diagonal geometric motifs (5” H x 7.25” Dia. approximately), together with two large flat basketry trays, the larger with staggered striped half-bands (3” H x 20” Dia.) and the smaller with concentric stepped and hooked bands featuring yellow quill overlay accents (3” H x 15” Dia.)
3 pieces
$300-500
167
A group of polychrome Klamath/Pit River baskets
Early 20th century; Northern California/Oregon
Four small twined basketry bowls in various designs and shapes including a pictorial basket with bird motifs, a small basket with geometric banding, and two baskets with variegated ticking bands
4 pieces
Largest: 3.25” H x 5” Dia.; Smallest: 3.125” H x 4” Dia. approximately
$300-500
168
Walter Bambrook (1910-1984)
New Mexican Adobe home, circa 1950s Oil on canvas
Signed lower right: Bambrook; dated by repute 24.125” H x 29.125” W
$800-1,200
Provenance:
Private Collection, California Private Collection, acquired from the above by descent
Notes:
Lifelong Albuquerque-native Walter Bambrook’s artistic practice focused on depictions of his local New Mexican landscape and adobe structures. Bambrook attended art school at the University of New Mexico and then continued his studies under Carl von Hassler for four years. He made extensive painting trips throughout the state, working on sketches and completing works on-site, and also taught art at the University as well as Height’s Community Club, and the Women’s Club of Albuquerque.
Bambrook was exhibited throughout the country, including at the Corcoran Gallery in Washington, D.C., and the High Plains Historical Museum in Canyon, TX, and received many prestigious awards. Bambrook was a member of and served as National Vice-President (1969-70) at Artists Equity.
169
Willard Page (1885-1958)
“Adobe Hut” Oil on canvasboard
Signed lower left: W Page; titled by the artist’s wife 9” H x 16” W
$400-600
Provenance: Estate of the artist
170
Willard Page (1885-1958)
“Beaver Lake/Pond” Oil on paperboard
Signed lower left: W Page; titled by the artist’s wife; with a portion of the artist’s studio label affixed verso 9” H x 7” W
$300-500
Provenance: Estate of the artist
171
Willard Page (1885-1958)
“View through Aspens at Mount Taylor” Oil on paperboard
Initialed lower right: WP; titled by the artist’s wife; with the artist’s studio ink stamp on the frame’s backing board 7” H x 5” W
$300-500
Provenance: Estate of the artist
172
Willard Page (1885-1958)
“Aspen Trail” Oil on paperboard
Signed with initials lower right: WP; titled in pencil by the artist’s wife, and with the artist’s studio ink stamp, both on the frame’s backing paper 5” H x 4” W
$300-500
Provenance: Estate of the artist
173
Willard Page (1885-1958)
“Mount Longs Peak” Oil on paperboard
Signed with initials lower right: WP; titled in ink by the artist’s wife on the frame’s backing paper
4” H x 5” W
$300-500
Provenance: Estate of the artist
174
Willard Page (1885-1958)
“Mount Ypsilon” Oil on paperboard
Signed with initials lower right: WP; titled in pencil by the artist’s wife, and with the artist’s studio ink stamp, both on the frame’s backing paper
Bronze: 8.625” H x 10” W x 7.5” D; Overall: 8.625” H x 11.25” W x 11.25” D
$800-1,200
177
After John James Audubon (1785-1851)
“Hare Squirrel,” plate 43 from “The Viviparous Quadrupeds of North America,” by J. T. Bowen, 1844
Lithograph with hand-coloring on paper
Edition: from the Imperial Folio edition of unknown size
With the artist’s and lithographer’s names printed in the image at the lower left and right, respectively: J. J. Audubon; drawn on the stone and colored by J.T. Bowen, Philadelphia
Image: 23.625” H x 19” W; Sight: 26.75” H x 20.75” W
$200-400
178
After John James Audubon (1785-1851)
“Long Haired Squirrel,” plate 27 from “The Viviparous Quadrupeds of North America,” by J. T. Bowen, 1844
Lithograph with hand-coloring on paper
Edition: from the Imperial Folio edition of unknown size
With the artist’s and lithographer’s names printed in the image at the lower left and right, respectively: J. J. Audubon; drawn on the stone and colored by J.T. Bowen, Philadelphia Image: 24.125” H x 19” W; Sight: 25.625” H x 19.125” W
$200-400
179
After George Catlin (1796-1872)
“Buffalo Hunt, Surround,” No. 9 from “Catlin’s N. A. Indian Collection,” 1875-78
Lithograph with hand-coloring on paper
With the artists’ names, title, publisher information, and other text all printed in the stone below the image: “Catlin del. _ on Stone by McGahey / No. 9 / Buffalo Hunt, Surround. / (from Catlin’s N. A. Indian Collection.) / Day & Haghe lith.rs to the Queen” Image: 12.125” H x 17.875” W; Sight: 14.25” H x 19.5” W
$500-700
180
After George Catlin (1796-1872)
“Buffalo Hunt, Under the White Wolf Skin,” No. 13 from “Catlin’s N. A. Indian Collection,” 1875-78
Lithograph with hand-coloring on paper
With the artists’ names, title, publisher information, and other text printed in the stone below the image: “Catlin del. _ on Stone by McGahey / No. 13 / Buffalo Hunt, Under the White Wolf Skin. / (from Catlin’s N. A. Indian Collection.) / Day & Haghe lith.rs to the Queen”
Image: 13.75” H x 18.5” W; Sight: 14.25” H x 19.5” W
$400-600
Elbridge Ayer (E.A.) Burbank (1858-1949)
Three works:
“Rags”
Graphite on paper
Signed in pencil lower right: E.A. Burbank; titled in pencil upper right Sheet: 6.375” H x 4.375” W
“Read, Remember, and Obey”
Ink and colored pencil on paper
Signed in blue pencil lower right: E.A. Burbank; titled in red pencil lower center Sheet: 7.375” H x 3.875” W
Birthday card
Ink, gouache, and watercolor on paper
Initialed in pencil in the lower edge, right of center: E.A.B Sheet: 4.375” H x 5.25” W
$500-700
Notes:
This lot is also accompanied by a newspaper clipping of a reproduction of a drawing of a dog portrait.
182
After Charles Henry Humphriss (1867-1934)
“Appeal to the Great Spirit,” 1906 Patinated bronze on rotating wood plinth Signed and dated in the casting: CH Humphriss Bronze: 28.125” H x 15” W x 16.25” D; Overall: 30.125” H
$2,000-3,000
Dave McGary (1958-2013)
“Iron That Walks,” 1991 Cold-painted bronze on rotating wood plinth Edition: 9/75
Signed, dated, and numbered in the casting: Dave McGary / [cipher] Bronze: 20” H x 9.75” W x 10.25” D; Overall: 21.5” H x 9.75” W x 12.75” D
$2,000-3,000
184
A James Hutchinson 14k gold Sitting Bull portrait medallion pendant necklace
A coiled gap-stitched tapered basketry bowl with two wide bands of “rattlesnake” diamond motifs
6” H x 11” Dia.
$400-600
187
A polychrome Washoe pictorial basket
Early 20th century; Northern California/Nevada
A coiled globular bowl with alternating floating moth/butterfly, floral, and geometric motifs
5.5” H x 8.75” Dia.
$600-900
188
A polychrome Washoe basketry bowl
Early 20th century; Northern California/Nevada
A large coiled globular bowl with six floating stepped medallions
6” H x 10” Dia.
$400-600
189
A Washoe basketry bowl
Early 20th century; Northern California/Nevada
A coiled low bowl with a central band of alternating irregular sawtooth motifs
3” H x 7.75” Dia.
$400-600
190
A Washoe basket
Early 20th century; Northern California/Nevada
A coiled single rod bowl with alternating bands of stacked crosses and stepped chevrons
3.5” H x 7.25” Dia.
$200-400
191
A Washoe basketry bowl
Early 20th century; Northern California/Nevada
A coiled gap-stitch low bowl with two concentric serrated zigzag bands and spaced rim ticking
3” H x 9.5” Dia.
$200-400
192
A polychrome Washoe burden basket 20th century; Northeast California/Nevada
A large twined tapered flat base basket with bands of ticking either side of a band of diagonal triangular motifs 13” H x 17” Dia.
$700-900
194
A polychrome Mono/Paiute basket
Early 20th century; Central California
A coiled globular bowl with multiple stepped diagonal motifs
3.5” H x 6” Dia.
$300-500
193
A Miwok basket
Early 20th century; Northern/Central California
A coiled globular footed bowl with a middle band of floating arrows, stepped and hatched bands to rim and waist, and delicate pointed motifs to base 4” H x 8” Dia.
$600-900
A Navajo Germantown pictorial loomer
Late 19th century, Diné
Woven in red, cream, green, purple, and variegated wool, depicting a train locomotive and train cars, with a stepped motif band above, and with cotton warps and wooden loom bars 20.75” H x 17.625” W
$600-800
196
A large Navajo Germantown eyedazzler rug
Late 19th century, Diné
Woven in red, orange, purple, cream, and green multicolored wools with a central radiating diamond
82” H x 58.5” W
$800-1,200
A Navajo transitional regional textile Late 19th century, Diné Woven in red, cream, and black wool with a central column of stacked diamonds and two columns of floating crosses, with banded ends
81” H x 61.5” W
$1,500-2,000
198
A Navajo saddle blanket
Late 19th/early 20th century, Diné
Woven in red, brown, cream, and blue wool, with multiple finely serrated bands
31.5” H x 41” W
$600-900
A Navajo regional rug/double saddle blanket
Early/mid-20th century, Diné Woven in red, cream, black, brown, and green wool with columns of stacked serrated diamonds
35.5” H x 47” W
$300-500
200
A Navajo regional rug
Early 20th century, Diné Woven in grey, cream, black, and red wool, with a central serrated diamond and floating crosses
60” H x 47.5” W
$600-900
201
A Navajo regional rug
Mid-20th century, Diné Woven in variegated brown/grey, red, brown, and cream wool with a central column of stacked serrated diamonds, and a complex serrated border to two sides
57.5” H x 35” W
$300-500
A Navajo double saddle blanket Mid-20th century, Diné Woven in grey, red, black, and cream wool with two serrated diamonds and floating stepped elements, with stepped borders to two sides 30.5” H x 61.5” W
$300-500
203
A Navajo regional rug
Mid-20th century, Diné Woven in red, cream, and black wool with stacked sawtooth columns in alternating colors
63” H x 36” W
$300-500
Attributed to Lynn Brown b. 20th century “Canvas Parfleche”
Mixed media collage including dyed canvas, paint, and leather
Initialed indistinctly lower right: LDB [?]; inscribed in ink on overmat with description of object, presumably by artist 25” H x 18.75” W (sight)
$300-500
Notes:
Title and artist’s attribution based on details from previous auction listing: Hindman: May 7, 2021: Sale 836, Lot 94.
205
A Cochiti Pueblo polychrome drum
Early 20th century
The carved and painted wood drum with stretched hide at both ends, painted black and bound by hide strapping
17.5” H x 10” Dia.
$400-600
206
A polychrome Modoc/Klamath
Early 20th century; Northern California/Southern
A shaped wood bow with painted with a braided fine string cord
39.75” L x 2.5” H
$1,000-1,500
Modoc/Klamath painted bow
California/Southern Oregon
painted geometric motifs in red, blue, green, and yellow,
A Navajo transitional saddle blanket Late 19th century, Diné Woven in red, blue, and cream wool with alternating striped bands and serrated zigzags, with yarn tassels to each corner 24” H x 31” W
$800-1,200
A Navajo “Sunday” saddle blanket Early 20th century, Diné Woven in cream, red, and grey wool with red banding and serrated corner motifs, featuring multicolored yarn “Sunday saddle” fringe to one edge, and tiered yarn tassels to two corners
30.5” H x 30” W; fringe: 4”; tassels: 11” approximately $400-600
209
Two Navajo Sunday saddle blankets
Early/mid-20th century, Diné
Comprising a large square blanket woven in tan, orange, red, brown, and cream wool with serrated banding and corners, and orange and brown tassels, and a smaller blanket woven in grey, brown, pink, cream, and grey wool with central banding and a serrated sunburst diamond motif and with multicolored looped fringing and two double tassels, 2 pieces
Larger: 32” H x 33” W; Smaller: 23.5: H x 31” W including fringe
$600-900
A Navajo Yei textile Mid/late 20th century, Diné Woven in grey, orange, cream, brown, black, and red wool depicting six Yei figures and diamond/arrow motifs with a complex zigzag stepped border 45” H x 79” W
$1,000-2,000
A Lim Tsosie Navajo Yei weaving Lim Tsosie (b. 20th century, Diné) Mid-20th century
A prize-winning sandpainting textile woven in grey, tan, black, ochre, brown, pink, and blue wool depicting three Yei figures with directional corn stalks 34.5” H x 41.5” W
$600-900
Exhibited:
Inter-Tribal Indian Ceremonial, Gallup, New Mexico, 1962
Notes:
This lot accompanied by a First Prize blue ribbon from the Inter-Tribal Indian Ceremonial, Gallup New Mexico, 1962.
With attached round tag indicating artist as Lim Tsosie, Window Rock, AZ.
A Navajo Yei pictorial textile Mid-20th century, Diné Woven in tan, cream, ochre, orange, and grey wool, with five Yei dancers and a fine serrated border 19.75” H x 73” W
$300-500
A Navajo regional rug
Mid-20th century, Diné
A fine weave textile woven in gray, black, cream, tan, and turquoise blue with a separated central stepped diamond, with floating arrows and hooked borders
42” H x 31.5” W
$300-500
A small Navajo Two Grey Hills textile Mid-20th century, Diné Woven in cream, tan, grey, and black wool with a central stepped diamond motif and floating stepped motifs to corners 42.5” H x 27” W
$200-400
A Navajo Chinle textile runner Mid-20th century, Diné Woven in sand beige, brown, gray, and cream wool with multiple contrasting striped and geometric bands overall 24.5” H x 59.5” W
$400-600
216
A Navajo sand painting on hide Circa 1920, Diné
Painted in black, white, red, yellow, and two shades of blue, depicting a tobacco pouch guardian centering opposed corn stalks in the lower register, featuring a depiction of the sky from the Shootingway Chant including the horned sun, moon, and winds as well as the four sacred plants at center, with a rainbow guardian figure at top Hide: 61” H x 46” W
$2,000-3,000
Provenance:
Sold: Heritage Auctions, Beverly Hills, CA, “Signature American Indian Art Auction,” June 12, 2010, Lot 55122
217
An Anthony Kee Navajo lapis lazuli, sterling silver & 14k gold ring
Anthony Kee (b. 20th century, Diné)
Stamped: Anthony Kee / 925 / 14k
A Modernist-style ring with lapis cabochon set to a silver bar flanked by two 14k gold balls
Ring size: 6.25 15.1 grams gross
$300-500
219
An Allison Lee Navajo sterling silver cuff bracelet Allison Lee (b. 1958, Diné)
Late 20th/early 21st century
Stamped: Allison Lee / L.T.D.
A smooth modernist silver cuff with incised hatched “chain” narrow banding
6.5” total inner C x 1” H, including a 0.875” gap
62.1 grams
$300-500
218
A Southwest sterling silver and turquoise cuff bracelet Mid-20th century
Unmarked
A three-wire cuff with three turquoise cabochons each set to a star-shaped shadowbox plaque
6.625” total inner C x 1.375” H, including a 1.25” gap
47.5 grams gross
$400-600
220
A Southwest sterling silver and turquoise cuff bracelet Late 20th century
Stamped: MM [possibly Michael Mendoza, Navajo/Diné] / Sterling
A two-wire silver cuff designed with three plaques set with angular turquoise and edged with row-set small turquoise cabochons
6.75 total inner C x 2.125” H, including a 1.25” gap
39.2 grams gross
$300-500
221
Two Southwest sterling silver and turquoise cuff bracelets
Late 20th century
One with etched letters verso: LMT
Each three-wire cuff with set turquoise to large and small plaques, and with silver overlay and stamped accents
Larger: 6.5” total inner C x 3” H, including a 1.25” gap; smaller: 6.5” total inner C x 2.625” H, including a 1.375” gap 114.9 grams gross
$200-400
222
A group of Southwest-style sterling silver and stone set cuff bracelets
Late 20th century
One marked: TB [gothic font; likely Tom Burnside, Diné, active 1970s]
Three two-wire cuffs comprising a chunky Tom Burnside Navajo chunky cuff with large central set turquoise and silver overlay and stampwork, as well as a delicate wide cuff with set turquoise and coral flanked by silver feather accents, and a small cuff with five graduated set turquoise stones
3 pieces
Largest: 6.5” inner C x 1.875” H, with a 1.375” gap; smallest: 6.25” inner C x 1” H, with a 1.5” gap
89.8 grams gross
$400-600
223
Three Southwest-style silver and set stone cuff bracelets
Late 20th century
Variously marked for sterling and for maker: S.E. [likely Sensa Eustace, Zuni] / SS/Hecho en Mexico
Comprising two chunky sterling silver cuffs with incised edging and silver ball accents, including a Sensa Eustace Zuni cuff with large row set graduated turquoise and a cuff with row set malachite cabochons, as well as a Mexican silver cuff with row-set turquoise and silver feather overlay accents to terminals 3 pieces
Largest: 7.25” inner C x 1” H, with a 1.25” gap; smallest: 6.75” inner C x 0.75” H, with a 1” gap
131.4 grams gross
$600-900
224
A Northern Plains beaded buffalo hide awl case
Late 19th century or later
A narrow case with elaborate geometric beading in pink, brown, black, white, and yellow, with metal cone dangles to beaded top flap and with a long metal cone and beadwork tassel
Case: 6: H x 1” Dia.; Flap: 7” H x 1” W; Tassel” 7” L
$500-700
225
A pair of Sioux beaded and quilled hide moccasins
Late 19th century; Northern/Central Plains
Each hide moccasin featuring white, blue, and green beads in geometric motifs, with bands of white and dyed red quill details to front, and ankle areas edged with quillwork
2 pieces
9.75” x 3.5” W and 9.5” L x 3.25” W
$400-600
226
A pair of Sioux beaded hide tall moccasins
Late 19th/early 20th century; Northern/Central Plains
Each soft-hide moccasin/legging with white and fine multi-colored beaded geometric motifs to foot and each side of legging extension, and with hide lacing closures to front panels
2 pieces
Each: 19” H x 7.5” W x 10” D (sole) approximately
$2,000-3,000
A Plains beaded hide tobacco bag 20th century; Northern/Central Plains
The bag with multi-colored beaded geometric motifs to each side and with tin cone accents 22.75” H x 7.75” W
$800-1,200
228
A pair of Woodlands beaded moccasins
Early 20th century; likely Anishinaabe (Ojibwe)
Each soft gathered hide moccasin with multicolored floral beadwork to black wool tops and heel bands, including faceted blue and silver beads, with red and green beadwork edging and wool braid trim and ties
2 pieces
10.25” L x 3.5 & 3.75” H x 4.25” W
$200-400
A pair of Blackfoot beaded hide high-top moccasins
Late 19th/early 20th century; Great Plains
A pair of elaborately beaded tall buckskin leather moccasins, each with multicolored floral and foliate elements throughout, fine pale blue bead edging, drawstrings to ankles, and silver button side closures
2 pieces
Each: 8.5” H x 3.5” W x 9.5” D approximately
$300-500
An Apache contemporary beaded hide dress
Late 20th century
The wearable two-piece buckskin deer hide dress comprising a pullover top with open sides and a straight skirt with hide drawstring, each with long fringing to most edges and decorated with red, blue, white, and black beaded bands and geometric motifs, with silver metal rivets and metal cone dangles throughout, suspended together from a rustic branch
3 pieces
Top: 23” H x 28” W; Fringing: 27” to 7” L approximately; Skirt: 37” H (including fringe) x 22” W; Suspended: 52” L total
$500-700
231
Two Crow beaded hide items
Late 19th/early 20th century; Apsáalooke, Northern Plains
Comprising a large triangular beaded hide panel or possible martingale, with geometric beaded motifs worked in blue, pink, yellow, and white on red wool, as well as a narrow beaded hide bag or sheath in pinks, blues, greens, and reds, with metal cone dangles and yarn fringing, with beaded hide straps and tassels
2 pieces
Largest: 11.25” H x 6.25” W; Smallest: 9.5” H x 3.25” W (tassel: 8” L)
$800-1,200
232
A Crow beaded hide bag
19th century or later; Apsáalooke, Northern Plains
A round beaded hide bag worked to one side in blue, white, orange, and yellow beads in geometric motifs and with a central pink and green beaded tassel with brass-toned bead accents
4.5” Dia.; tassel: 8.25” L
$500-700
A group of Native American beaded bags
Late 19th/early 20th century
Four works comprising a Haudenosaunee/Iroquois beaded “whimsey”-style rigid purple velvet envelope pouch/ bag with top flap closure, worked in raised designs with clear and multicolored glass beads and with looped fringe to base (4.25” H x 6” W x 2.25” D), as well as three Plains-style beaded hide bags, each worked in polychrome geometric motifs including a small round bag/pouch (4.5” Dia.), a large soft hide bag with beaded star motifs and hide fringe edges (15” H x 10” W including fringe), and a drawstring “bucket” bag with an elaborate geometric rigid beaded strip and fine blue bead edging (9.5” H x 5.5” Dia.)
4 pieces
$300-500
234
A group of Native American beaded dress accessories
Early/mid-20th century
Six works comprising two beaded headbands with hide laces, one in blue, red, yellow, and black beaded diamond motifs, and one in red, white, and blue beads with stepped arrow motifs (23.5” L & 21.5” L; each: 1.25” H), as well as a white, yellow, and blue beaded hide bracelet with fringing (10.5” L x 1.75” H), a white, red, and green beaded necklace (30” L x 4.5” H), and two beaded leather fold wallets, one larger in in white with multicolored floral motifs, and one in black suede with black, red, and white geometric beaded edging (each opened: 3.75” H x 8” W & 4.25” H x 5.25” W)
6 pieces
$200-400
235
A group of Plains beaded hide bags and pouches
Late 19th/early 20th century
Seven works comprising a beaded soft hide watch fob with fringed end (7” H x 2.125” W), two small beaded deer tail hide bags, each with blue and white beading in geometric stepped and zigzag motifs (8.5” H x 2.75” W & 8” H x 2.5” W), and four small soft hide beaded bags/pouches, each with multicolored stepped diamond motifs and beaded edging, two with flaps and fabric trim (largest: 5.5” H x 4” W; smallest: 3.25” H x 2.75” W)
7 pieces
$300-500
A group of Paiute beaded glass and basketry items
Early/mid-20th Century; Great Basin
Five works comprising a tall fully beaded lidded glass bottle in green and orange, a small square glass bottle in blue and gold with a white floral motif, a chunky lidded glass jar in green and red, a small glass jar in blue and pink, and a diminutive oval lidded coiled basket in black, gold and red beads 5 pieces
Largest bottle/jar: 8.25” H x 2.5” Dia.; Smallest: 4.625” H x 2.25” W x 1.25” D; Basket: 1.75” H x 3” W x 2” D
$200-400
237
Signed lower right: McCain
16” H x 12” W
$1,000-2,000
Buck McCain
(b. 1943)
Pueblo dancer Oil on Masonite
238
20th Century Western School
Indigenous man with a headdress, 1975 Oil on Masonite
Provenance: Franz Dyche, acquired on March 10, 1977
239
Neil Boyle (1931-2006)
Portrait with headdress
Oil on board
Signed lower right: Boyle / BSWCA
16” H x 12” W
$300-500
240
Carl Glen Bray (1917-2011)
Navajo cloudland Oil on Masonite
Signed lower left: Carl G. Bray 24” H x 30” W
$600-800
Provenance: Private collection, Southern California
241
A large Hopi pottery canteen 19th century or earlier
With applied sticker to underside: Property of Primitive and Fine Arts #0016
The canteen with opposed lug handles and flat base
13.75” H x 12.5” W x 10.25” D
$700-900
242
A large Hopi Pueblo polychrome pottery vessel Early/mid-20th century, Hopi-Tewa Unsigned; pencil marks to base: H + W
The tall cylinder jar with avian motif to each side 15.25” H x 5.5” Dia. approximately
$600-900
243
Priscilla Namingha Nampeyo (1924-2008, Hopi-Tewa)
A large Hopi polychrome jar, mid/late 20th century
Signed to underside: Priscilla Namingha Nampeyo
The tall narrow jar with elaborate double avian motifs to each side 11.5” H x 5.5” Dia.
$500-700
244
Dawn Navasie (b. 1961, Hopi-Tewa)
A polychrome yellowware pottery low bowl, late 20th/21st century
Signed to underside: Dawn Navasie [stepped banding motif]
The large tray with central katsina figure and black band to rim 2.5” H x14.5” Dia.
$500-700
245
Verla Dewakuku (b. 1932, Hopi-Tewa)
A Hopi pottery bowl, late 20th century
Signed to underside: Verla Dewakuku
The bowl with black banded feather motif to rim and upper body on a terra cotta slip 5.125” H x 10.5” Dia.
$200-400
246
A large Salado Tonto polychrome storage jar 20th century or earlier
Marked to underside: BEAVERS / Salado / [illegible]
The three-color wide-bodied jar with black and red geometric and figural motifs on a white slip
9.5” H x 14.5” Dia.
$300-500
Provenance:
Collection of Joel Siegel, NY, New York
Private Collection
247
A Zuni Pueblo polychrome pottery olla
Late 19th/early 20th century
The three-color jar with red and dark brown heartline dear, avian, and rain cloud motifs on a white slip ground, above a puki indentation to underside 7.375” H x 9.75” Dia.
$600-900
248
20th Century American School
Acoma pottery vase with avian motif
Mixed media on canvas
Signed and dated indistinctly and titled “Acoma” in gold ink at lower right 16” H x 20” W
$200-400
An Acoma Pueblo polychrome pottery jar
Early 20th century
Marked in slip paint to underside: Gallup. N.M. / June 1913
The three-color pot with banded checkered and fish motifs on a white slip glaze, above a terra cotta wash and puki indentation to underside 4.375” H x 6.625” Dia.
$300-500
A group of Acoma Pueblo pottery bowls
Mid/late 20th century
Four works:
Lucy Martin Lewis (c. 1890-1992)
Two Mimbres-style pottery bowls
Each signed to underside: Lucy M. Lewis; further variously marked: Acoma / NM / A / 1962
Each globular bowl with fine-line black-on-white geometric and banded motifs
2 pieces
Larger: 4.125” H x 7.25” Dia.; Smaller: 2.875” H x 4” Dia.
Dolores Lewis (b. 1938)
A small pottery bowl
Signed and dated to underside: Dolores Lewis / Acoma, N.M. / 9-71
The small globular pot with black-on-white figures and stepped motifs to rim 2.75” H x 3.5” Dia.
Sarah Garcia (1928-2015, Laguna/Acoma Pueblo)
An Anasazi Revival pottery bowl
Signed to underside: Sarah Garcia / Acoma N.M.
The tapered bowl with black-on-white bands/columns of alternating line and solid zigzag motifs
4” H x 6” Dia.
4 pieces total
$700-900
A group of Hopi Pueblo pottery vessels
Mid-20th century; Arizona and Southwestern United States
Each unmarked
Comprising three cylindrical pottery jars, each with polychrome or black line avian motifs and a small pottery tray/plate with polychrome avian motif to center 4 pieces
Largest jar: 7.25” H x 4.25” Dia.; Smallest: 4.875” H x 3.375” Dia.; Tray: 1.25” H x 6.25” Dia.
$500-700
A group of Hopi Pueblo pottery vessels
Mid-20th century
Three works:
Cora P. Andrew (b. 20th century, Hopi-Tewa)
A tall pottery jar
Signed to base: Cora P. Andrew; further marked with ink/crayon: 45
The tall cylindrical polychrome pottery jar with elaborate avian and geometric motifs overall
9.5” H x 4.25” Dia.
Two Hopi Pueblo pottery vessels
Each unmarked
Comprising a tall cylindrical polychrome pottery jar with two avian motifs to body, and a pottery bowl with black avian motif to center
2 pieces
Jar: 9” H x 4.75” Dia.; Bowl: 4” H x 9.25” Dia.
3 pieces total
$400-600
A group of Hopi polychrome pottery vessels
Mid-20th century
One with pictorial cipher to underside; three with partially legible penciled attributions
The yellowware group comprising two three-color tall jars, each with avian motifs to body, a seed pot with banded stepped motifs, and a smaller jar with banded geometric motifs 4 pieces
Tallest jar: 8.75” H x 4.25” Dia.; Seed pot: 2.875” H x 4.25” Dia.
$200-400
Four Hopi Pueblo yellowware pottery vessels
Four works:
Emogene Lomakema (1901-1999, Hopi First Mesa/Walpi)
A small polychrome pottery bowl, mid-20th century
Signed in pencil to underside: Mrs Lomakema
The low bowl with black and red geometric banding to rim 2.625” H x 4.75” Dia.
Elva Tewaguna Nampeyo (1926-1985, Hopi-Tewa)
A Sikyatki Revival-style pottery olla, mid-20th century
Signed to underside: Elva Nampeyo
The small high-shouldered olla with traditional graceful geometric banding in red and black 4.5” H x 6” Dia.
Antoinette Honie (b. 20th century, Hopi-Tewa)
A Sikyatki Revival-style polychrome pottery jar, mid-20th century
Signed to underside: A. Honie
The shaped globular-bodied vase with two geometric avian motifs to each side 5.375” H x 5.5” Dia.
Annette Silas (b. 20th century, Hopi-Tewa)
A dark orange pottery vase, mid/late 20th century
Signed to base: Annette Silas
The tall tapered jar with black slip painted stepped geometric banding issuing from rim 5” H x 4” Dia.
4 pieces
$400-600
A group of Southwest Pueblo pottery vessels
Six works:
Margaret & Luther Gutierrez (1936-2018 & 1911-1987, Santa Clara Pueblo)
Two small polychrome pottery vessels, mid/late 20th century
Each signed to base: Margaret/Luther; one further marked: Sta. Clara Pue.
A small globular red vase with multicolored slip-painted Avanyu motif, as well as a diminutive red bowl with geometric banding 2 pieces
Vase: 4.25” H x 3” Dia.; Bowl: 1.75” H x 2.75” Dia.
Lela Naranjo & Luther Gutierrez (1895-1966 & 1911-1987, Santa Clara Pueblo)
A small polychrome pottery bowl, mid-20th century
Signed to base: Lela/Luther / Sta. Clara Pue.
The three-sided red low bowl with a band of migration-style motifs to rim 2.5” H x 4.75” Dia.
Barbarita Tafoya Naranjo (1917-1984, Santa Clara Pueblo)
A polychrome redware pottery jar, mid-20th century
Incised signature to base: Barbarita / Santa Clara Pueblo
The tall rounded vase with contrast painted Avanyu serpent band motif and geometric banding to rim 5.125” H x 5.25” Dia.
Two Southwest Pueblo polychrome pottery bowls, early/mid-20th century
One marked in pencil to base: Sant_na [illegible]
Comprising a redware globular bowl with four-colored geometric banding to sides and rim, as well as a Zia Pueblo-style olla pottery jar with avian motifs, diagonal banding, and with a red dimpled base
2 pieces
Bowl: 4.2” H x 6.25” Dia.; Olla: 6” H x 6.25” Dia.
6 pieces total
$300-400
A group of Southwest Pueblo pottery vessels
Four works:
Emogene Lomakema (1901-1999, Hopi First Mesa/Walpi)
A small polychrome pottery low bowl, mid-20th century
Signed in pencil to underside: Mrs Lomakema
The oval tray with black and red geometric motifs to rim 1.5” H x 5.25” W x 3.75” D
Vivian Mumzewa (b. 20th century, Hopi Pueblo)
A tall double-spout wedding vase, mid-20th century
Signed to base: Vivian Mumzewa
The large orange vase with contrast black geometric avian motif to each side 9.5” H x 9.5” W x 4” D
Two small Southwest Pueblo polychrome pottery wedding vases, mid-20th century
One marked to base: Acoma, N.M.
Comprising a Hopi vase with geometric avian/feather motifs, and an Acoma Pueblo vase with central star medallions
2 pieces
Larger: 6” H x 4.75” W x 3.5” D; Smaller: 5” H x 4.5” W x 3.5” D
4 pieces total
$200-400
257
A group of Santo Domingo Pueblo polychrome pottery vessels
Early/mid-20th century
Each with black on white slip decoration above a terra cotta wash, comprising a tea pot and coffee pot with floral motifs, a jar with banded geometric motifs above a puki indentation, and a small bowl with crimped rim and floral motifs 4 pieces
Jar: 8” H x 6.875” Dia.; Bowl: 2.625” H x 3.625” Dia.
$300-500
Two Jemez Pueblo pottery owls and a pottery lizard ocarina
Three works:
Persingula M. Gachupin (1910-1994, Jemez Pueblo)
Two polychrome painted pottery owl figures, mid/late 20th century
Each variously marked to base: Mrs. P.M.G. / Jemez Pue. / N.M.
The three-color figures, comprising two tall tanware owl sculptures with elaborate painted line and stepped rain, cloud, feathers, and other Pueblo motifs
2 pieces
Larger: 11” H x 5.25” W x 5” D; Smaller: 5.75” H x 2.75” W x 2.75” D
A pottery lizard ocarina flute, 20th century
Unmarked
The figural flute with incised texture to body 1.75” H x 3” W x 12.5” D
3 pieces total
$200-400
A large group of Acoma Pueblo polychrome pottery items
Mid/late 20th century
Three with penciled attribution to underside: Mary Hacia; most marked: Acoma N.M.; or variously: Acoma / Sky City
Comprising two small bowls and a turtle effigy figure by Maria Hacia, a female figural effigy with beaded ear adornments, a wedding vase, two chicken effigy figures, two owl effigy figures, miniature snake and owl figures, and five trays with various avian and geometric motifs
16 pieces
Female figure: 6.875” H x 4.375” Dia.; Largest bowl: 2.375” H x 3.625” Dia.
$300-500
260
Caroline Loretto (b.1953, Jemez Pueblo)
Three redware pottery seed pots, early 21st century
Each signed to underside: C. Loretto Jemez
Each with various white slip decorations on red buff
3 pieces
Largest: 2.375” H x 4.125” Dia.; Smallest: 2” H x 2.75” Dia.
$200-400
Four Southwest Pueblo pottery bowls
Mid/late 20th century
Four works:
Blue Corn (1921-1999, “Crucita Calabaza,” San Ildefonso Pueblo)
A San Ildefonso Pueblo pottery jar
Incised to underside: Blue Corn
The small tall jar with matte black geometric banding to rim on a buff ground 3.75” H x 3.75” Dia.
Flora Naranjo (1914-2000, Santa Clara Pueblo)
A small blackware pottery bowl
Incised to underside: Flora Naranjo / Santa Clara Pue.
The shallow bowl with a buff finish 1.75” H x 5.5” Dia.
Priscilla Namingha Nampeyo (1924-2008, Hopi-Tewa)
A miniature redware pottery bowl
Signed to underside: P.N. Nampeyo
The diminutive globular bowl with contrasted geometric banding 1.25” H x 2” Dia.
A Southwest Pueblo miniature blackware pottery bowl
Incised to base: F N [possibly Flora Naranjo, Santa Clara Pueblo]
The diminutive oval bowl with a buff exterior 1.125” H x 2.375” W x 2” D
4 pieces
$200-400
A Roseville pottery “Montacello” vase
1930s
Unmarked
The glazed terracotta vase, shape 526-7, with opposed lug handles and later applied turquoise accents
7.25” H x 6.625” Dia.
$200-400
Literature: Huxford, Sharon and Bob, “The Collectors Encyclopedia of Roseville Pottery,” (Paducah, KY: Collector Books, 1997), 188
Esquivel Toscano (20th century)
“La Olla” Sanctuary of Souls, 2009/2011 Oil on canvas
A group of Zuni & Navajo carved stone fetish figures
Mid/late 20th century
Some variously labelled for or signed by the artist; one marked: MC/Zuni; one with bag marked: Ohmsattie [sic]
Comprising seven otters, a bear, and four squirrels or ground squirrels, in various stones including jet, from various makers such as J. Red Elk, David Yazzie (Navajo/Diné), Patricia Wayne, Melissa Quam, and Larry Antez, some with turquoise inlaid features, two mounted with offerings 12 pieces
Largest: 1.375” H x 3.5” W x 1” D; Smallest: 1.5” H x 0.625” W x 0.875” D
$200-400
A group of Zuni carved stone fish fetish figures
Mid/late 20th century
Eight variously signed by the artist; two with unknown initials: DTY / RI
Comprising fifteen fish, shark, and orca killer whale figures in various stones, shells, tagua nut, and amber, from various makers such as Louise Singer, E. Bowekaty, Herbert Him, Kenny Chavez, Calvert Bowannie and others, some with turquoise inlaid features, and one mounted with offerings 15 pieces
Largest: 1.25” H x 4.5” W x 0.625” D; Smallest: 1.625” H x 1.25” W x 0.25” D
$200-400
A group of Zuni carved stone horned toad fetish figures
Mid/late 20th century
Some variously signed or labelled to base for artist
Comprising twelve horned toad or lizard figures and a single carved (likely) mole fetish from artists including Louise Singer, Avrill/Avriel Lamy, and Carl Estate, most with turquoise inlaid features, and two mounted with offerings 13 pieces
Largest: 0.75” H x 3” W x 1.75” D; Smallest: 0.25” H x 1.25” W x 0.875” D
$200-400
A group of Zuni & Inuit carved stone sea animal fetish figures
Mid/late 20th century
Seven variously labelled for or signed by the artist
Comprising a large Inuit carved brown stone walrus with white stone tusks, and a small Inuit carved stone seal and pup sculpture by Maurice Nattanguk (b.1954, King island, Alaska), as well as ten Zuni carved stone fetish sea animal figures including whales, seals, dolphins, a shark, a walrus, and a large eagle, all from various makers such as Louise Singer, A. Chavez, Chris Yuselew, Tracey Zunie, Elroy Pablito, and Adrian Cachini, most with turquoise inlaid features, and two with sgraffito designs
12 pieces
Largest: 3.625” H x 3.25” W x 4” D; Smallest: 1” H x 2.125” W x 1” D
$200-400
A group of Southwest silver jewelry
Late 20th century
A Corbet Joe Navajo sterling silver ring with chip inlay
Corbet Joe (b. 20th century, Diné)
Stamped: CJ [misaligned] / Sterling
A narrow ring with turquoise and coral inlay and shadowbox leaf motif
Ring size: 8.5
Two Louise Platero Navajo sterling and set turquoise rings
Louise Platero (b. 20th century, Diné)
Each stamped: L Platero / Sterling
Each with oblong set turquoise, 2 pieces
Ring sizes: 7 & 6
A group of Southwest silver jewelry
Buckle marked: JS [possibly for Josiah Smith, Diné]
Four works comprising a graduated silver bead necklace, a sterling silver charm bracelet with multiple sterling katsina charms, a twowire cuff with graduated set oval turquoise and stamped terminals, and a JS Navajo stamped silver rectangular concho-style buckle with set turquoise, on a tooled brown leather belt, 4 pieces
Necklace: 16.5” L; link bracelet: 7” L; cuff: 6” inner C x 0.625” H with a 1” gap; buckle: 2” H x 3.125” W; belt: 40.5” L x 1.625” H
7 pieces total 278.6 grams gross
$300-500
A group of Southwest-style silver and turquoise jewelry
Late 20th century
A Derrick Gordon Navajo sterling silver and turquoise cross pendant
A stamped repoussé cross with central set turquoise suspended from an associated sterling silver anchor chain, 2 pieces 20” L x 3.5” H x 2.25” W
A group of silver and turquoise jewelry
Variously marked: TB [gothic font; likely Tom Burnside, Diné, active 1970s] / Sterling / 925
Comprising a Navajo silver bead necklace with three set turquoise plaques with silver feather and dot overlay, as well a turquoise and sterling silver link bracelet, 2 pieces
Necklace: 15” L x 1.125” H; bracelet: 8.375” L x 0.625” H
4 pieces total 127.6 grams gross
$400-600
A group of Southwest-style jewelry
Late 20th century Four works:
A Lennie Parker Navajo portrait pendant necklace
Lennie Parker (b. 20th century, Diné)
Stamped: LP [conjoined; within arrowhead]
A large oval pendant with shadowbox silver overlay portrait motif and bezel set turquoise, suspended from a strand of silver ball and oblong beads 27” L x 3.125” H
A group of Southwest-style jewelry
Unmarked
Comprising a silver-toned metal cuff with set turquoise-colored stones (7” inner C x 0.625” H, with a 1.25” gap), together with a double strand of turquoise, silver-toned and mother of pearl beads with a carved black stone turtle pendant (25” L), as well as a single strand of silver-toned and turquoise beads with a chip carved obsidian arrowhead pendant (28” L), and a single strand of turquoise nuggets with shell heishi spacers (24” L), 4 pieces
“Cowboys,” frontispiece/plate 1 from the “Cowboys” suite, 1974
Lithograph in brown on BFK Rives paper
Edition: XXXII / XXXV
Signed, titled, dated, and numbered in pencil across the lower portion of the image: Doyle 74; Roland Poska and John Gruenwald for Fishy Whale Press, prntrs.
Image: 38” H x 26.5” W; Sheet: 41.5” H x 30” W
$100-200
Notes:
Although this impression is numbered out of XXXV, the colophon for the series mentions just 75 numbered in Arabic numerals.
274
James Neil Boyle (1931-2006)
Saloon scene
Oil on canvas
Signed lower right: Boyle / BSWCA 24” H x 30” W
$400-600
275
An Old Hickory-style rocking chair Mid-20th century
The natural wood horseshoe armchair set on carved wood rockers, featuring seatbacks and seat cushions upholstered in cotton fabric depicting ducks in a lakeside landscape
30.75” H x 28” W x 36” D
$300-500
276
A pair of Old Hickory side chairs
Late 20th century
Each with applied metal tag: Old Hickory / Shelbyville IN
The natural wood chairs, each seatback and seat cushion upholstered in cotton fabric depicting Southwest-style geometric motifs
2 pieces
Each: 36.5” H x 19” W x 21.5” D
$300-500
277
An Arts & Crafts bow arm Morris chair
Late 20th century
Each unmarked
The wood Arts & Crafts/ Mission-style reclining chair with ladder seat back reclining at four angles, each set with wood pegs verso, featuring mortise and tenon construction and curved arms raised on corbeled supports and six slats to each side, the seat and seatback cushions upholstered in brown leather, together with a conforming ottoman 2 pieces
Chair: 41” H x 34” W x 40” D; Ottoman: 16.25” H x 25.25” W x 18.5” D
$600-800
278
A Bradley & Hubbard slag glass table lamp Early 20th century; Meriden, CT
Base marked to underside on applied pastille: B&H; base plate cover marked: B & H / 160; shade unmarked The four-light lamp with cast verdigris bronze base, featuring a slag glass shade with “frog skin” patinated metal overlay depicting foliate motifs, surmounted by a pinecone finial, electrified Lamp: 28.25” H x 10.75” Dia.; Shade: 10” H x 17.75” W x 20” D
$1,200-1,800
279
A pair of Buffalo Studios wall sconces
Late 20th century
Each unmarked
The Tiffany-style patinated bronze three-light wall sconces, each light with an art glass floriform shade, electrified 2 pieces
Each: 18.25” H x 11.25” W x 7.75” D
$1,000-1,500
A Southwest Pueblo carved stone fetish necklace
Late 20th century
Featuring an elaborate single strand necklace of graduated stacked carved animal fetish figures, including bears, wolves, foxes, turtles and a large central carved jet standing bear, in various stones such as turquoise, mother of pearl, spiny oyster, jet, and pipestone, and with fine shell heishi and a traditional wrapped neck cord
32” L x 1.75” H
168.8 grams gross
$200-400
281
A Southwest Pueblo carved jet fetish necklace
Late 20th century
Featuring a single strand necklace of stacked graduated carved black jet animal figures, including bears, wolves, and foxes, with a central carved jet turtle, and with jet heishi beads and a silver cone and hook clasp
30” L x 1.375” H
63.9 grams gross
$200-400
282
A Southwest Zuni-style carved jet bear fetish necklace
Late 20th century
Comprising a single strand necklace with carved jet bears and a central standing bear, with jet and turquoise heishi and a silver cone clasp
32.5” L x 1.75” H
74.0 grams gross
$200-400
A group of Southwest Pueblo carved jet and stone fetish figures
Mid/late 20th century, Zuni Pueblo and Santa Clara Pueblo
Some variously labeled for or signed by the artist
Comprising twenty-seven Zuni Pueblo carved jet and black stone animal fetish figures including bears, horses, a mountain lion, and a wolf, from various makers such as Virginia Toombs, Jeff Eriacho, likely Herbert Halate, Hubert Quam, and Abby Quam, as well as two Santa Clara Pueblo blackware pottery bears by Linda Askan, most with turquoise and other stone inlaid features including heartlines, and nineteen mounted with offerings 29 pieces
Largest: 1.75” H x 2.125” W x 0.75” D; Smallest: 0.625” H x 0.75” W x 0.25” D
$200-400
A group of small Zuni carved stone bear fetish figures
Mid/late 20th century
Some variously labelled for and one signed by the artist
Comprising nineteen diminutive bear figures in various poses including fishing bears, standing bears and sitting bears in turquoise, jet, amber, antler, and other stones, from various makers such as Vince Chavez, Jackie Norton, Melissa Quam, D. Leonard, [ ] Lasiloo, and Arnie & Claudia Calavaza, most with turquoise inlaid features, and ten mounted with offerings 19 pieces
Largest: 1.375” H x 2” W x 0.625” D; Smallest: 0.625” H x 0.875” W x 0.25” D
$200-400
A group of large Zuni carved stone bear fetish figures
Mid/late 20th century
Three variously labeled for or signed by the artist; one marked: HVQ; one with label: Amo Pinto [likely Amos Pino, Zuni]
Comprising eleven chunky bear figures from various makers such as Amos Pino, seven with stone inlay heartlines, most with turquoise inlaid features, and two mounted with offerings 11 pieces
Largest: 4” H x 5” W x 1.25” D; Smallest: 1.375” H x 2” W x 0.5” D
$200-400
A group of Zuni carved stone fetish figures
Mid/late 20th century
Some variously labelled for and one signed by the artist
Comprising six horse figures, two bear figures, and two likely early-style mountain lion figures from various makers such as Emory Boone, Aaron & Thelma Sheche, and Rodney Laiwakete, most with turquoise inlaid features, five mounted with offerings
10 pieces
Largest: 2” H x 3.25” W x 0.75” D; Smallest: 1.25” H x 1.25” W x 0.375” D
The polychrome carved wood figure of a snake depicted with mouth agape
3.75” H x 32.75” W x 8.5” D
$100-200
Provenance:
The Collection of David and Holly Davis, Pasadena, CA
288
A petrified wood bowl 20th century
The carved cross-section of a petrified log with natural edges
3” H x 18.5” W x 12.75” D
$300-500
289
Two Native American pipe ends
Late 19th/early 20th century
Comprising one carved catlinite pipe with a chief figure in profile, an American flag, a bow and arrow, a cutlass, and two rifles, and one pottery pipe with incised banded motifs
2 pieces
Catlinite: 2.625” H x 3.875” W x 1.5” D; Pottery: 1.25” H x 2.375” W x 1.375” D
$400-600
290
A group of Plains carved catlinite pipe ends
Late 19th/mid-20th century
Three with incised detailing, comprising a zoomorphic pipe depicting mountains, birds, and a snake, a fish-form pipe, and two more simplified pipes, together with a carved wood pipe stem
5 pieces
Largest: 4” H x 7.625” W x 2.25” D; Smallest: 1.875” H x 3.625” W x 1.5” D; Stem: 19.25” L
$400-600
291
“History of the Indian Tribes of North America”
Hardcover book in two volumes
McKenney, Thomas L. and James Hall. “History of the Indian Tribes of North America.” Kent: Volair Limited, 1978
First Limited Edition: 1475/5000
Each quarto bound in full gilt-stamped leather with gilt page edges, together containing 120 color portraits, housed in a cloth slipcase
Overall: 10.875” H x 7.375” W x 5” D
$300-500
293
Mary E. Wyant (b. 1939)
Building facades (triptych)
Acrylic on canvas
Signed in the lower left corner of the left-most section: Wyant; each section signed with initials on the upper stretcher bar, verso: MEW as well as numbered “1,” “2,” or “3” for display purposes
Each: 12” H x 9” W
$500-700
292
R. C. Gorman (1932-2005, Navajo/Diné)
“Women Walking (first state),” 1979
Screenprint in colors on Arches paper
Edition: 127/150
Signed, dated, and numbered in pencil in the lower margin: R.C. Gorman; Editions Press, prntr. and pub., with their blindstamp in the lower margin, and their copyright ink stamp on the verso; also inscribed on the verso pencil: “3.1058.1985” and “087.024”
Image: 36” H x 28” W; Sheet: 38.875” H x 30.25” W
$300-500
Provenance: Triton Museum of Art, Santa Clara, CA
Literature: Adams / Newlin p. 171
Notes:
The second state of this image was done in the same year, also in an edition of 150 impressions, but in a different color combination.
Gorman; margin, verso in
294
Rob Waters (20th Century) “Fort Lowell Commissary” Oil on canvas
Signed lower right: R. Waters; titled by repute 18” H x 36” W
$200-400
295
Grandma Fran (1925-2012)
“Overnight Stop,” circa 1979
Watercolor, ink, and pencil on paper
Signed lower right: Grandma Fran; titled on the certificate of authenticity that accompanies this lot Sight: 14.25” H x 21.75” W
$300-500
Notes:
The artist’s birth name was Frances Currey. She was also known as Frances Currey Brown.
This lot is accompanied by a certificate of authenticity signed by the artist and dated September 4, 1979. The certificate states that “This is the first commission in the series of western primitive tales by Grandma Fran.” There is also a printed holiday card reproducing the artist’s watercolor “Christmas Eve,” which is inscribed in ink: “This is the first time I have made cards; and, I wanted you to have one. (They are not for sale .. just for my own use.) / I have news. I have married a wonderful man, George Brown, a retired attorney. (Tom died 4 years ago.) / George and I send our best wishes for a Merry Christmas and a Happy New Year. / Grandma Fran / 1982.”
296
A group of Southwest Pueblo turquoise necklaces
Mid-20th century
Comprising two Southwest Pueblo-style necklaces with rolled turquoise beads, one with graduated tab turquoise, as well as two Pueblo graduated rolled turquoise jacla strands with tab turquoise, and a double strand necklace of small turquoise nuggets
5 pieces
29” L to 21” L; jaclas: 5” L (looped)
526.6 grams gross
$700-900
297
A group of Southwest heishi bead necklaces
Mid/late 20th century
Comprising three Southwest multistrand fine heishi shell necklaces, two with traditional wrapped neck cords, and one with stamped silver cone and chain hook clasp
3 pieces
29” L to 26” L
277.1 grams gross
$700-900
Donald “Putt” Putman (1926-2007)
“Chief Joseph of the Nez Perces” Acrylic on artist’s board
Signed lower right: Putt; titled on the frame plaque; titled again on a label affixed to the frame’s verso
40” H x 30” W
$1,000-1,500
Provenance:
The artist
Private Collection, acquired from the above by descent
There is a certificate of authenticity signed by the artist and dated 1987 (on stationery with an Augusta, MT post office box number) affixed to the frame’s backing paper.
There is a certificate of authenticity signed by the artist and dated 1987 (on stationery with an Augusta, MT post office box number) affixed to the frame’s backing paper.
There is an unsigned certificate of authenticity (on stationery with an Augusta, MT post office box number) affixed to the frame’s backing paper.
302
A polychrome Apache pictorial basketry tray
Early 20th century; Southwest United States
A coiled shallow basket with raised center mound, featuring multiple standing figures amid three dotted radiating stepped motifs
3.875” H x 13.25” Dia.
$600-900
303
An Apache pictorial basketry tray
Early 20th century; Southwest United States
A large coiled flared basket with central starburst and small pinwheel motif, surrounded by alternating dogs and standing figures with uplifted arms
3.5” H x 13.75” Dia.
$600-900
304
An Apache pictorial basketry tray
Early 20th century; Southwest United States
A coiled tray with central flower motif and alternating figural motifs to edges, with dimpled base
2.5” H x 13” Dia.
$500-700
305
An Apache basketry tray
Early 20th century; Southwest United States
A coiled tray with radiating stepped triangles and stacked diamond columns
3.25” H x 12.5” Dia.
$300-500
306
An Apache basketry tray
Early 20th century; Southwest United States
A large coiled low bowl with two floral starburst motifs to center
3.375” H x 12” Dia.
$400-600
307
An Apache basketry tray
Early 20th century; Southwest United States
A coiled finely stitched flared basket with concentric radiating stepped motifs
3.25” H x 9.75” Dia.
$500-700
308
An Apache basketry tray
Early 20th century; Southwest United States
A coiled low bowl with central stepped starburst and interlocking radiating star motif, with rim ticking and small ticked band to center.
3’ H x 12.5” Dia.
$300-500
309
An Apache basketry tray
Early/mid-20th century; Southwest United States
A coiled wide tray with multiple swirling rays issuing from the center
3.5” H x14” Dia.
$200-400
310
An Apache basketry tray
Early 20th century; Southwest United States
A coiled wide tray with concentric bands of radiating negative dark and light triangle floral motifs
3” H x 14” Dia.
$400-600
An Apache basketry bowl
Early 20th century; Southwest United States
A finely coiled tapered bowl with stepped swirls radiating from the center alternating with irregular geometric motifs
3.75” H x 8” Dia.
$400-600
312
Two Apache baskets
Early 20th century; Southwest United States
Comprising a large coiled basketry bowl with radiating graduated checkerboard motifs (4.5” H x 12.75” Dia.), and a small coiled basketry tray with interlaced central floral star motif (1.75” H x 10” Dia.)
2 pieces
$400-600
313
Two Southwest baskets
Early 20th century; Southwest United States
Comprising a polychrome Yokuts flared bowl with two zigzag bands (3.25” H x 5.5” Dia.), and a small Apache bowl with concentric cross motif and triangles to the rim (2.25” H x 5.75” Dia.)
2 pieces
$400-600
314
A large Apache burden basket
Late 19th century; Southwest United States
A tapered twined basket with striped banding, hide strapping to rim and body, and with hide reinforcement to underside and hide fringe accents
14” H x 15.5” W x 16.5” D
$400-600
315
An Apache burden basket
Early/mid-20th century; Southwest United States
A tall tapered twined basket featuring hide strapping to rim and sides and hide reinforcement to underside, adorned with hide fringe accents terminating in metal cones
13.5” H x 19.5” Dia.; Fringe: 12” L approximately
$300-500
316
Two Navajo sandcast sterling silver belt buckles
Mid-20th century; Diné
Each unmarked
Comprising two openwork cast silver buckles, one with a central set oval chrysocolla stone
2 pieces
Large buckle: 2.25” H x 3.625” W; swivel bar: 1.375” H, Small buckle: 2.625” H x 3.5” W; swivel bar: 1.625” H
166.0 grams gross
$400-600
317
Two Southwest sterling silver dress accessories
Mid/late 20th century
Two works:
Charlotte Dishta (b. 20th century, Zuni)
Stamped: C. Dishta / Zuni
A sterling silver buckle with multistone mosaic inlay including mother of pearl, turquoise, and coral, in an overall rug pattern
2” H x 3” W
A Southwest sandcast sterling silver brooch
Unmarked
A round openwork floral concho brooch
2.625” Dia.
2 pieces total
93.3 grams gross
$300-500
318
A Navajo sterling silver concho belt
Late 20th century, Diné
Stamped to buckle verso: Tc / Sterling [for Toni Curtis or Tommie Charlie, Navajo]
Comprising a rectangular stamped silver buckle with central set turquoise, and ten smaller conchos with stamped edging, all mounted to a brown leather strap
Buckle: 2.5” H x 3” W; each concho: 2.125” H x 2.375” W; strap: 34.5” L x 0.75” H
362.2 grams gross
$1,000-2,000
319
A Southwest sterling silver and turquoise concho belt
Mid/ late 20th century
Unmarked
A sterling silver link belt with oval conchos and concho buckle featuring stampwork, small set turquoise cabochons and scalloped edging
34.5” L x 1.25” H
106.2 grams gross
$600-900
320
A group of Zuni carved tagua nut and stone fetish figures
Mid/late 20th century
Six with labels for artist
Comprising seven abstract rabbit figures and one porcupine figure, all carved in tagua nut by Melissa Quam (b. 1969, Zuni Pueblo) as well as a carved stone rabbit figure by Georgette Quam (b. 20th century, Zuni Pueblo), some carvings with inlaid turquoise eyes and heartlines, and two with mounted offerings
9 pieces
Largest: 1.75” H x 2.75” W x 2” D; Smallest: 1” H x 1.5” W x 1” D
$200-400
A group of Zuni carved stone buffalo fetish figures
Mid/late 20th century
Some variously labeled for or signed by the artist
Comprising nineteen buffalo figures in various stones from various makers such as Emory Boone, Jane Quam, Mildred Cadman, Frank Tom, Gilbert Lonjose, and Raybert Kanteena, one with stone inlay heartline, most with turquoise inlaid features and accents, and one mounted with offerings 19 pieces
Largest: 3” H x 4.5” W x 1” D; Smallest: 0.75” H x 1.125” W x 0.375” D
$200-400
322
A group of Zuni carved stone and jet fetish figures
Mid/late 20th century
Some with label indicating artist; cows signed illegibly to interior legs
Comprising eleven carved horse figures, four carved cow figures, and a carved bear figure from various makers such as Emery Boone, Rodney Laiwakete, Melissa Quam, Julie Norton, and Virginia Toombs, some with turquoise inlaid eyes, one with inlaid heartlines, and ten with mounted offerings 16 pieces
Largest: 2.25” H x 3.5” W x 0.5” D; Smallest: 1” H x 2” W x 0.5” D
$200-400
A group of Zuni carved stone rabbit fetish figures
Mid/late 20th century
Some variously labeled for the artist
Comprising twenty-seven rabbit figures in various stones including amber and tagua nut, from various makers such as Virginia Toombs, Melissa Quam, and Patricia Wayne, many with turquoise inlaid features, and three mounted with offerings
27 pieces
Largest:
324
A Navajo sterling silver and turquoise squash blossom necklace
Mid/late 20th century, Diné
Appears unmarked
A sterling silver and set turquoise necklace with fourteen stamped butterfly “blossoms” and a central naja with teardrop dangle
26.25” L x 2.75” H 135.1 grams gross
$700-900
325
A Southwest sterling silver and turquoise squash blossom necklace
Mid/late 20th century
Unmarked
Featuring a three-wire silver naja with stamped motifs and set turquoise, with fourteen silver blossoms suspended from two strands of textured ridged silver beads
26” L x 3” H
146.7 grams gross
$500-700
326
A Southwest sterling silver and turquoise squash blossom necklace
Mid/late 20th century
Unmarked
Featuring a large silver two-wire naja with set turquoise plaques and one dangle, and with fourteen matching graduated shadowbox set turquoise blossoms, all suspended from two strands of silver beads
26.5” L x 3.25” H
209.0 grams gross
$800-1,200
327
A Navajo sterling silver and turquoise squash blossom necklace
Mid/late 20th century
Unmarked
A diminutive necklace with a small central naja with set turquoise, and with eight cluster-set turquoise blossoms, all strung on a strand of silver beads
17” L x 1.125” H 53.1 grams gross
$600-800
328
Two Western horsehair hat bands
Mid-20th century
Each adjustable band of braided horsehair, in dark brown, tan, and blonde herringbonestyle designs, each terminating in small tassels, and one with a stamped silver star ornament and small rivets
2 pieces
Larger: 1” H x 23” Dia.; Smaller: 0.875” H x 22.75” Dia.
$100-200
329
A group of Prix de West bolo ties
21st century
One signed to edge: Coleman
Four bolos by various artists including two 2012 bronze “Bison Medallion” bolos by Tim Cherry (each: 2.5” H x 2.5” W), a 2017 bronze Native American portrait bolo by John Coleman (3” H x 2.375” W), and a 2022 50th
Anniversary bronze “Golden Wing” bolo by Gerald Balciar, with two commemorative charms (3.5” H x 1.75” W), each strung to a variegated brown and blonde braided horsehair cord with tassels
4 pieces
Cords: 44” L to 42” L
309.2 grams gross
$200-400
330
Two Southwest sterling silver and turquoise bolo ties
Mid/late 20th century
Unmarked
Comprising a sterling silver oval bolo with two shadowbox-style set turquoise cabochons and silver leaf overlay motifs, with silver squash blossom tips, and a triangular sterling silver bolo with set branch coral and chrysocolla, with stamped silver overlay accents and a twined overlay edging, and with silver ball tips, each mounted to a braided leather cord
2 pieces
Bolo slides: 2.75” H & 2.5” H; cords including drops: 38” L & 36” L
130.8 grams gross
$300-500
331
A group of Western-style sterling silver bolo ties and accessories
Late 20th century
Variously marked for maker and for sterling
Comprising a “Michael and Sons - Reno” chased silver and gold-toned eagle oval bolo with cone tips, on a braided leather cord, and a chased silver triangular slide bolo with central turquoise cabochon, with pointed silver tips and silver spacers on a thick black braided leather cord, as well as a pair of “Sunset Trails” chased sterling silver collar tips
4 pieces
Bolo slides: 3” H & 1.5” H; cords including drops: 40” L & 38” L; collar tips: 1.5” H 145.2 grams gross
$600-800
332
A large Pima basketry tray
Early/mid-20th century, Akimel O’odham; Southwest United States
A coiled flared tray with interlocking meandering steps and floating crosses and with a plaited rim
4.375” H x 15” Dia.
$700-900
333
A Pima basketry tray
Early 20th century, Akimel O’odham; Southwest United States
A large coiled shallow bowl with stepped radiating pinwheel star motif
5” H x 14.5” Dia.
$400-600
334
A large Pima basket
Early/mid- 20th century, Akimel O’odham; Southwest United States
The large coiled flared bowl with four radiating hooked arms issuing from a black center 5” H x 17.5” Dia.
$400-600
335
A Pima pictorial tray
Early 20th century, Akimel O’odham; Southwest United States
A coiled tray basket with a central eagle motif and an outer band of eagles
2” H x 14” Dia.
$300-500
Provenance:
Sold: Turner Auctions & Appraisals, San Francisco, CA, “Southwestern basketry, pottery, jewelry,” June 12, 2016, Lot 170
A group of Pima & Papago Southwest baskets
Late 19th/early 20th century, Akimel O’odham & Tohono O’odham; Southwest United States
Four works comprising three Pima coiled basketry bowls including a low tray with stepped radiating star motif (2.875” H x 15” Dia.), a tapered bowl with three swirling arms and geometric motifs (4” H x 13” Dia.), and a small tray with radiating stepped zigzag arms issuing from center (3.25” H x 11.75” Dia.), as well as a Papago basketry tray with four-directional concentric stepped bands (3.5” H x 12.75” Dia.)
4 pieces
$400-600
Notes:
Papago tray with early trading post tag from R. Rasmessen’s Curio Store, Tucson, Ariz.
337
A large Pima basketry bowl
Early 20th century, Akimel O’odham; Southwest United States
The tall coiled flared basket with overall stepped motif banding 7.25” H x 11.5” Dia.
$300-500
338
A group of Pima baskets
Early 20th century, Akimel O’odham; Southwest United States
Three coiled baskets comprising a tall olla with stepped meandering motifs overall (8” H x 7” Dia.), a large basketry bowl with six-pointed star optical motif (5” H x 11.75” Dia.), and a basketry tray with elaborate interlocking optical motif (2.75” H x 10” Dia.)
3 pieces
$400-600
A group of Pima baskets
Early 20th century, Akimel O’odham; Southwest United States
Three coiled baskets comprising a tall pictorial bowl with alternating floral motifs (4.25” H x 7.75” Dia.), a tall cylinder with two bands of meandering stepped motifs (4.75” H x 4.75” Dia.), and a small oval tray with geometric motifs (1.75” H x 6.25” W x 2.25” D)
3 pieces
$300-500
A group of Pima baskets
Early/mid-20th century, Akimel O’odham; Southwest United States
Four coiled works comprising two shallow basketry bowls, one with central whirling concentric stepped motif, and one with stepped meander motif (each: 3.75” H x 10” Dia. & 8.55” Dia.), as well as a conical coiled basket with stepped banding and narrow base or handle (5.75” H x 8.75” Dia.), and a small pictorial basket with alternating lizards, whirling logs and cross or fly motifs (3.25” H x 5.25” Dia.)
4 pieces
$300-500
Notes:
Pictorial basket with retail tag affixed to underside: Vaughns Indian and Jewelry Store, Phoenix, Arizona.
341
A group of Pima & Papago baskets
Early/mid-20th century, Akimel O’odham & Tohono O’odham; Southwest United States
Three works comprising two Pima coiled basketry bowls including a pictorial bowl with a rounded base and horse and rider motifs (4” H x 8.5” Dia.), and a shallow wide bowl with four geometric/floral motifs (3.25” H x 10” Dia.), as well as a Papago coiled small tray with floating stepped motifs and angled handles (1.75” H x 8” W x 5.25” D)
3 pieces
$200-400
342
Two polychrome Navajo wedding baskets
Early/mid-20th century, Diné
Comprising two coiled basketry trays with banded star motifs
2 pieces
Larger: 4.5” H x 17.5” Dia.; Smaller: 3.5” H x 16.5” Dia.
$300-500
A polychrome Southwest pictorial basketry tray Early/mid-20th century
A coiled flat basket with central floral and butterfly motifs, and a band of floating butterflies to rim 1.75” H x 14.25” Dia.
$400-600
344
Peggy Rock Black (b. 20th century, Diné)
A polychrome Navajo pictorial basketry tray Late 20th/21st century
A coiled low tray with two Kokopelli figures and sunburst stepped motifs to edge 2” H x 11.5” Dia.
$200-400
Notes:
This lot accompanied by a photograph of the weaver Peggy Black holding the basket.
Two polychrome Navajo pictorial baskets
Mid/late 20th century, Diné
Two coiled trays comprising one with swirled day/night colored fields with stars and a howling coyote (3” H x 13.75” Dia.), and one with five Yei figures to center and a band of animal motifs to edge (1.5” H x 14.25” Dia.)
2 pieces
$400-600
A group of Southwest pictorial baskets
Mid/late 20th century, Tohono O’odham; Arizona
Comprising three coiled basketry trays including a polychrome Papago tray with rattlesnake and butterfly motif (1.75” H x 14.75” Dia.), a Papago flared tray with radiating lizard motifs (2.75” H x 14” Dia.), and a polychrome oval tray with a large central lizard (1.25” H x 15.75” W x 9.5” D)
3 pieces
$300-500
347
A group of Southwest basketry trays
Early 20th century
Three coiled wide baskets comprising an Apache tray with radiating swirling arms issuing from center and rim ticking, (2.25” H x 1.75” Dia.), a smaller Apache tray with two concentric stepped serrated bands (2.25” H x 8.5” Dia.), and a Tohono O’odham/Papago tray with floating checked cross motifs (3” H x 12” Dia.)
3 pieces
$300-500
348
Two Papago baskets
Early 20th century, Tohono O’odham; Southwest United States
Comprising a coiled tray with intersecting star flower motifs (3” H x 11.5” Dia.), and a polychrome coiled tall tapered basket with large intersecting diamond pattern (9” H x 10.75” Dia.)
2 pieces
$300-500
349
Two Great Lakes lidded sweetgrass baskets with beadwork
Early/mid-20th century
Comprising a coiled rectangular box with multicolored geometric beaded panel to lid (2.375” H x 7” W x 4” D), and a round lidded box with medallion motif to top of lid in black and orange (3.5” H x 4” Dia.), each with suede leather base and/or lining 2 pieces
$200-400
350
A group of miniature Native American baskets
Mid/late 20th century, Akimel O’odham & Tohono O’odham; Southwest United States
Comprising two small coiled Pima baskets, a coiled Papago basketry bowl, a coiled olla with rim ticking, as well as three diminutive coiled horsehair basketry trays and a tiny black coiled horsehair lidded olla
8 pieces
Largest: 1.5” H x 2.75” Dia.; Smallest: 1” H x 1” Dia.
$200-400
351
After Frederic Remington (1861-1909)
“The Broncho Buster,” modeled 1895 Patinated bronze on marble plinth
Signed in the casting: Copyright by Frederic Remington; foundry mark: Roman Bronze Works NY 22” H x 16.75” W x 11.25” D; Overall: 23.5” H
$600-800
352
After Frederic Remington (1861-1909)
“The Savage,” modeled 1908
Patinated bronze Edition: 94/250
Signed, dated, and numbered in the casting: Frederic Remington; foundry mark: Roman Bronze Works Inc. NY; further marked: Copyright by Frederic Remington
11” H x 5.25” W x 5.875” D
$400-600
Literature:
c.f.: Michael D. Greenbaum, “Icons of the West: Frederic Remington’s Sculpture,” (Ogdensburg, NY: Frederic Remington Art Museum, 1996), p. 118
After Carl Kauba (1865-1922)
“Fill your Hands”
Patinated bronze on marble plinth
Signed in the casting: Kauba; further attributed and titled to metal plaque applied to plinth
Bronze: 9.625” H x 9.25” W x 3.375” D; Overall: 11.125” H x 9” W x 5.5” D
Signed in the casting: Angelino Bronze: 12.25” H x 4.75” W x 4.5” D; Overall: 13.125” H x 5.75” Dia.
$300-500
A group of Zuni & Navajo carved stone bear fetish figures
Mid/late 20th century
Four variously labeled for or signed by the artist
Comprising eighteen bear figures in various poses and stones including turquoise, sodalite, and mother of pearl, from various makers such as Herbert Davis (Navajo/Diné), Emory Eriacho, and Arnie and Claudia Calavaza, many with turquoise inlaid features, and five mounted with offerings
17 pieces
Largest: 2.375” H x 3” W x 1.75” D; Smallest: 0.5” H x 1.125” W x 0.5” D
$200-400
357
A group of Zuni carved stone and wood bird fetish figures
Mid/late 20th century
Some variously labeled for or signed by the artist
Comprising twenty-nine bird figures including eagles, ducks, an owl, a hummingbird and others, from various makers such as Gerald Burns, Gabriel Burns, Lorendina Seche, Lena Boone, Jessie LeBeouf, Elfina Hustito, Herbert Hustito, and Virginia Quam, most with turquoise inlaid features, seventeen mounted with offerings 29 pieces
Largest: 1.875” H x 3” W x 1” D; Smallest: 0.625” H x 1.25” W x 0.5” D
$200-400
358
A group of Southwest silver and set stone rings
Mid/late 20th century
Five variously marked for maker: Paloma / M / JL / DD [conjoined]; four marked for sterling
A large group of rings featuring various stones including turquoise, lapis lazuli, opal, red stone, and mother of pearl in various styles including bezel-set, cluster-set, mosaic inlay, and silver overlay
22 pieces
Ring sizes: 8 to 5
89.8 grams gross
$200-400
359
A group of Southwest silver and set stone rings
Mid/late 20th century
Three variously marked for maker: D / L. Bennett [for Lee Bennett, Navajo/Diné] / Phyllis [for Phyllis Coonsis, Zuni]; three marked for sterling
Eleven rings featuring various stones including turquoise, coral, sugilite, onyx, and mother of pearl, in various styles including bezel-set, cluster-set, mosaic inlay, shadow box, and silver overlay
11 pieces
Ring sizes: 8.75 to 5.5
91.3 grams gross
$200-400
360
A group of Southwest silver and stone set jewelry
Mid/late 20th century
Earrings partially marked for sterling; one ring stamped: 925 / J_M / Mexico
Six works comprising a three-wire cuff with set petrified wood and filigree wire accents, together with three silver and set turquoise rings, a Mexican sterling silver ring with lapis lazuli and tiger’s eye inlay, and a pair of diminutive sterling silver and set turquoise earrings
7 pieces
Cuff: 6.125” inner C x 1” H, with a 1.125” gap; ring sizes: 10 to 6.5; earrings: 0.75” H
Comprising three multicolored hand-stitched and quilted patchwork quilts in various designs and colors including a “Log Cabin” pattern quilt with light and shade diagonal color effect, with blue, red, and brown borders and brown binding and backing (84” H x 72” W), a large quilt with red, blue, and white “Devil’s Claws” / 8-pointed star variation roundels on a blue ground divided by “Flying Geese” bands and border in yellow and red, with red binding and a printed striped cotton backing (93.5” H x 75” W), and a small quilt with a nine-patch pattern in cream and red gingham, red gingham border strips and cream binding and backing (85.5 x 55” W) 3 pieces
$600-900
Provenance:
Private collection, Los Angeles, CA, acquired in Illinois
364
A group of Amish and early American quilts
Late 19th/early 20th century
Comprising three multicolored hand-stitched and quilted patchwork quilts in various designs and colors including an Amish “Hole in the Barn Door” or “Monkey Wrench” pattern quilt on a blue field with diagonal and floral motif quilting, with black border, binding, and backing, (81.25” H x 56” W), as well as one with concentric rows of triangles surrounding taupe sprigged cotton diamonds and border, with a blue and white gingham binding and backing, (78” H x 75.5” W), and one with a sawtooth variation pattern, with a lattice motif in green and yellow surrounding large squares of sawtooth-and-square motifs, with a contrast binding and a cream cotton backing (88” H x 69” W)
3 pieces
$400-600
Provenance:
Private collection, Los Angeles, CA, acquired in Illinois
Notes:
The third with attached tag: Variation of a “Pine Tree”, Oneida County, New York, ca. 1880.
A group of American quilts
Late 19th/early 20th century
Three multicolored hand-and machine-stitched and quilted patchwork quilts in various designs and colors comprising two “Grandmother’s Flower Garden” or “Mosaic” quilts, each with six-sided floral motifs, one large with cream cotton field, binding and backing (104.5” H x 74.5” W), and one smaller with green lattice outlines and irregular edges (79.5” H x 64.5” W), as well as a variation of “Ohio Star” or boxed star pattern quilt, with printed cotton banding to top, red contrast binding, and cream cotton backing (80.5” H x 66.5” W)
3 pieces
$500-700
Provenance:
Private collection, Los Angeles, CA, acquired in Illinois
Notes:
The third with attached tag: “Stars,” Oro County, Ontario.
366
Two polychrome Southeast baskets
Early/mid-20th century
Comprising two dyed river cane double-weave baskets, including a large Choctaw four-color basket in brown, red, green and natural cane with large overcast rim (7.75” H x 11” Dia.), as well as a Cherokee basket by Mary Tramper (b. 20th century), comprising a brown, tan and natural cane basket with flared rim and squared base (6.25” H x 9.25” Dia.)
2 pieces
$500-700
Provenance:
The larger: Collection of Te Ata (1895-1995, Chickasaw Nation) also known as Mary Frances Thompson Fisher or Q’orianka Kilcher
Notes:
The larger basket accompanied by a photograph of Te Ata holding the basket. Te Ata means: “Bearer of the Morning.” A short film entitled: “Te Ata” was made about her in 2016.
The smaller basket with attached tag from U.S. Department of the Interior/Qualla Arts & Crafts Mutual Inc. of the Eastern Band of Cherokee Indians, indicating Mary Tramper as weaver, type of weave, material, and dye for colored strips.
367
A polychrome Tlingit basket
Early/mid-20th century; Pacific Northwest Coast
A small twined cylindrical basket with an imbricated design band of stars and crosses
4.375” H x 5.25” W x 5.75” D
$200-400
368
A group of Makah/Tlingit bottle baskets and basketry items
Early/mid-20th century; Pacific Northwest Coast
Comprising five twined basketry covered glass bottles of various sizes and designs, including two with polychrome banding, three with sawtooth zigzag and diagonal motifs, including one polychrome with yellow quill imbricated diamonds, as well as three basketry glass covers with lattice rims and twill banding, and a stiffened knotwork cup and saucer
10 pieces
Largest bottle: 12” H x 3.25” Dia.; Smallest: 6.125” H x 3.125” W x 1.25” D; Covers: 2.75” H x 3” Dia.; Cup: 1.75” H x 3.5” Dia.; Saucer: 0.75” H x 4.25” Dia.
$400-600
A group of Northwest Coast baskets
Early/mid-20th century; Pacific Northwest Coast
Six works comprising a polychrome tall bowl with imbricated red step motif, as well as four diminutive polychrome lidded baskets in various sizes, designs, and colors, as well as a larger lidded basket in brown with contrast imbricated banding 11 pieces (including lids)
Bowl: 3.375” H x 5” Dia.; Largest lidded: 2” H x 5” Dia.; Smallest: 1.5” H x 2.5” Dia.
$500-700
370
A pine needle and feather basket Mid-20th century
The coiled pine needle basketry bowl with commercial pheasant feather exterior 4.75” H x 7.5” Dia.
$300-500
A group of California baskets
Early 20th century; Great Basin & Northern California
Four works comprising two Paiute coiled bowls, one a polychrome oval single rod basket with floating hourglass motifs (3.5” H x 8” W x 6.75” ), and a small shallow bowl with three diamond motifs (2.5” H x 6” Dia.), as well as a polychrome Paiute twined conical burden basket with geometric and striped banding (12.25” H x 11.5” Dia.), and a coiled Maidu globular bowl with swirling diagonal sawtooth “feather” motifs (4” H x 8.5” Dia.)
4 pieces
$300-500
372
A large Papago pictorial lidded basket
Early/mid-20th century, Tohono O’odham; Arizona
An extra-large coiled jar with domed lid featuring alternating columns of figural and geometric motifs, with checkerboard motifs to lid 16.5” H x 12.25” Dia.
$400-600
373
Three Southwest pottery vessels
Prehistoric or later
The corrugated ware items, comprising a handled jar with flared rim and two bowls 3 pieces Jar: 7” H x 7.25” Dia.; Wider bowl: 4” H x 9.25” Dia.
$200-400
374
A group of Southwest pottery vessels
Prehistoric or later
Comprising a cooking bowl, a fluted vessel, a jar with corrugated rim, and a rounded vessel
4 pieces
Bowl: 4” H x 7.5” Dia.; Smallest: 3.5” H x 4.25” Dia.
$300-500
375
A large group of Southwest-style silver jewelry
Mid/late 20th century
Variously marked for maker: LAW [for Laura Willie, Diné] / KJ / FY / NG; seven marked for Mexico; twenty-three marked for sterling
Comprising a Laura Willie Navajo storyteller brooch with dangles, six further butterfly brooches with set turquoise, one a chatelaine double-brooch, seven silver insect brooches of various sizes with set turquoise, two diminutive silver Fred Harvey-style cuffs, six set stone rings, a Mexican silver and turquoise floral link bracelet and matching hair clasp, five further hair ornaments including a butterfly clasp, and turquoise and coral hair combs, as well as a sterling silver and turquoise money clip, a silver braid keeper, and a pair of KJ sterling silver concho earrings with set turquoise, two further single butterfly earrings, as well as thirteen button covers with set turquoise or coral, and one silver button
49 pieces approximately Largest brooch: 2” H x 2.5” W; smallest: 0.75” H x 0.5” W; Ring sizes: 6 to 2; Earrings: 1.25” H x 1” W; Clip: 2” H x 0.75” W
$200-400
A group of miniature Zuni carved stone fetish figures
Mid/late 20th century
Two signed to base by the artist
Comprising forty diminutive miniature figures in various stones, shell, and antler, from various makers, and including sea turtles, a seal, goats, bighor n sheep, a frog, buffalo, bears, beavers, foxes, a bird, and a carved antler dragon, by makers including Esteban Najera and Angel Yatsayte, many with turquoise inlaid features, eight mounted with offerings, as well as two miniature decorative elements, a fish and an arrowhead 42 pieces
Largest: 0.875” H x 1.5” W x 0.625” D; Smallest: 0.25” H x 0.5” W x 0.125” D
$200-400
377
A group of Southwest silver and set stone rings
Mid/late 20th century
Nine variously marked for maker including: F/S Zuni / ICA / TJ / C.L. / GK / MFC [conjoined, for Maryann and Felix Chavez, Zuni] / [signpost pictograph] / [fox head pictograph] / Whirli__ ; seven marked for sterling
A large group featuring various stones including turquoise, coral, lapis lazuli, opal, mother of pearl, charoite, sugilite and malachite, in various styles including bezel-set, cluster-set, mosaic inlay, and silver overlay, and figural motifs including butterflies and a frog
32 pieces
Ring sizes: 10 to 4
96.7 grams gross
$200-400
A group of Southwest silver and stone set rings
Mid/late 20th century
Eight variously marked for maker including L.L.Lee [for Larson L Lee, Navajo/Diné] / BP / M / LW / B / RS; nine marked for sterling Featuring various stones including turquoise, coral, mother of pearl, onyx, and malachite, in various styles including bezel-set, cluster-set, mosaic inlay, and silver overlay, and figural motifs including a howling wolf, a butterfly, and a turtle 23 pieces
Ring sizes: 9.75 to 5 114.2 grams gross
$200-400
379
A group of Southwest silver and set stone rings
Mid/late 20th century
Five variously marked for maker: PJ / DY / FP [with arrow; for Fred Peshlaki, Navajo/Diné, c.1896-1974] / JM / RG+; six marked for sterling
A large group featuring various stones including turquoise, coral, sodalite, mother of pearl, and onyx, in various styles including bezel-set, cluster-set, mosaic inlay, and silver overlay, and figural motifs including a spider 27 pieces
Ring sizes: 8 to 4 111.9 grams gross
$200-400
A group of Southwest silver and stone set rings
Mid/late 20th century
Twelve variously marked for maker: L.L.Lee [for Larson L Lee, Navajo/Diné] / Paloma / RG+/ZI / P.D.Coonsis [Zuni] / LL / TK [stylized with double feather, for Ray Tracey (Navajo/Diné)/Knifewing Segura] / TK / L. Bennett [for Lee Bennett, Navajo/Diné]; eleven marked for sterling
A large group featuring various stones including turquoise, coral, lapis lazuli, amber, sugilite, mother of pearl, and malachite, in various styles including bezel-set, cluster-set, mosaic inlay, and silver overlay, and figural motifs including a turtle and a butterfly
32 pieces
Ring sizes: 11.5 to 4.5
121.0 grams gross
$200-400
August 26, 2025
Consignment and Auction Inquiries: info@johnmoran.com
SINCE 1969
A Clarence Lee Sterling Silver Story Teller Necklace Price Realized: $9,240
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Condition Reports
1
Overall good condition with scattered minor scuffs, scratches, and shelf wear commensurate with age. With five losses to abalone inset eyes.
2
Overall good condition with dust accumulation, light wear, and minor soiling commensurate with age and use. Scattered areas of minor subtle insect grazing to folds of hood and interior of parka.
3
Overall good condition with scattered minor scuffs and scratches commensurate with age. Hanging hardware mounted verso for vertical and horizontal orientation.
4
Overall good condition with light wear, oxidation, and scratches commensurate with age and use. Not tested for sterling or silver content; stones not tested for treatment.
5
Overall good condition with dust accumulation and wear commensurate with age. A couple of single stitch losses to rim. A few scattered single stitch losses to interior. Areas of slight darkening.
6
Overall good condition with dust accumulation and wear commensurate with age and use. A few scattered single stitch losses. Slight darkening/discoloration to exterior, near rim.
7
Overall good condition with dust accumulation and wear commensurate with age and use. Scattered stitch losses to rim and to exterior. Darkening/discoloration to interior.
8
Overall good condition with dust accumulation and light wear commensurate with age. A few scattered single stitch losses, primarily to interior. With old inventory tag to base.
9
Overall good condition with dust accumulation and wear commensurate with age and use. Scattered single stitch losses, primarily to interior. Slight darkening/discoloration to exterior. With old inventory tag to rim.
10
Overall good condition with dust accumulation and wear commensurate with age and use. A few scattered single stitch losses overall. Slight darkening/discoloration to exterior. A small dark spot to interior near base, and minor shelf wear to exterior base.
11
Overall good condition with dust accumulation and wear commensurate with age. Scattered single stitch losses to interior and a few to exterior and base, with very light shelf wear.
12
Overall good condition with dust accumulation and wear commensurate with age and use. Scattered multiple stitch losses to rim, and a few to interior. Shelf wear to base. Slight darkening/discoloration to exterior. With old inventory tag to rim.
13
Each overall good condition with dust accumulation and wear commensurate with age and use. The larger with a few scattered single stitch losses, and a few small dark spots to interior.
14
Overall generally good appearance. Pale light- and time staining showing primarily at the extreme sheet edges. A 0.25” horizontal edge tear in the upper right sheet corner. Old backboard staining, verso. The sheet is hinged to the overmat with masking tape from the verso of the upper sheet edge.
Framed under glass: 21” H x 26” W x 2.25” D
15
Overall good appearance. A rice-sized surface abrasion, touched-in with green pencil, in the blank at lower left. Not examined out of the frame.
Framed under glass: 19” H x 15” W x 1.25” D
16
Visual: Overall good appearance. Very minor paint shrinkage in the lower left quadrant and in the horse at right.
Blacklight: No evidence of restoration.
Frame: 18” H x 21” W x 2.5” D
17
As mentioned, the sheet is laid to Japanese paper. A skillfully repaired, tongue-shaped tear in the lower center portion of the image, with a related, repaired edge-tear extending 1” vertically from the center of the lower sheet edge. An unobtrusive, pinhead-size paper loss in the upper right portion of the loom. Uneven toning and some pale scattered fox marks throughout. Pale mat staining and mating instructions in pencil in the outer edges of the sheet. Other very minor defects. The sheet is loose, secured to the back mat with four clear archival corners.
Framed under glass: 22” H x 20” W x 1” D
18
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
19
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
20
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
21
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
23
Visual: Overall good appearance. A pinpoint-sized, unobtrusive pigment loss to the left of the figure, and scattered flecks of pigment loss just above the burro’s reflection. A few, minor, pinhead-sized (or smaller) scattered scuffs in the desert landscape in the upper left quadrant.
Blacklight: No evidence of restoration.
Frame: 24.25” H x 28.875” W x 1.625” D
24
Overall good condition with light dust accumulation and faint fold lines commensurate with age. A couple of minor spots to lower right corner and one to lower left navy border edge. Not examined out of frame. Maker and fabric tags not accessible.
Frame: 39.5” H x 39.75” W x 0.75” D
25
Each overall good condition with dust accumulation, soiling, and wear commensurate with age and use. One cuff with some minor bead loss to two rows of brown beads, from sections 2” and 3” long, with attendant loose threads. Hide fringing with scattered minor marks and spots, and distortion to strips, with most curled.
26
Overall good condition with dust accumulation and wear commensurate with age and use. Scattered areas of light soiling, stains, and fabric wear to velvet verso. Wear to pile of velvet edge binding. Scattered minor bead loss to front, with a few attendant loose threads, primarily to the blue beads along the edges, largest area: 3” L.
27
Each overall good condition with dust accumulation, soiling, and typical signs of wear commensurate with age and use. Scattered small stains and marks to the leather.
A couple of small areas of minor bead loss. Scattered faint stains to red wool, and a few scattered small holes from insect grazing.
28
Overall good condition with very light shelf wear, a few scattered minor scuffs and faint marks, and inherent firing flaws commensurate with age. With previous dealer’s pencil marks and marks from adhesive residue to base.
29
Overall good condition with very light shelf wear, a few scattered minor scuffs and faint marks, and inherent firing flaws commensurate with age.
30
The rim with two vertical cracks, the larger measuring 2.75” L, the smaller measuring 1.5” L with restoration. With shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Underside with inked number ‘1066.’
31
Of irregular shape. Overall good condition with dust accumulation and wear commensurate with age and use. A small area of stitch loss to rim, retained. The exterior with scattered tiny spots of soiling/splashed residue. The interior with scattered areas of whitish residue.
32
Overall good condition with dust accumulation and wear commensurate with age and use. A couple of loose stitches to exterior. With old inventory tag to rim.
33
Overall good condition with dust accumulation and wear commensurate with age and use. Slightly out of round and with minor distortion to base. With old inventory tag to rim.
34
Overall good condition with dust accumulation and wear commensurate with age and use. Scattered stitch losses to rim. A couple of small areas of whitish marked to exterior. With old inventory tag to rim.
35
Overall good condition with dust accumulation and wear commensurate with age and use. Slightly out-of-round. With old inventory tag to rim.
36
Overall good condition with dust accumulation and wear commensurate with age and use. With old inventory tag to rim.
37
Overall good condition with dust accumulation and light wear commensurate with age and use. A few tiny spots of faint surface residue, one to exterior and a few whitish specks to interior. Hat slightly out of round with distortion to shape overall.
38
Overall good condition with dust accumulation and wear commensurate with age and use. With a few stitch losses to rim, and attendant spot of adhesive to adjacent rod. Hat slightly slumped and rim out of round. With old inventory tag to rim.
39
Overall good condition with dust accumulation and wear commensurate with age and use. A few scattered stitch losses to rim. Ink marks to base. With old inventory tag.
40
Overall good condition with dust accumulation and wear commensurate with age and use. Rubbed wear to weave in a few areas, with patchy discoloration to exterior. Scattered areas of whitish discoloration to interior. Rim with slight distortion and out of round.
41
Each overall good condition with dust accumulation and wear commensurate with age and use. Each with inventory tag to rim.
42
Each in overall good condition with dust accumulation and wear commensurate with age and use. The tray with a few stitch breaks and losses to rim. The large basket with a couple of small holes/stitch losses to base, as well as shelf wear and ink marks to base exterior. The interior with evidence of a previous repair to body, 2” L. Each with inventory tag to rim.
43
Overall good condition with dust accumulation and wear commensurate with age and use. A couple of interior stitches with a minor break. Slightly out of round. With wear and dark marks to conical base. With inventory tag to rim.
44
Overall good condition with dust accumulation and wear commensurate with age and use. With patchy markings/ discoloration verso.
45
Of irregular shape and slightly distorted. With dust accumulation, wear, and discoloration commensurate with age and use. A couple of breaks and loss to rim, with attendant small fractures. A few missing stitches to raised lines of banding. With stiffening to weave, and stains and residue to interior indicating use.
46
Visual: Overall good condition.
Blacklight: No evidence of restoration. Uneven varnish application in places, particularly near the tops of the teepees and in places along the outlines of the tree trunks at left, however, these all appear to be in the hand of the artist.
Frame: 21” H x 25” W x 1.5” D
47
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 19” H x 31” W x 3” D
48
Visual: Overall good appearance. A very unobtrusive, pinpoint-size pigment loss at the center of the lower edge.
Blacklight: No evidence of restoration.
Frame: 17” H x 29” W x 1.75” D
49
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 16.25” H x 22.5” W x 3” D
50
Visual: Overall good appearance. A few scattered areas of frame abrasion with attendant, minor pigment losses along the extreme edges and corners.
Blacklight: No evidence of restoration.
Frame: 41.75” H x 31.75” W x 1.875” D (or reverse)
51
Visual: Overall good appearance. A few faint, scattered surface scuffs, the longest 1.25” H, in the upper left quadrant.
Blacklight: No evidence of restoration.
Frame: 19.5” H x 31.25” W x 2” D
52
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
53
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
54
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
55
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 22.25” H x 16.25” W x 2” D
56
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 15.75” H x 13.75” W x 2.5” D
57
Overall good appearance. Occasional scattered and very unobtrusive pinpoint-sized foxmarks concentrated primarily in the sky at left. One rice-sized area of slight surface skinning at the tip of the lower left corner. A few minute nicks or tiny surface abrasions in places at the extreme edges, attendant with previous matting or framing. Remains of paper and old glue from previous mounting, as well as the remains of two old linen hinges, at the verso of the illustration board’s upper corners. The work is loose, cradled by an acid-free mat for display purposes.
Framed under glass: 26.5” H x 32” W x 1.5” D
58
Overall good condition with scattered scuffs, scratches, nicks, and dust accumulation commensurate with age. Glass top with a few scratches and fading/wear to wood frame finish.
59
Brush disconnected from rod, retained with the lot. Each overall good condition with minor soiling, dust accumulation, scattered scuffs and scratches commensurate with age and use.
60
Visual: Overall good condition.
Blacklight: A few small areas in the lower half and extreme upper edge fluoresce under blacklight due to possible uneven varnish.
Frame: 42.5” H x 56.5” W x 4.25” D
61
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 48” H x 52” W x 4.25” D
62
Overall good condition with a few minor scattered scuffs, scratches, and nicks commensurate with age. With peasized chipped losses to the veneer at each corner of the upper surface. Plate rack with a 2.5” long abrasion along one edge.
63
Each overall good condition with a few minor scattered scuffs, scratches, and nicks commensurate with age. Each with dust accumulation to upper surfaces, the lower console with more concentrated scratches at upper surface, concentrated along front edges, with some uneven fading.
64
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
65
Visual: Overall good appearance. Minor varnish discoloration. The most unobtrusive, hairline, rice-sized craquelure occasionally scattered in the lower left quadrant, mostly visible in raking light.
Blacklight: No evidence of restoration.
Frame: 20.625” H x 26.625” W x 3.5” D
66
Visual: Overall good appearance. An unobtrusive, pinpointsized speck of grime in the left side of the mountain. An irregularity in one of the canvas threads running vertically down the right one-third of the canvas. The artist’s board extends very slightly beyond the width of the canvas (as do the paint strokes), along the right edge. Slight wear and frame abrasion along each extreme edge. The board has warped and is now very slightly convex. Original frame.
Blacklight: No evidence of restoration.
Frame: 20.5” H x 24.5” W x 2.75” D
67
Visual: Overall good appearance. Slight surface grime. The artist’s board extends very slightly beyond the width of the canvas (as do the paint strokes), along the vertical edges. Slight wear and frame abrasion along the vertical and lower edges. The board has warped and is now very slightly concave. Original frame.
Blacklight: No evidence of restoration.
Frame: 16.25” H x 20.25” W x 1.5” D
68
Overall good appearance. Very minor wear to the edges and corners. A few spots of glue residue and surface skinning on the verso of the gray support sheet. As mentioned, the sheet is tipped from the verso of each sheet corner to a gray support sheet. Subsequently, the gray support sheet is hinged to a wove cream-colored paper with two pieces of white tape from the verso of the upper sheet edge. The wove paper is then loose and secured to the back mat with four clear archival corners.
Unframed; Mat Board: 20” H x 16” W x 0.125” D
69
Overall good condition. Some support sheets loose from the linen binding of the oblong octavo album. Wear, minor discoloration, small areas of staining, and scattered, faint scratches to the photographs, some more than others, all commensurate with age. The twelfth photograph with a 5” vertical tear along the right half of the sheet, thus taped with clear tape to the support sheet. Some photographs with clear tape for extra support to the support sheet, most likely inherent to the photograph not being tipped to the support sheet in places. The oblong octavo album with wear scattered throughout.
70
One slide cracked. Each with normal wear commensurate with age and use.
71
Visual: Surface grime throughout, including some that dripped down the center of the upper portion. A 0.75” diagonal surface scratch with an attendant pea-sized pigment loss in the rightmost house of the upper left quadrant, and another, smaller, in the ground just below the house in the upper right quadrant, as well as other softer scattered scuffs and scratches. Frame abrasions in places along the extreme edges. The board is very slightly concave.
Blacklight: A few spots fluoresce in the upper right quadrant, likely due to uneven varnish.
Frame: 28.5” H x 25.5” W x 1.5” D
72
Each overall good condition with scattered scuffs, scratches, and abrasions commensurate with age. Tabletop with a few small scattered stains and deeper scratches. Upholstery in good condition, one chair with two shallow tears measuring 2.5” and 1.75” long.
Overall good condition with darkening/soiling and shelf wear commensurate with age. Scattered cracks throughout, inherent to the material.
74
Visual: Overall good appearance. The painting has been strip-lined.
Blacklight: No evidence of restoration.
Frame: 20” H x 23” W x 1.25” D
75
Visual: Overall good appearance. Specks of grime. Fine craquelure scattered throughout, and some areas of unstable craquelure with attendant flecks of pigment loss. Soft, scattered stretcher bar creases along the left and upper edges, mostly visible in raking light.
Blacklight: No evidence of restoration.
Frame: 35.5” H x 45.5” W x 2.5” D
76
Visual: Overall good appearance. Scattered hairline gold leaf transfer, presumably from the frame, along the center of the upper edge.
Blacklight: No evidence of restoration.
Frame: 17.5” H x 21.375” W x 1.625” D
77
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 17.25” H x 21.25” W x 2” D
78
Visual: Overall good appearance. A few pinpoint-sized specks of grime scattered mostly in the upper quadrant. A 0.375” W abrasion in the left of center of the extreme upper edge with attendant lifting of the canvas.
Blacklight: No evidence of restoration.
Frame: 17.5” H x 21.5” W x 2” D
79
Visual: Overall good appearance. Two 2” hairline surface scuffs of grime near the center of the right edge.
Blacklight: No evidence of restoration.
Frame: 19.375” H x 21.375” W x 1.625” D
80
Each overall good appearance. “Stage Stop” with a thin, 0.375” scattered area of staining in the upper portion of the extreme right edge and “Packin’ In” with the slightest, most unobtrusive rice-sized stain at the left of the extreme upper edge, all mostly hidden by the overmat. “The Butterfield Stage Rolls On” with a 1” unobtrusive, faint, scattered area of black residue near the center of the upper edge. A pinpoint-sized foxmark in the extreme lower edge, at right. Each not examined out of the frame.
Each framed under glass: 12.375” H x 15.375” W x 1.5” D
81
Each overall good appearance. “Desert Playmates” with very occasional, scattered, pinpoint-sized pale foxing. A hairline 0.75” diagonal area of glue residue to the right of the upper edge. Glue residue throughout the verso, primarily in the upper half. “Quiet your Squawking,” “Real Friends,” and Untitled, stagecoach with some of the extreme edges trimmed slightly uneven, possibly in the hand of the artist. “Real Friends” with a 1.5” diagonal, minor crease in the lower right corner. Each sheet is loose, not matted.
Each unframed
82
Each overall good condition. Each with the lower or right margin sheet edge deckled. As mentioned, the title page and the 20 plates, each separated by individual interleaving tissues, and all housed together in the original, black, cloth-covered portfolio.
Black cloth-covered portfolio: 14.125” H x 11.5” W x 1” D
83
Overall good condition with light dust accumulation and minor wear to interior band commensurate with age and use. A few scattered areas of minor insect grazing, primarily to top near ribbon trim. With cleaning brush, sponge, and original booklet.
84
Overall good condition with minor scuffs and darkening/ oxidation to bronze commensurate with age.
85
Overall good condition with scattered minor scuffs, dust accumulation, and darkening/oxidation to bronze commensurate with age. Rubbed wear and loss to patina throughout. Possibly lacking partial element to figure’s right hand.
86
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
87
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
88
Overall good appearance. The extreme lower edge, at left, trimmed slightly unevenly, and stray ink marks along the left and lower edges, all presumably in the hand of the artist. As mentioned, the sheet is mounted to paperboard.
Framed under glass: 20.5” H x 17.75” W x 2.375” D
89
Overall good appearance. Presumably the full sheet, with deckled edges. Extremely pale residual staining showing primarily at the verso of the lower portion of the left edge. The sheet is hinged to the back mat with two pieces of white tape from the verso of the upper sheet edge.
Framed under glass: 16.5” H x 14.5” W x 1.25” D
90
Overall good appearance. Pale mat staining showing along the window opening of the overmat.
Framed under glass: 20.5” H x 18” W x 1.5” D
91
Pale, uneven toning throughout. Time staining along the extreme sheet edges. An unobtrusive, thin, rice-sized area of surface skinning in the lower portion of the right edge, mostly visible in raking light. The extreme right sheet edge trimmed slightly unevenly, possibly in the hand of the artist. As mentioned, the sheet is mounted to paperboard.
Framed under glass: 15.5” H x 13.5” W x 1.75” D
92
Overall good appearance. The full sheet with its original spiral sketchbook perforations along the upper edge. Pale mat staining showing in the outer portion of the sheet from the double-window style overmat. The sheet is hinged to the back mat with white hinging tape from the verso of the upper sheet edge.
Framed under glass: 17” H x 15.5” W x 0.75” D
93
Each overall good appearance. Occasional slight pencil smudging, most likely in the hand of the artist. Original binding holes and attendant minor surface soiling along the left edge. The tips of some of the sheet corners very slightly dog-eared. The one unsigned and uninscribed sheet with a minor foxmark in the blank at lower right. Each sheet is hinged to its back mat from the verso of the upper sheet corners.
Each unframed
94
Overall good appearance. A very pale pinpoint-sized foxmark in the lower portion of the left edge. Occasional, minor handling marks scattered in the outer edges of the blank. Not examined out of the frame.
Framed under glass: 13.375” H x 17.375” W x 1.5” D
95
The sheet with toning and slight cockling. Faint surface soiling in the lower center, below the horse’s belly. Not examined out of the frame.
Framed under glass: 14.75” H x 13.5” W x 1.25” D
96
Each: Overall good appearance. Not examined out of the frame.
Each framed under glass: Largest: 19” H x 25” W x 1.5” D
97
Visual of each: Overall good condition.
Blacklight of each: No evidence of restoration.
Frame of each: 11.625” H x 13.75” W x 2.125” D
98
Each overall good condition. With margins. Not examined out of the frame.
Each framed under Plexiglas: 22.25” H x 18.25” W x 1.125” D
99
Each overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
100
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Felt pad partially attached to underside.
101
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
102
Visual: Overall good appearance. A 1” H x 0.25” W surface scratch with attendant scattered pigment loss, near the center of the upper edge.
Blacklight: No evidence of restoration.
Frame: 27” H x 31” W x 3.25” D
103
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 32.75” H x 38.75” W x 3.5” D
104
Visual: Overall good appearance. A stretcher bar crease along the right edge. A few scattered pea-sized (or smaller) pigment losses near the horizon in the upper left quadrant.
Blacklight: No evidence of restoration.
Unframed
105
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 26.75” H x 44.75” W x 3.5” D
106
Visual: Overall generally good appearance. Occasional specks of grime and minor varnish discoloration. A 0.375” H x 2” W pigment loss along the lower edge, at right. Very unobtrusive, fleabite-sized pigment losses scattered throughout, primarily concentrated just above the figures in the lower center. Clusters of artist pinholes scattered along the corners and edges. Minor frame abrasion scattered along the extreme right and lower edges at right.
Blacklight: No evidence of restoration.
Frame: 24.75” H x 28.875” W x 2.25” D
107
Visual: Overall good appearance. Fine, scattered craquelure, stretcher bar creases along each side, and minor varnish discoloration, all commensurate with age.
Blacklight: No evidence of restoration.
Frame: 22.625” H x 16.375” W x 4” D
108
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
109
Overall good condition with scattered minor scuffs and darkening/oxidation to bronze commensurate with age. With repaired break near end of pipe.
110
With chipped losses to wood at edges, scattered rubbed losses to polychrome, scattered older stains, and craquelure to paint throughout commensurate with age. The upper portions with vertical cracks.
111
Overall good condition with rubbed losses and fading to polychrome, older small chipped losses, and scattered scuffs and scratches commensurate with age.
112
Overall good condition with rubbed wear and fading to the polychrome and scattered scuffs and scratches commensurate with age.
113
Overall good condition with dust accumulation and wear commensurate with age and use. Very slight fading to interior. A couple of stitch losses to rim. Light soiling and shelf wear to base.
114
Each overall good condition. The older katsina with rubbed wear and losses to the polychrome, small older chipped losses, and losses to feather adornments.
115
Visual: Overall generally good appearance. Scattered craquelure and slight varnish discoloration. Stretcher bar creases at the upper and lower edges. The canvas is very slightly puckered in the upper left corner.
Blacklight: No evidence of restoration.
Frame: 19.5” H x 23.5” W x 2.25” D
116
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 12.5” H x 14.5” W x 2.25” D
117
Overall good appearance. Not examined out of the frame.
Framed under Plexiglas: 15.375” H x 27.375” W x 2” D
118
Overall good condition with dust accumulation and wear commensurate with age and use. Exterior with slight fading to motifs, with slight patchy darkening overall. A few scattered faint marks to interior base.
119
Overall good condition with dust accumulation and wear commensurate with age and use. A few scattered dark marks and larger patchy areas of darkening. Interior with small stains and dark spots.
120
Overall good condition with dust accumulation and wear commensurate with age and use. A single stitch loss to rim. Rim slightly distorted and out of round.
121
Overall good condition with dust accumulation and wear commensurate with age and use. Interior with a couple of minor marks/spots. Exterior with a few single stitch losses and shelf wear to base. Tiny hole to center base, likely from display.
122
Overall good condition with dust accumulation and wear commensurate with age. Approximately three stich losses to rim. A small hole just below rim, with attendant breaks to two stitches below rim. Multiple scattered single stitch losses to interior and exterior. Base with light shelf wear.
123
With multiple breaks and splits to rim, the longest 1.5” L. Scattered multiple stitch losses to interior and exterior. Evidence of repaired breaks to interior and exterior. Patchy darkening to basket overall.
Overall good condition with scattered minor scuffs and scratches, nicks, and indentations, concentrated to legs. Bottom of supports with some chipped losses, the back left support with rubbed losses along the verso leftmost edge. A pea-sized older loss to right front support at top, and a 1” long older deep scratch to left arm. Leather upholstery replaced and in good condition, with some creasing and even wear from use. With some losses to paper label, partially affixed.
125
Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Leather in good condition with scattered scuffs and scratches and fading, with oxidation to tacking.
126
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 17.75” H x 14.75” W x 2” D
127
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 20.5” H x 17.25” W x 3” D
128
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 20.25” H x 17.25” W x 3” D
129
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 22.375” H x 18.25” W x 3” D
130
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 18.25” H x 15.25” W x 3” D
131
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 18.25” H x 15.25” W x 2” D
132
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 17.25” H x 20.5” W x 2.5” D
133
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 17.25” H x 19.25” W x 2.5” D
134
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 17.75” H x 20.75” W x 2.75” D
135
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 20.25” H x 17.25” W x 3” D
136
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
137
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Shade overall good condition. Base with a pea-sized chip in the wood along one bottom edge. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.
138
Each overall good condition with scattered minor scuffs and scratches commensurate with age. Each with scattered areas of scuffed paint loss. Each shade good condition. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.
139
Each overall good condition with a few minor scattered scuffs, scratches, and nicks commensurate with age. Each with more concentrated nicks and abrasions to legs, armrests, and front chair supports. Upholstery in good condition with minor fading, even wear, and mild dust accumulation.
140
Each overall good condition with a few minor scattered scuffs, scratches, and nicks commensurate with age. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment
141
Visual: Overall good appearance. An unobtrusive, pea-sized surface abrasion at the tip of the lower left corner.
Blacklight: A 0.125” H x 3.5” W horizontal line of touch-up in the background near the center of the upper edge.
Unframed
142
Overall good condition. The extreme upper edge trimmed slightly unevenly, presumably in the hand of the artist. The sheet is loose, secured to the back mat with four clear archival corners.
Framed under glass: 19.375” H x 25.25” W x 1.25” D
143
Visual: Overall good appearance. Very slight varnish discoloration.
Blacklight: No evidence of restoration.
Frame: 19” H x 16” W x 2.5” D
144
Overall good appearance. The full sheet with deckled edges. The sheet is framed floating, mounted to the back mat. Not examined out of the frame.
Framed under Plexiglas: 16” H x 31” W x 1.375” D
145
Overall good appearance. The full sheet with deckled edges. The sheet is framed floating, mounted to the back mat. Not examined out of the frame.
Framed under Plexiglas: 15” H x 33.25” W x 1.375” D
146
Visual: Overall good appearance. Slight varnish discoloration showing in the sky. Scattered spots of foxing or mildew staining throughout, showing mostly on the verso.
Blacklight: No evidence of restoration.
Frame: 24.5” H x 20.5” W x 2” D
147
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
148
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
149
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
150
Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. With a few fleabite chipped losses at left side proper near base.
151
Overall good condition with dust accumulation and wear commensurate with age and use. A few scattered stitch losses to exterior, near base. Slightly misshapen and creased from storage. Wear and soiling to irregular hide binding at rim.
152
Overall good condition with dust accumulation and wear commensurate with age and use. A small section of worn and/or broken stitches to base exterior edge, 2” L. A previously-repaired break to one side near motif just below rim terminal, with attendant adhesive residue present.
153
Overall good condition with dust accumulation and wear commensurate with age and use. Slightly misshapen and out of round. With old inventory tag to rim.
154
Overall good condition with dust accumulation and wear commensurate with age and use. Slightly out of round and slightly slumped. A few stitch losses to rim in one area, 0.25” L. A few scattered stitch losses to interior. With old inventory tag.
155
Overall good condition with dust accumulation and wear commensurate with age and use. Rim with a few scattered stitch losses. Areas of patchy darkening to exterior. Scattered small spots to base interior. Base exterior with shelf wear. With old inventory tag to rim.
156
With dust accumulation and wear commensurate with age and use. Of irregular shape and slightly distorted. A few stitch losses to rim, with a five-row repaired section to rim, 0.5” H x 1.625” W.
157
Overall good condition with dust accumulation and wear commensurate with age and use. Slight distortion to rim. With faint inscription in ink to one side of base exterior. With old inventory tag.
158
Overall good condition with dust accumulation and wear commensurate with age and use. Slight distortion to rim. With old inventory tag to rim.
159
Of irregular shape and slightly distorted, with possible breaks to rim. With overall dust accumulation and wear commensurate with age and use.
160
With dust accumulation and wear commensurate with age and use. Of irregular shape and slightly distorted. Stitch losses to rim. A couple of breaks to rim, each continuing to multiple rows below. The body with a couple of breaks to stitches, 4” L and 1” L. Patchy discoloration overall.
161
Each with dust accumulation and wear commensurate with age and use. Of irregular shape and slightly distorted. The larger with breaks and loss to rim, with a 4” long stepped rim fracture, secured with long thread repair stitches. The medium basket with scattered stitch losses to rim, longest: 2.5” L. The smallest with break and loss to coiled rim, with attendant distortion to shape.
162
Each of irregular shape and slightly distorted. Overall good condition with dust accumulation and wear commensurate with age and use. The second with a couple of stitch losses to rim. The third with distortion to rim in one area, and with previous inventory number stitched to interior: 21.
163
Overall good condition with dust accumulation and light wear commensurate with age and use. Minor shelf wear to base.
164
Overall good condition with dust accumulation and light wear commensurate with age and use. A few scattered stitch losses to exterior near terminal at rim.
165
Each with dust accumulation and wear commensurate with age and use. Each with scattered areas of darkening or discoloration overall. Each with scattered stitch losses, primarily to the rims. The largest with multiple breaks and loss to rim and with a few fractures to rods below the rim. The tapered bowl with some areas of repair to rim fractures, with visible adhesive residue.
166
Each with dust accumulation, slight discoloration, and shelf wear commensurate with age and use. The bowl with slight distortion to rim. Each tray with a break and attendant fracture to rim, longest: 4” L. The larger tray with additional distortion, and small breaks to rim and below rim at suspension point.
167
Each overall good condition with dust accumulation, light soiling, and wear commensurate with age and use. Flared bowl with split to weave at base edge, 1” L. Three with old inventory tag.
168
Visual: Grime and craquelure, some of which is slightly unstable, with attendant small pigment losses, pea-sized or smaller, scattered throughout. A 1” H x 0.5” W area of loss to the top pigment layer, exposing the white underpaint, with surrounding attendant very unstable pigment, in the lower portion of the left edge. A rice-sized pigment loss, exposing the canvas, near the center of the upper edge. Stretcher bar creases showing mostly along the upper, lower, and right edges.
Blacklight: Small, possible touch-ups scattered in the upper half.
Frame: 28.75” H x 33.75” W x 2.25” D
169
Visual: Overall good appearance. Slight surface grime.
Blacklight: A 0.125” H x 1” W touch-up in the extreme upper edge, at the far left.
Frame: 10” H x 17” W x 0.75” D
170
Visual: Overall good appearance. Varnish discoloration showing very slightly in the blue of the sky.
Blacklight: A pinpoint-sized touch-up in the foliage of the tree at upper right. Possibly a very delicate, hairline, approximately 1” H scattered touch-up in the foreground at lower right.
Frame: 10.5” H x 8.5” W x 0.75” D
171
Visual: Overall good appearance. A pea-sized spot of very pale grime in the sky at upper left.
Blacklight: A 0.75” H irregular band of touch-up across the uppermost portion of the sky. Two pinhead-size touch-ups in the rocks of the lower left corner.
Frame: 8” H x 6” W x 1” D
172
Visual: Overall good appearance. A very unobtrusive speck of grime in the sky near the upper left corner.
Blacklight: No evidence of restoration.
Frame: 5.5” H x 4.5” W x 0.5” D
173
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 5.75” H x 6.75” W x 0.75” D
174
Visual: Overall good appearance. Very slight surface grime.
Blacklight: No evidence of restoration.
Frame: 4” H x 4” W x 0.5” D
175
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
176
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
177
Overall generally good appearance. With margins. The colors somewhat attenuated. A few scattered, soft, and unobtrusive handling marks in the blank. Not examined out of the frame.
Framed under Plexiglas: 33.5” H x 27” W x 1” D
178
Overall generally good appearance. Appears to have a margin at top and thread margins on the other three sides. The colors somewhat attenuated. A few scattered foxmarks and/or pale brown stains in the blank, the largest are approximately rice-sized, to the far right of the lower branch and also below that branch. Not examined out of the frame.
Framed under Plexiglas: 32.5” H x 26” W x 1” D
179
Overall generally good appearance. With margins visible on three sides. A soft crease extending 1.5” diagonally from the upper margin, left of center, through the upper blank, and just into the upper portion of the subject area, visible primarily in raking light. A 0.75” H x 1” W area of scattered small surface abrasions, touched-in with white pigment, in the upper left corner of the blank and margin, not affecting the subject area. An occasional pale speck of grime or foxing outside the subject area. Not examined out of the frame.
Framed under glass: 21.25” H x 26.5” W x 1.25” D
180
Overall generally good appearance. With margins visible on three sides. Scattered very pale foxing showing primarily in the sky. A pinhole at each of the lower corners of the subject area, possibly attendant with the printing process. An unobtrusive 0.125” H x 0.5” W area of slight surface abrasion as well as a foxmark in the blank area between the lower edge of the subject and the uppermost line of text. Not examined out of the frame.
Framed under glass: 21.25” H x 26.5” W x 1.25” D
181
Each overall good appearance. “Rags” with pale staining scattered along the outer edges and a pinhead-sized area in the dog’s right eye. “Read, Remember, and Obey” with the slightest wear in the extreme upper left corner. “Rags” and the birthday card with areas of surface skinning and paper remnants. Each verso sheet with scattered, minor surface soiling. Each sheet is loose, not matted.
Each unframed
182
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
183
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
184
Each overall good condition with light wear and faint scratches commensurate with age and use. Tests for 14K gold with XRF analysis.
185
Each overall good condition with light wear and faint scratches commensurate with age and use. Tests for 14K gold with XRF analysis.
186
Overall good condition with dust accumulation and light wear commensurate with age and use. Scattered stitch losses to exterior near rim. A larger area of stitch loss and wear to exposed bundles at lower section near base, 3” L x 0.5” H. With old inventory tag to rim.
187
Overall good condition with dust accumulation and wear commensurate with age and use. Multiple scattered stitch losses to rim, largest area: 0.375”. Slightly slumped, with slight distortion to rim. Scattered patchy darkening overall. With old inventory/retail tag to rim.
188
Overall good condition with dust accumulation and light wear commensurate with age and use. A couple of darkened spots to base interior and exterior.
189
Overall good condition with dust accumulation and wear commensurate with age and use. Slight distortion to rim. Patchy darkening to exterior and interior near rim. With old inventory tag to rim and label to base.
190
The rim with a single rod break and multiple stitch losses, largest area: 0.5”. Overall dust accumulation and wear commensurate with age and use.
191
With dust accumulation and wear commensurate with age and use. Scattered stitch losses to rim, longest area: 0.375”. Two splits to rim, including one extending to 3-4 rows below. Patchy darkening overall.
192
Overall good condition with dust accumulation, fading, and wear commensurate with age and use. A couple o single stitch losses to exterior. Interior base with a few scattered dark spots. Rim of irregular shape.
193
Overall good condition with dust accumulation and wear commensurate with age and use. A few single stitch losses to exterior. Slight darkening to exterior.
194
Overall good condition with dust accumulation and wear commensurate with age and use. With old inventory tag to rim.
195
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Light soiling to one side. Discoloration to cotton warps, and a few loose strands.
196
With wear and dust accumulation commensurate with age and use. Side A with patchy fading and light soiling, with a few scattered small marks and faint spots. Center and edges with multiple areas of wear and loss to weave, with largest area: 5.5” x 2”. Scattered breaks and some losses to selvage cords, longest: 7”. Scattered areas of moth damage, with small shallow holes and areas of light grazing.
197
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 one side, possible color variation in dye, scattered minor staining and light dye transfer to each both sides, a few scattered breaks and losses to side selvage cords, and a few scattered small holes and areas of wear to weave.
198
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few scattered small spots; a couple of minor areas of loose weave at one long edge.
199
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered areas of faint staining to each side; a few scattered minor breaks to selvage cords, with a couple of small areas of loose weave; scattered areas of shallow moth grazing to each side.
200
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a couple of areas of loose weave to one end, and to one corner, with repair stitching evident; areas of loose weave to the cream wool center, with repair stitching; lacking tassels to two corners.
201
With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to one side, scattered areas of yellowing, staining, and small spots to each side, as well as areas of dye transfer; a small area of light insect grazing to one side; breaks to selvage cords to three corners, and to a small area of one edge.
202
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: general surface soiling and a few scattered spots and faint stains to each side, a couple of single breaks to selvage cords, and a few scattered small areas of loose weave.
203
With dust accumulation and signs of wear commensurate with age and use. Issues include, but not limited to: light soiling and scattered small spots and stains, a few areas of dye transfer, long sides with scattered breaks and loss to selvage cords, and scattered holes and areas of loose weave overall.
204
Overall good condition commensurate with age. Not examined out of frame.
Framed under Plexiglas: 30.25” H x 24.25” W x 1” D
205
With shelf wear and scattered scuffs and scratches. Stiffening and cracking to hide elements, one end with a 3” long tear. Rubbed losses to black paint of hide, polychrome of wood, and some soiling throughout.
206
Overall good condition with wear and general soiling and darkening commensurate with age and use. Scattered areas of rubbed wear and some minor loss to painted motifs, primarily to one end.
207
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to both sides, slightly loose weave to a few edges. Wear to tassels.
208
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: side A with slight fading, and very faint scattered discoloration to cream wool. Light wear to tassels and fringe. Scattered irregular fading to fringe yarn.
209
Each overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: the larger with slight fading to one side; scattered areas of light soiling and areas of dye transfer to each side; a couple of small holes with attendant areas of loose weave, and wear and loss to one tassel; the smaller: very slight fading to one side, light soiling and wear to loop fringe ends, and with a few loose loops.
210
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: Side A with slight fading, scattered small spots all over, and a few large stains. Side B with a few areas of light soiling and a few spots on the lower border. Light wear to tassels.
211
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use.
212
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: slight fading and a couple of very faint spots to one side.
213
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: areas of soiling and staining to each side, with thickening to weave in some areas; scattered breaks to selvage cords, especially to one long end, with a 7” L area of loss to cord, and associated break to edge warp; a few scattered small holes and areas of loose weave, especially to one short end.
214
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 one side, a few scattered minor breaks to selvage cords; a couple of areas of minor losses to weave: at one end edge, and to corner diagonally opposite, each with repair stitches.
215
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: side A with slight fading, light soiling, and scattered spots of shallow moth grazing; a small area of loose weave to one short edge.
216
Overall good condition with scattered deeper scratches, mostly unobtrusive to decorated areas, with scattered splattered stains throughout and a few darker stains measuring about 2.5” diameter. Not inspected out of frame.
Framed: 75.25” H x 62.25” W x 2” D
217
Overall good condition with light tarnishing and minor wear commensurate with age and use. Stone with scattered light abrasions.
218
Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Tests for sterling with XRF. Stones not tested for treatment.
219
Overall good condition with light tarnish, wear, and scratches commensurate with age and use. Tests for sterling with XRF.
220
Overall good condition with tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface-reaching fractures. Two small cabochons with wear to edges.
221
Overall good condition with tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface-reaching fractures. One stone with minor fracture across lower section. Each tests for sterling with XRF.
222
Overall good condition with tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface-reaching fractures. Smallest with a couple of minor chips to matrix, and a couple of tiny hairlines. Each tests for sterling with XRF.
223
Each overall good condition with tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface-reaching fractures. Largest with a few hairlines to some stones. Stones not tested for treatment. Mexican cuff does not test for sterling with XRF.
224
Overall good condition with dust accumulation, oxidation, and wear commensurate with age and use. Scattered small marks and light soiling to the leather.
225
Each overall good condition with dust accumulation, wear, and soiling commensurate with age and use. With scattered breaks and losses to quill work. Most quillwork at ankle edges lost, with a few stitches remaining to edge of left moccasin. Breaks and loss to hide ties at ankles. Small holes to each hide sole, inherent to design.
226
Each overall good condition with soiling, small stains and marks, and dust accumulation to hide, with storage creasing with attendant separation of bead rows and edges commensurate with age and use. A larger stain to beads at front toe area of one moccasin. A few minor losses to a couple of bead rows.
227
Overall good condition with dust accumulation, soiling, and slight stiffening to hide commensurate with age. A few small holes in hide to one side, near top edge.
228
Each in overall good condition with dust accumulation, soiling, and wear commensurate with age and use. Floral and edge beading with scattered areas of minor bead losses and attendant loose threads. A few scattered areas of minor moth grazing to black wool.
229
Each in overall good condition with dust accumulation and wear commensurate with age and use. Scattered small stains and light soiling to the leather. Wear to soles. Interiors with wear and minor losses to fabric backing of beadwork.
230
Each overall good condition with dust accumulation, light soiling, and typical signs of wear commensurate with age and use. Hide with scattered minor scuffs and inherent flaws. Machine sewn seams. Each with loss of a couple of cone dangles. Top with loss to a few fringing strips to one edge at back. Skirt with scattered minor stains to front, and a 3” x 2” sympathetic patch repair to back near beaded band.
231
Each overall fair condition with dust accumulation, soiling, oxidation, and typical signs of wear commensurate with age and use. The larger panel with scattered losses to beads, and losses and holes to red wool fabric. The smaller with loss of a couple of metal cone dangles and scattered breaks and losses to yarn within dangles.
232
Overall good condition with dust accumulation, oxidation, and typical signs of wear commensurate with age and use. Hide with scattered surface soiling and marks, some from use and others inherent to leather.
233
Each in overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Iroquois bag with minor loose stitching to flap at one corner, wear and loss to red silk on flap, with a few marks to velvet, and with some losses to beaded fringe, with attendant loose threads. Hide bags with scattered surface soiling, stains, and marks, some from use and others inherent to leather. Orange bag with stiffness to leather overall, minor tear to back edge, and partial loss to drawstring.
234
Each overall good condition with dust accumulation, light soiling, and wear commensurate with age and use. Bands with stiffening to laces, and break and loss to one lace of red band. Bracelet with loss of one fringe strand, and of one snap fastener. Necklace with bead loss to one fringe strand. Wallets with scattered faint marks and light creasing. Larger with one row of bead loss, 2.5” L.
235
Each overall good to fair condition with dust accumulation, minor hide discoloration, and typical signs of wear commensurate with age and use. Smallest with a small area of bead loss to edge. The deer tail bags with losses to hide tips and beads, with scattered small holes, creasing, and tears and darkening to leather.
236
Each overall good condition with dust accumulation and wear commensurate with age and use. Smallest bottle lacking top. Blue and pink jar with small hole and some loose beadwork stitches at base edge. Three glass items with hide to base.
237
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 22.25” H x 18.25” W x 3” D
238
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 28.75” H x 35” W x 2.5” D
239
Visual: Overall good appearance. A 1.5” diagonal crease across the upper left corner of the board. A rice-sized area of grime in the lower left quadrant. Not examined out of the frame.
Blacklight: No evidence of restoration.
Framed under glass: 21.5” H x 17.5” W x 2” D
240
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 31.5” H x 37.5” W x 2.5” D
241
With losses, discoloration, degradation, fire clouding, and inherent firing flaws commensurate with age. Crack through the middle from one handle to center of other side of body.
242
Overall good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. Extensive shelf wear to base at edges. Slightly uneven in height. A few small areas of possible subtle touch-up to slip surface and design, with two areas showing a 1/8” spot of fluorescence under blacklight.
243
Overall good condition with light shelf wear, a few light scattered scuffs and faint scratches, and inherent firing flaws commensurate with age. Scattered areas of fire clouding. A few tiny pinpricks near base.
244
Overall good condition with minor scuffs, a few faint scratches, and inherent firing flaws commensurate with age. A small dent to underside from firing. A few fire cloud marks to underside. Previous dealer’s sticker applied to underside.
245
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The body with a few small abrasions and a 1” long unglazed strip, inherent in the construction. With sticker ghosts and residue to underside, unobtrusive to signature.
246
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Rubbed losses to slip and decorations throughout, concentrated to underside half.
247
With scattered repairs/restoration, including a few cracks to body and other abrasions. With shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
248
Visual: Overall good condition. A few flecks of grime visible in raking light. Delicate, very minor crazing to the varnish layer of the background.
Blacklight: No evidence of restoration.
Unframed
249
With shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Heavy fire clouding and oxidation throughout. Red marking to underside.
250
Each overall good condition with shelf wear, a few scattered minor scuffs and faint scratches, and inherent firing flaws commensurate with age. Dust accumulation to interiors. Three with a few scattered single tiny pinprick marks/pitting, some to rim, and larger Lucy Lewis pot with a few to body. Each with previous dealer’s small inventory label to base.
251
Each overall good condition with shelf wear, scattered scuffs and small scratches, and inherent firing flaws commensurate with age. Each with areas of rubbed wear to designs. Each jar with a few scattered minor chips to exterior. Large and medium jar with scattered fine line crazing to exterior surface. Medium jar with a small spot of sticky residue near top which fluoresces under black light, likely from previous handling. One with penciled note to underside: Made by Hopi.
252
Each overall good condition with shelf wear, scattered minor scuffs, scratches, rubbed wear to designs, and inherent firing flaws commensurate with age. Jars with scattered crazing to surface. Two unmarked items with scattered small chips to rims. Bowl with some deeper scratches to interior and with a large gouge to exterior near base. Unmarked jar with small indentation to one side, and with slightly rounded, uneven base.
253
Each overall good condition with shelf wear, scattered minor scuffs, rubbed wear and small losses to polychrome and slip decorations, and inherent firing flaws commensurate with age.
254
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. dust accumulation to interiors. Scattered minor small chips/pinprick pits to some, near base. Slight rubbed wear to polychrome in places. Silas jar with fine superficial fractures to interior base around edge. Each bowl with previous dealer’s label or marks applied to underside. Each with incised ‘H” to base.
255
Each overall good condition with shelf wear, scattered scuffs and small scratches, and inherent firing flaws commensurate with age. Slight rubbed wear to designs in a few areas, and a few scattered minor chips to exterior. Dust accumulation to interiors. Small vase with scattered craquelure and minor flaking to exterior surface. Fourcolored bowl with scattered dark smudges, and darkening to rim banding. Zia pot with scattered areas of craquelure to surface, scattered fleabites to rim, and tiny pinpricks overall, with areas of small dark spots and discoloration. Four with previous dealer’s labels to base, and five with incised mark to base: PH or H.
256
Each overall good condition with shelf wear, scattered minor scuffs and faint scratches, dust accumulation, and inherent firing flaws commensurate with age. Scattered areas of minor rubbed wear to some designs. Each with a few scattered tiny pinpricks to surface. Largest vase with an area of pigment transfer to one side of one spout. Oval tray with waxy residue to base. Two with previous dealer’s labels to base, and incised marks: PH.
257
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Teapot with two 2” long vertical cracks issued from rim, the coffee pot with one 1.5” long. Jar with a spot of fire clouding. Each with sticker ghost or remnants to underside.
258
Each overall good condition with shelf wear, scattered minor scuffs and small scratches and minor marks, and inherent firing flaws commensurate with age. Each owl with light soiling to surface, the larger with faint whitish marks to back. Ocarina with repaired break to tail. Two with previous dealer’s label applied to underside.
259
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
260
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Two with sticker ghosts to underside. The smallest with minor rubbed losses to white slip paint.
261
Each overall good condition with shelf wear, scattered minor scuffs and small scratches, and inherent firing flaws commensurate with age. Two with incised mark to underside: HI. Oval bowl with previous dealer’s sticker applied to underside.
262
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Crazing to glaze throughout. Turquoise mounted with excess adhesive.
263
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Unframed
264
Each overall good condition with light wear, dust accumulation, and minor scuffs commensurate with age. Most with previous dealer’s labels applied to underside.
265
Each overall good condition with light wear, dust accumulation, and minor scuffs commensurate with age. Some stones with surface reaching fractures. Grey stone Chavez shark with break to one fin, retained. Some with previous dealer’s labels applied to base or side.
266
Each overall good condition with light wear, dust accumulation, and minor scuffs commensurate with age. A few stones with surface reaching fractures and minor intrinsic flaws to stone. Smallest toad with minor break and loss to tail. A few with previous dealer’s labels or marks applied to underside.
267
Each overall good condition with light wear, dust accumulation, and minor scuffs commensurate with age. Some with previous dealer’s labels applied to underside. Shark with fine hairline across one side at front.
268
Each overall good condition with tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface-reaching fractures. Not tested for sterling. Light wear to leather.
269
Each overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface-reaching fractures.
270
Each overall good condition with tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface-reaching fractures. One nugget stone with small chip near one edge. Necklace tests for sterling. Cuff does not test for sterling or for silver. Turquoise not tested for treatment.
271
Overall good appearance. Not examined out of the frame.
Framed under glass: 27.75” H x 33.375” W x 1” D
272
Overall good appearance. A soft 4” diagonal crease across the upper left corner. Two very minor handling marks along the upper portion of the right edge, and very slight cockling in the upper edge.
Framed under Plexiglas: 64.75” H x 44” W x 2” D
273
Overall generally good condition. Full margins with deckled edges. A 3” diagonal crease in the upper left margin corner, possibly inherent in the printing process, and not affecting the image. A small pressure mark near the lower left margin corner and two more near the upper right margin corner, none of which affect the image. A soft crease across the tip of the lower left margin corner. The sheet is framed floating, hinged to the back mat from the verso of the margin corners. Not examined out of the frame.
Framed under Plexiglas: 47” H x 35.25” W x 1” D
274
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 32.75” H x 38.625” W x 3” D
275
Overall good condition with dust accumulation, scattered scuffs, scratches, and minor abrasions commensurate with age. Upholstery in good condition with fading and even wear.
276
Each overall good condition with dust accumulation and scattered scuffs, scratches, nicks, and minor abrasions commensurate with age. Upholstery in good condition with fading and even wear.
277
Each overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. One arm with a 2” long chipped loss along one edge. Leather upholstery with creasing, fading, scattered stains, and rubbed wear from use. The seatback cushion with uneven fading form ladder back. Ottoman with heavier, more concentrated stains to leather.
278
With updated light fixtures and electrified elements. Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Shade with vertical separation at along edge of one panel, a glued repair to upper dome cap, and breaks to upper ends of two panels of slag glass, with attendant losses. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.
279
Overall good condition with scattered scuffs and scratches and oxidation/darkening to bronze commensurate with age. Each shade with some rubbed wear at mounting juncture. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.
280
Overall good condition with light wear and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Light wear and minor soiling to neck cording.
281
Overall good condition with light wear, tarnishing, and scratches commensurate with age and use. Jet with a few scattered light abrasions.
282
Overall good condition with light wear and scratches commensurate with age and use.
283
Each overall good condition with light wear, dust accumulation, and minor scuffs commensurate with age. One pottery bear with chipped loss to one ear. One jet bear with loss to heartline inlay arrow point to each side. Many with previous dealer’s labels applied to base or sides. A few with adhesive residue to base.
284
Each overall good condition with light wear, dust accumulation, and minor scuffs commensurate with age. Blue/green bear with slightly loose offering to back. Most with previous dealer’s labels applied to base or side.
285
Each overall good condition with light wear, dust accumulation, and minor scuffs commensurate with age. Some stones with surface reaching fractures. light wear to feathers of offering bundles. Most with previous dealer’s labels applied to underside.
286
Each overall good condition with light wear, dust accumulation, and minor scuffs commensurate with age. Large Sheche mountain lion with loose offerings to back, retained. Most with previous dealer’s label applied to base or side.
287
Overall good condition with scattered minor scuffs, scratches, and nicks and minor shelf wear commensurate with age. With three holes to underside for wall mounting.
288
Overall good condition with wear, dust accumulation, minor soiling, and scattered scuffs commensurate with age.
289
Each with scattered scuffs, scratches, and minor nicks commensurate with age. The catlinite with darkening to bowl from use. The pottery with chipped losses, the largest measuring 0.75” long to rim of bowl.
290
Fish with break to one end, retained with the lot. Each with scattered scuffs, scratches, nicks, and fleabites at edges commensurate with age.
291
Overall good condition with minor shelf wear to slipcase.
292
The sheet with full margins and the colors fresh. An approximately 14” H band of damp staining affecting the lower section of the image and sheet, showing primarily in the margins and on the verso. A scattered hairline surface scuff extending 4” horizontally into the image from the upper portion of the right margin edge. Minor surface soiling in the lower margin, primarily in the lower margin corners. Slight surface skinning at the verso of the upper margin corners. The sheet is loose, not matted.
Unframed
293
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Each unframed
294
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Unframed
295
Overall good appearance. Not examined out of the frame.
Framed under glass: 21.25” H x 29” W x 1.5” D
296
Each overall good condition with light wear and tarnishing commensurate with age and use. Scattered stones with abrasions and surface reaching fractures. Scattered minor chips to some beads.
297
Each overall good condition with light wear and tarnishing commensurate with age and use. Light wear and faint smudges to neck cords.
298
Visual: Overall good appearance. Specks of grime scattered primarily in the lower half. A 2” H x 0.25” W ‘J-shaped’ surface scratch with attendant, scattered pigment loss in the upper portion of the left edge. Other occasional, minor scattered surface scuffs and scratches. Abrasion and areas of lifting to the left edge.
Blacklight: No evidence of restoration.
Frame: 54.625” H x 44.625” W x 3.5” D
299
Overall good appearance. Not examined out of the frame.
Framed under glass: 15” H x 17.75” W x 1.25” D
300
Overall good appearance. Not examined out of the frame.
Framed under glass: 17.5” H x 16” W x 1” D
301
Overall good appearance. Not examined out of the frame.
Framed under glass: 20” H x 17” W x 1.25” D
302
Overall good condition with dust accumulation, discoloration, and shelf wear commensurate with age and use. Slightly out of round. A few scattered single stitch losses overall.
303
Overall good condition with dust accumulation and light wear commensurate with age and use. A few scattered single stitch losses overall. A small hole just below rim at terminal, likely for display, with attendant breaks to a couple of stitches. Darkening overall. With old inventory tag attached to rim.
304
Overall good condition with dust accumulation and wear commensurate with age. Partial break/split to rod below rim, near terminal, with attendant stitch losses and breaks. A few scattered single stitch losses overall.
305
Overall good condition with dust accumulation and light shelf wear commensurate with age and use. Patchy discoloration overall. The interior with a couple of dark scorch marks near center.
306
Overall good condition with dust accumulation and wear commensurate with age and use. A few scattered stitch losses to rim and to exterior. With exposed rod end at exterior row thirteen below rim, due to stitch loss. A section of whitish residue to base exterior. With hide knotted loop to center.
307
Overall good condition with dust accumulation and light wear commensurate with age and use. A single stitch loss to rim and a few scattered single stitch losses to exterior. Patchy darkening to basket overall.
308
Overall good condition with dust accumulation and light wear commensurate with age and use. Scattered stitch losses to rim and to interior and exterior. Slightly slumped and out of round. With old inventory tag attached to rim.
309
Overall good condition with dust accumulation, patchy discoloration, and light shelf wear commensurate with age. A few single stitch losses to exterior, and some minor spots to base.
310
Overall good condition with dust accumulation and wear commensurate with age and use. Very slight fading to interior face. With attached nylon monofilament loops for hanging.
311
Overall good condition with dust accumulation and wear commensurate with age and use. Dark marks to base interior. Scattered single stitch losses to exterior, with stitch loss and shelf wear to base. Patchy darkening to exterior.
312
Each overall good condition with dust accumulation, discoloration, and shelf wear commensurate with age and use. The larger with uneven areas to rim, and scattered single and multiple stitch losses to rim and a few overall, largest area 0.5” L.
313
Each overall good condition with dust accumulation and wear commensurate with age and use. Yokuts with a few scattered white marks to exterior. Apache with a few scattered single stitch losses overall, with multiple stitch losses to rim, especially at the terminal. Scattered faint spots to interior. With old inventory tag to rim.
314
With dust accumulation and wear commensurate with age, and with signs of traditional use including patchy discoloration overall. Wear to hide elements including distortion and loss to fringe, and marks to straps and base. A small hole to basket base interior with breaks and loss to rods and twining stitches, 1.5” x 1”.
315
Overall good condition with dust accumulation, light soiling, and wear commensurate with age. A few scattered stitch losses. Scattered splattered staining/marks to hide leather including fringe. A couple of single losses to tin cones. With old inventory tag and labels.
316
Each overall good condition with tarnishing and scratches commensurate with age and use. Stone with scattered abrasions and surface reaching fractures. Each tests for sterling with XRF.
317
Each overall good condition with tarnishing and scratches commensurate with age and use. Inlay with scattered abrasions. Each tests for sterling with XRF.
318
Overall good condition with tarnishing and scratches commensurate with age and use. Stone with scattered light abrasions and surface reaching fractures. Minor wear to leather. Conchos test for sterling with XRF.
319
Overall good condition with tarnishing and light scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. Tests for sterling with XRF.
320
Each overall good condition with light wear, dust accumulation, and minor scuffs commensurate with age. Some with previous dealer’s stickers applied to underside.
321
Each overall good condition with light wear, dust accumulation, and minor scuffs commensurate with age. Many with previous dealer’s labels applied to base and sides.
322
Each overall good condition with light wear, dust accumulation, and minor scuffs commensurate with age. Most with previous dealer’s stickers applied to underside.
323
Each overall good condition with light wear, dust accumulation, and minor scuffs commensurate with age. Some with previous dealer’s labels applied to underside.
324
Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Tests for sterling.
325
Overall good condition with tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface-reaching fractures. Tests for sterling with XRF.
326
Overall good condition with tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions, and surface-reaching fractures. Scattered stones with a few minor chips and a couple with fine hairlines. Stones not tested for treatment. Tests for sterling with XRF.
327
Overall good condition with tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions. Stones not tested for treatment. Tests for sterling with XRF.
328
Each in overall good condition with dust accumulation and light wear commensurate with age and use. Each with minor thread remnants to inside face, from previous attachment. Slightly distorted from storage.
329
Each overall good condition with dust accumulation, light wear and oxidation commensurate with age and use. Bison with slight marks to finish. Horsehair cords with light wear and a few loose strands.
330
Each in overall good condition with tarnishing and scratches commensurate with age and use. . Stones with scattered light abrasions and surface reaching fractures. Coral with minor fracture to one section. One cabochon with scattered minor pitting to matrix. Light wear to leather. Each tests for sterling. Stones not tested for treatment.
331
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stone with scattered light abrasions and surface reaching fractures. Stone not tested for treatment. Light wear to leather. One collar tip slightly misshapen, with dent verso.
332
Overall good condition with dust accumulation and light wear commensurate with age and use. A few scattered single stitch losses to exterior. A thread loop to rim.
333
Overall good condition with dust accumulation, discoloration, and light shelf wear commensurate with age and use. A few scattered single stitch losses overall. Slightly slumped. With thread hanging loop.
334
Overall good condition with dust accumulation and light wear commensurate with age and use. A couple of single stitch losses to interior, and a few to exterior near rim. Slight fading and light wear to interior. Minor shelf wear to base, with some small spots of pigment. An area of darkening to one section of the basket, with slight flattening of rim curve in same area.
335
Overall good condition with dust accumulation and wear commensurate with age and use. Slight fading to face. A few scattered areas of faint whitish marks to exterior.
336
Each with dust accumulation, discoloration and fading, and wear commensurate with age and use. The largest Pima tray with multiple stitch losses to exterior and to one section of interior, with losses to twelve rows, the longest section: 1.25”, and with dark spots/residue to interior center. The larger Pima bowl with a few scattered stitch losses overall. The small tray with scattered multiple stitch losses overall, primarily to the rim and exterior base. The Papago tray with discoloration, and scattered multiple stitch losses to rim and exterior.
337
Overall good condition with dust accumulation and light wear commensurate with age and use. A single stitch loss to rim. Multiple stitch losses to interior and exterior, the largest area measuring 0.375” long. A small shallow area of loss to exterior of one coil just below rim. Darkening to exterior.
338
Each overall good condition with dust accumulation and wear commensurate with age and use. The bowl with a couple of single stitch losses to interior, and a small dark spot to one area below rim. The tray with a few stitch losses to rim and minor shelf wear to base.
339
Each in overall good condition with dust accumulation and wear commensurate with age and use. Each with scattered areas of patchy darkening. The tall cylinder with slight fading to exterior. The tray with slight distortion to rim at one end. Two with old inventory tags.
340
Each overall good condition with dust accumulation and wear commensurate with age and use. Smaller bowl with scattered stitch losses to interior, exterior rim, and base, longest: 4” L. Conical basket with a few scattered marks and patchy darkening overall. Pictorial with scattered stitch losses to interior sides and base.
341
Each overall good condition with dust accumulation, minor discoloration, and wear commensurate with age and use. The wide Pima bowl with scattered stitch losses to rim exterior, and a few stitch losses to the base.
342
Each with dust accumulation and wear commensurate with age and use. Each with darkening to surface overall. The larger with a couple of stitch losses to exterior. The smaller with slight distortion to the rim, and multiple stitch losses to interior and exterior, the longest: 1.125” L.
343
Overall good condition with dust accumulation and light wear commensurate with age and use. A small hole to center, likely from display.
344
Overall good condition with dust accumulation and wear commensurate with age and use. Slight fading to face.
345
Each overall good condition with dust accumulation and wear commensurate with age and use. Each with slight fading to face.
346
Each overall good condition with dust accumulation, slight fading, and wear commensurate with age and use. Oval tray with old inventory tag to rim.
347
Each overall good condition with dust accumulation and wear commensurate with age and use. The larger Apache tray with darkening overall and a few scattered areas of whitish residue to interior and exterior.
348
Each overall good condition with dust accumulation and wear commensurate with age and use. The tray with old inventory tag to rim. The tall basket slightly slumped and with scattered stitch losses overall.
349
Each in overall good condition with dust accumulation and wear commensurate with age and use. Larger box with slight distortion to lid. Each with minor marks to suede.
350
Each overall good condition with dust accumulation and minor wear commensurate with age. Larger olla with a few stitch losses to waist. Two with old inventory tags attached to rim.
351
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
352
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
353
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
354
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
355
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
356
Each overall good condition with light wear, dust accumulation, and minor scuffs commensurate with age. Some stones with surface reaching fractures. Some with previous dealer’s labels applied to base or side.
357
Each overall good condition with light wear, dust accumulation, and minor scuffs commensurate with age. Most with previous dealer’s labels applied to base and sides.
358
Each in overall good condition with wear, tarnishing, and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. A couple of stones with fine hairlines. Stones not tested for treatment.
359 360
Each in overall good condition with tarnishing and scratches commensurate with age and use. . Stones with scattered abrasions and surface reaching fractures. A few stones with minor chips. One earring stone with hairline across one end. Cuff with loss to filigree wire at one side of stone.
361
Overall good appearance. Not examined out of the frame.
Framed under glass: 24.125” H x 20” W x 2” D
362
Overall generally good appearance. Soft handling creases throughout, and a 2.5” diagonal crease near the upper left sheet corner. Light- and time staining, and two 0.75” square, reverse stains in the upper sheet corners, attendant with hinges, verso. The sheet is framed floating, hinged to the back mat. Not examined out of the frame.
Framed under glass: 12.75” H x 19” W x 1.25” D
363
Each overall good condition with scattered wear, soiling, fraying to edges, loose stitching, and creasing and fold marks commensurate with age and use. Log Cabin with a few areas of heavier wear and loss to some fabric strips. A few scattered small holes from insect damage. A larger hole at one edge, 1” x 1”. A few small whitish marks to backing. Flying Geese with heavier wear and soiling to top overall. With scattered small splits to the fabric along the edges at the binding, largest: 4” L, with attendant loose threads. The backing with a few small holes, scattered patchy stains and dark marks. With applied Velcro loop strip to one short edge, and a couple of small patch repairs with red and white gingham fabric. The smallest with scattered areas of yellowing, and scattered small dark spots and minor stains overall.
364
Each overall good condition with scattered wear, soiling, fraying to edges, loose stitching, and creasing and fold marks commensurate with age and use. The blue with significant fading to center and a few scattered small holes and stitched repairs to top and edges. Some whitish marks to backing near one edge. With curtain/drapery tape stitched to each end. The second with scattered staining and areas of discoloration, primarily to the top at one side and corner. The third with scattered small stains to top, heavier wear to some triangles. The backing with overall yellowing and scattered stains and marks.
365
Each overall good condition with scattered wear, light soiling, fraying to edges, loose stitching, and creasing and fold marks commensurate with age and use. The first with yellowing overall and scattered stains and small marks. The second with fading, yellowing to backing, and heavier wear to top, with scattered small holes and areas of loss to some patches. The third with slight yellowing and small stains to top, with curtain/drapery tape applied to one end.
366
Each overall good condition with dust accumulation and wear commensurate with age. The larger with slight fading to interior and light shelf wear to base.
367
Overall good condition with dust accumulation and wear commensurate with age and use. Slightly out of round, with minor distortion to the rim.
368
Each overall good condition with dust accumulation and wear commensurate with age and use. Large bottle with quillwork with a few scattered small fractures to basketry, with fracture and loss to top edge at spout. One small bottle with indentations to center, and a couple of minor factures. Cup and saucer with patchy discoloration.
369
Each overall good condition with dust accumulation and wear commensurate with age and use. Some with slight fading to motifs. One basket with minor loose stitches to one section of rim interior. One basket with blurred shop marks to base.
370
Overall good condition with dust accumulation and light wear commensurate with age and use. Scattered single losses to feathers.
371
Each with dust accumulation, fading, and wear commensurate with age and use. The Maidu bowl with break to rim and to one row below, with multiple attendant stitch loss. Oval bowl with previous inventory tag stitched to interior. Small bowl with multiple stitch loss and damage to rim rods. Burden basket with small area of stitch loss to rim, 1” L. A few scattered single stitch losses to exterior, including tip. Exterior with a small area of black spots/marks to stitches, below handle.
372
Overall good condition with dust accumulation, fading, and light wear commensurate with age and use. Slight darkening to lid exterior. Shelf wear to base.
373
The jar and one bowl reassembled and restored from many breaks, with attendant small losses. The jar with tape reinforcements to repairs. Each with soiling, scattered older chipped losses, and darkening/oxidation commensurate with age and use. One bowl with more inked markings to body and along rim. The jar with inked marking near base.
374
The large bowl and the corrugated each with many repaired/restored cracks and breaks, the other two vessels with repairs to rim. Each with soiling, shelf wear, darkening and oxidation throughout, and scattered small older losses commensurate with age and use. Two with later inked markings to underside.
375
Each overall good condition with tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Some brooches with distorted pins. Largest ring with distorted band. Two hair combs with missing or damaged teeth. One butterfly ring with loss to one wire antennae.
376
Each overall good condition with light wear, dust accumulation, and minor scuffs commensurate with age. Five with tiny drilled holes, possibly for use as beads.
377
Each in overall good condition with wear, tarnishing, and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Stones not tested for treatment.
378
Each in overall good condition with wear, tarnishing, and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. A couple of stones with fine hairlines. Stones not tested for treatment.
379
Each in overall good condition with wear, tarnishing, and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Stones not tested for treatment.
380
Each in overall good condition with wear, tarnishing, and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. A couple of stones with fine hairlines. Stones not tested for treatment.
John Moran Auctioneers, Inc
SPECIALISTS
Head of Sale, Vice President, Specialist, Silver, Western & American Indian Art
President, Auctioneer
Director, Fine Art
Associate Specialist, Fine Art
Associate Specialist, Fine Art
Department Administrator, Fine Art
Senior Cataloguer, Fine Art
Cataloguer, Fine Art
Cataloguer, Fine Art
Specialist / Department Manager, Furniture and Decorative Arts
Senior Specialist, Fur niture & Decorative Art
Post-War & Contemporary Design Specialist
Cataloguer, Furniture & Decorative Arts
Cataloguer, Silver, Western and American Indian
Director, Jewelry & Watches
Specialist, Jewelry & Watches
TRUSTS & ESTATES
Senior Vice President, Director Trusts & Estates
Director, Appraisals
Associate Appraiser
Department Administrator, Trusts and Estates
CLIENT SERVICES
Office/HR Manager
Client Services
Finance Administrator
Client Services
OPERATIONS
Vice President, Business Director, Auctioneer
Controller
Consignment Coordinator
Warehouse Supervisor, Senior Art Handler
Transport Supervisor, Senior Art Handler
Art Handler
Art Handler
MARKETING
Director, Advertising & Marketing
Manager, PR/Social Media
Graphic Designer
PHOTOGRAPHY
Senior Photographer, Head of Photography
Photographer
FOUNDERS
Founder
Co-Founder
Maranda Moran
Jeffrey J. Moran
Katherine Halligan, AAA
Bobby Cullen
Ian Anderson
Jacob Baer
Anne Spink
Madison Ari
Lori Kassabian
Jen Kurtz
Angela Past
Matthew Grayson
Grant Stevens
Sally Andrew
Tom Burstein
Kelly Sitek
Morgana Blackwelder, ISA AM
Mariam Whitten, ISA AM
Shannon Dailey
Julia Kelley
Mario Esquivel
Ella Fountain
Jamie Holthauser
Bryan Ortega
Stephen Swan
Joseph Scott
Jean Rapagna
Richard Corral
Joe Miranda
Romero Corral
Robert Robles
Nathan Martinez
Brenda Smith
Brian Olivas
Keith Berson
Madison Torres
John H. Moran (1942-2017)
Madeleine Moran
This catalogue is meant merely as a guide. The Auctioneers do not warrant the accuracy, genuineness, authenticity, description, weight, count or measure of any of the lots specified herein.
BUYER’S PREMIUMS:
BUYER’S PREMIUM is calculated at 27% on the first $1,000,000 of the hammer price, plus 21% on any amount between $1,000,001 - $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check or wire transfer.
Credit card payments will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards. Buyers outside of the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside of the United States.
BIDDING INCREMENTS:
$100 - $475 @ $25 increments
$500 - $950 @ $50 increments
$1,000 - $1,900 @ $100 increments
$2,000 - $4,750 @ $250 increments
$5,000 - $9,500 @ $500 increments
$10,000 - $19,000 @ $1,000 increments
$20,000 - $47,500 @ $2,500 increments
$50,000 - $95,000 @ $5,000 increments
$100,000 - $190,000 @ $10,000 increments
$200,000 - $480,000 @ $20,000 increments
$500,000 & above @ $50,000 increments, or at Auctioneer's discretion.
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These Terms and Conditions of Sale (“Terms“) set out the terms by which the sale or purchase of property at auction through John Moran Auctioneers, Inc. (“Moran”) will be governed. These Terms constitute a legal and binding agreement between You and Moran.
AUCTION HOUSE AS AGENT
Except as otherwise expressly stated in writing, Moran acts as an agent for the seller. Thus, any contract for the sale of property through Moran is made between the respective seller and buyer.
BEFORE THE AUCTION
(a) Public Preview. All property is available for inspection by public or private preview according to the auction information posted online and in the catalogue. In many cases, particular lots can be examined in advance by private appointment by contacting a customer service representative at info@johnmoran. com or by dialing 626-793-1833. Prospective buyers are strongly encouraged to personally examine any property in which they are interested.
(b) Buyer’s Responsibility. Buyers are responsible for determining to their own satisfaction the true nature and condition of any lot prior to bidding. Though buyers are not legally required to inspect lots prior to purchase, failure to do so may constitute a waiver of complaint that an item was not delivered in a condition equal to the existent condition at the auction.
(c) Property Sold “As Is”: Neither Moran nor the seller provides any guarantee in relation to the nature of the property, or to any errors or omissions in the catalogue or supplemental material, apart from the Limited Warranty stated in Section 5 below. ALL PROPERTY IS SOLD “AS IS.” Condition reports are offered as a courtesy and are typically published in Moran’s catalogue, or online, or can be made available upon request. The absence of a condition report does not imply that an item is free from defects or restoration, nor does reference to particular defects imply the absence of others.
AT THE AUCTION
(a) Admission. Moran’s auction is open to the public, although Moran reserves the right to, in its sole discretion, refuse admission or participation to anyone at any time. The auction may be recorded (visually, aurally, or otherwise) and all participants or attendees at the auction consent to such recording.
(b) Buyer Registration. Prospective buyers must register with Moran before bidding. Moran may, in its sole discretion, require identification, financial references, or a deposit in advance of buyer eligibility. Registered bidders accept personal liability to pay the purchase price, including the Buyer’s Premium, as described in Section 4(a) below, plus all applicable charges, unless Moran agrees in advance that the bidder is acting as agent on behalf of an identified third party that Moran, in its sole discretion, deems acceptable. In such case, Moran will look to the third party for payment. Successful bidders may be required to further verify their identity before property is released.
(c) Bidding Guidelines. Bidding, whether in person or by agent, absentee bid, telephone, or internet, constitutes a bidder’s acceptance of these Terms. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer retains the absolute right to reject any bid; withdraw, pass, or divide any lots; combine multiple lots; advance the bidding at their absolute discretion; and—in the case of error or dispute, whether during or after the sale—determine the successful bidder; continue the bidding; cancel the sale; or re-offer and sell the lot in question. Under no circumstances are sellers, or agents acting on their behalf, permitted to bid on their own property. In the event of any dispute after the auction, Moran’s sale record shall be conclusive as to the successful bidder and the price of the successful bid.
(d) Absentee, Telephone, and Internet Bidding. Moran offers absentee, telephone, and internet bidding as a convenience to clients and does not accept liability for errors or failures to execute bids. Absentee and telephone bids must be recognized by Moran prior to auction day. When identical absentee bids are submitted that become the highest bids at the auction, the bid first received by Moran shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure.
(e) Reserves. Unless Moran expressly indicates otherwise, lots may be offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve for any lot shall not exceed its published estimate. Moran shall act to protect the reserve by bidding through the auctioneer, who may open bidding on any lot below the reserve by placing a bid on the seller’s behalf. The auctioneer may continue to bid on behalf of the seller up to the reserve amount, either by placing consecutive bids or by placing bids in response to other bidders. Lots without reserves are typically opened for bidding at 50% of their low estimate. In the absence of a bid at that level, the auctioneer may proceed backward at their discretion or deem the lot unsold if a bid is not recognized.
AFTER THE AUCTION
(a) Payment and Title Transfer. The buyer agrees to pay the sum of the hammer price plus Buyer’s Premium, plus any applicable sales tax. The Buyer’s Premium will be calculated as follows: 27% on the first $1,000,000 of the hammer price, plus 21% on any amount between $1,000,001 and $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check, or wire transfer.
Successful bidders using Live Auctioneers or Invaluable platforms will be charged a Buyer’s Premium calculated as follows: 32% on the first $1,000,000 of the hammer price, plus 26% on any amount between $1,00,001 and $5,000,000, and 20% on any amount above $5,000,000 when paying by cash, check, or wire transfer.
Credit card payments made directly to Moran will be subject to an additional 3% acceptance fee. This fee is not more than the cost of accepting these cards. The name and address associated with the credit card must match the name and address of the successful bidder. Credit Cards are not an accepted form of payment for buyers outside the United States.
Buyers are strongly encouraged to provide full payment at the auction. Payment must be received by Moran within five business days immediately following the auction. The buyer does not acquire title to and may not take possession of the lot until all amounts (including the hammer price, premium, and applicable taxes) due to Moran have been paid in full.
Unless alternate payment arrangements are made immediately following the auction, successful Live Auctioneers bidders will be automatically charged via Live Auctioneers’ LivePayments 24 hours after the auction. Payments made through Live Auctioneers LivePayments are subject to an additional processing fee and any applicable state sales tax.
(b) Collection: Buyers are strongly encouraged to collect purchased items from the sale site at the time of the auction. Packing material and labor are provided free of charge at the sale site during the auction. Packing and handling of purchased lots is undertaken by Moran solely as a convenience to customers. If a buyer opts to use this courtesy packing and handling service, Moran is not liable for damage to property, regardless of cause.
(c) Storage and Abandonment. Following the auction, uncollected lots shall be relocated to and stored in Moran’s warehouse. Moran shall retain possession of all purchases until full payment has been received from the buyer. Lots remaining uncollected after the fifth business day following the sale, regardless of payment status, are subject to a per-lot daily storage charge of $10.00. In addition to other remedies available by law, Moran reserves the right to impose upon delinquent buyers a separate 1% monthly charge (of the purchase price, or the maximum permitted by law) commencing on the sixth business day after the sale date. If a buyer fails to retrieve a purchased lot within thirty (30) days after the date of sale (the “Retrieval Period”), Moran may, without further notice, (a) continue to store the lot in Moran’s warehouse, or at the warehouse of a third-party, subject to the storage charge described above; (b) deliver the lot to the buyer at the buyer’s expense; or (c) sell the lot at auction without reserve at a place and time determined by Moran in its sole discretion.
(d) Consequences of Late Pick-Up/Abandoned Property. Notwithstanding the foregoing, Moran has no duty to store any lot indefinitely. Any purchased lot that remains in Moran’s possession sixty (60) days after the Retrieval Period (collectively, ninety (90) days) will be deemed abandoned (“Abandoned Property”) and title to it will pass to Moran. Moran may, in its sole discretion, discard or sell any Abandoned Property and may keep any proceeds from any such sale. Moran may not be held liable for any claims related to Abandoned Property. Moran is not responsible for damage or loss that occurs to Abandoned Property and Moran is not responsible for insuring Abandoned Property after the Retrieval Period.
(e) Shipping. As a courtesy to buyers, Moran provides a list of preferred shippers who are in the business of transporting antiques and works of art. Buyers are responsible for arranging their own shipping estimates and deliveries. Moran, in its sole discretion and as a courtesy to buyers, may arrange to have purchased lots packed, insured, and forwarded by a third-party shipper at the request, expense, and risk of the buyer. In circumstances where Moran arranges for such third-party services, Moran may apply an administration charge of 15% of that service fee. Moran assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers, even if recommended by Moran. Moran also assumes no responsibility for any damage to picture frames or to the glass therein.
(f) All Sales Final. Notwithstanding other terms mentioned herein, refunds may be given in Moran’s sole discretion. Refunds requested on the grounds of authenticity must be made within 180 days of the auction and accompanied by a supporting written statement from a recognized authority (defined as a person who has authored, edited, or substantially contributed to a monograph on the artist; a person who has curated, organized, or substantially contributed to a solo exhibition on the artist; or a person who has represented the artist’s estate or someone who represented or worked closely with the artist while they were alive and, in any of the foregoing instances, physically handled works of the period, medium, and subject matter in question during the course of their duties) stating that the object sold is incorrect or not the work of the artist. Dealers, appraisers, and representatives of other auction firms do not qualify as authenticators of individual artists unless they have had such specific involvement with that artist’s work, as specified above, in addition to their daily duties. Refunded lots must be returned to Moran in the same condition as when sold. Moran does not grant extensions to refund considerations based upon authenticity due to shipping delays. There are no exceptions to this refund policy.
LIABILITY AND LIMITED WARRANTY
(a) Liability. The buyer expressly agrees that (i) neither Moran nor the seller shall be liable, in whole or in part, for any special, indirect, or consequential damages, including, without limitation, loss of profits, and (ii) the buyer’s damages, if any, are limited exclusively to the original purchase price paid for the lot.
(b) Limited Warranty. ALL PROPERTY IS SOLD AS IS. Neither the seller nor Moran or its associates make any representation, express or implied, warranty (including merchantability and fitness), or guarantee in condition, age, size, provenance, medium, signature, inscription, exhibition history, importance, rarity, country of origin, genuineness, historical relevance, monetary or other value, framing or lack thereof, mounting, conservation, coloring, palette, inscription, edition, style, label, or other descriptor. No statement in the catalogue, brochures, website, bill of sale, invoice, any supplementary material, or statements by any Moran employee shall be deemed a warranty, representation or assumption of liability.
(c) Descriptions. No warranty, whether express or implied, is made with respect to any description contained in this auction or any second opinion. Any description of the items or second opinion is for the courtesy of identifying the items for those bidders who do not have the opportunity to view the lots in person, and no description of items has been made part of the basis of the transaction or has created any express warranty that the goods would conform to any description made by the auctioneer. Color variations can be expected in any electronic or printed imaging and are not grounds for the return of any lot.
(d) Estimates. All estimates provided are carefully considered opinions of Moran’s specialists and are merely suggested guidelines for interested buyers. Buyers must be aware that all property sold is subject to fluctuating values depending on the subjective interests of collectors and a wide variety of other uncontrollable factors. The lots auctioned may sell at prices above, within, or below estimate.
(e) Notices, Demands, and Refunds. Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be made (1) in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016 or (2) via email at info@johnmoran.com.
(f) Notices, Demands and Refunds: Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016.
ADDITIONAL MATTERS
(a) Copyright. The copyright on all images, illustrations, and written material produced by or for Moran for its auction is and will remain at all times the property of Moran. Moran and the seller make no representation or warranty that the buyer will acquire any copyright or reproduction rights to a purchased lot.
(b) Buyer’s Breach of Conditions. If a buyer fails to comply with any of these Terms, Moran may, in addition to asserting all remedies available by law, including the right to hold that buyer liable for the purchase price, (i) cancel the sale, retaining as liquidated damages any payment made by the buyer; (ii) resell the property without reserve at public auction or privately upon notice to the buyer; or (iii) take such other action as Moran deems necessary or appropriate. If Moran resells the property, the original defaulting buyer shall be liable for the payment of any deficiency between the original sale price and any subsequent mitigation sale, including warehousing, the expenses of both sales, reasonable attorney’s fees, commissions, incidental damages, and all other charges due hereunder. In the event that such buyer pays a portion of the purchase price for any property, Moran’s shall apply the payment received to such property that Moran, in its sole discretion, deems appropriate. Moran shall have the benefit of all rights of a secured party under the Uniform Commercial Code as adopted in the State of California.
(c) Governing Law. The rights and obligations of the parties with respect to these Terms and the conduct of the auction shall be governed and interpreted by the laws of the State of California.
(d) Arbitration. Any dispute, claim, or controversy arising out of or relating to these Terms or the breach, termination, enforcement, interpretation, or validity thereof, including the determination of the scope or applicability of this agreement to arbitrate, shall be determined by private arbitration before an arbitrator. The arbitration shall be administered by JAMS pursuant to its Comprehensive Arbitration Rules and Procedures. Judgment on the award may be entered in any court having jurisdiction.
This clause does not preclude the parties from seeking provisional remedies in aid of arbitration from a court of appropriate jurisdiction. The parties shall maintain the confidential nature of the arbitration proceeding and the award, including the hearing, except as may be necessary to prepare for or conduct the arbitration hearing on the merits, or except as may be necessary in connection with a court application for a preliminary remedy, a judicial challenge to an award or its enforcement, or unless otherwise required by law or judicial decision.
In any arbitration arising out of or related to these Terms, the arbitrator shall award to the prevailing party, if any, the costs and attorneys’ fees reasonably incurred by the prevailing party in connection with the arbitration. If the arbitrator determines a Party to be the prevailing party under circumstances where the prevailing party won on some but not all of the claims and counterclaims, the arbitrator may award the prevailing party an appropriate percentage of the costs and attorneys’ fees reasonably incurred by the prevailing party in connection with the arbitration.
(e) Severability. Should any of these conditions be deemed unenforceable, invalid, or illegal in any court having jurisdiction, that part shall be severed from these Terms and shall have no effect on the enforceability of the remaining provisions contained herein, which shall remain valid to the fullest extent permitted by law.
