Art of the American West - November 15, 2023 | John Moran Auctioneers

11.15.23—10am SINCE 1969

AUCTIONEERS & APPRAISERS

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11.15.23—10am Sale 261 145 East Walnut Avenue, Monrovia CA 91016

This is an interactive catalogue.

Click on any item description or hyperlink for more information.

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Friday, November 10th: 12pm-4pm Saturday, November 11th: 12pm-4pm Monday, November 13th: 12pm-4pm Tuesday, November 14th: Doors open 10am Wednesday, November 15th: Doors open 9am

Meet the Team Maranda Moran Head of Sale, Specialist, Silver, Western & Native American Indian Vice President marandam@johnmoran.com Sally Andrew Silver, Western, & Native American Indian Cataloguer sally@johnmoran.com

Madison Ari Fine Art Cataloguer mari@johnmoran.com

Client Services Ella Fountain Client Services ella@johnmoran.com

SINCE 1969

AUCTIONEERS & APPRAISERS

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Cyrus Edwin Dallin

(1861-1944) “The Scout,” 1910 Patinated bronze Signed and dated: C E D / 1910; further marked: COPYRIGHT 1912 / C E DALLIN 32.5” H x 36” W x 12.5” D $800-1,200

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James P. Regimbal

(b. 1949) “Tripped Up II,” 1987 Patinated bronze on a wood plinth Edition: 25/50 Signed, titled, and numbered in the casting; titled and attributed on metal plague 15.5” H x 13.5” W x 7.75” D $700-900

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John Modesitt

(b. 1955) Two figures on horseback in a mountainous landscape Oil on canvas Signed lower right: Modesitt 12” H x 24” W $1,000-1,500

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Fred Grayson Sayre

(1879-1939) Cowboys riding in a desert landscape Oil on Masonite Signed lower left: F. Grayson Sayre 8” H x 10” W $700-900

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Herman W. Hansen

(1854-1924) “Approaching Storm” Watercolor on paper laid to artist’s board Signed lower right: H. W. Hansen; titled in pencil and with a small artist’s paper inventory label inscribed 613 affixed, verso 13.875” H x 19.75” W $3,000-5,000 Provenance: Midwestern Galleries, Inc., Cincinnati, OH Maxwell Galleries, San Francisco, CA Mark Sublette/Medicine Man Gallery Inc., Tucson, AZ Other Notes: Various gallery labels on the verso of both the frame and the frame’s foamboard backing use “Bitter Cold” as the title.

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Stephen Willard

(1894-1966) “Space the Spell of the Unknown” Photograph with hand-painting on paper laid to Masonite Signed and titled in the lower edge, at center: © Stephen Willard Sight: 19.625” H x 29.625” W $800-1,200

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Bob Coronato

(b. 1970) “Ride’n High Noon” Etching on chine collÈ Edition: 7/190 Signed, titled, numbered, and inscribed in pencil in the lower margin: Bob Coronato / “I may not be much of a bronc rider... / but my get-offs... are classic!”

Plate: 9.125” H x 14.5” W; Sheet: 12.5” H x 18” W $800-1,200

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David Lemon

(b. 1945) “Mak’ ns of a Storm” Patinated and cold-painted bronze on a rotating wood base Edition: 6/30 Signed and numbered in the casting: Lemon © / AICA; Titled and attributed to front plaque 18.125” H x 9” W x 13.75” D $1,200-1,800

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David Lemon

(b. 1945) “Rode Hard Hung Up Wet” Patinated and cold-painted bronze on a wood plinth Edition: 4/80 Signed and numbered in the casting: Lemon © AICA 13.5” H x 20” W x 9.5” D $800-1,200

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A tooled leather Western ranch saddle

Mid/late 20th century Marked to one strap: U8 A leather saddle with thick monogrammed horn and tooled pommel, with a set of saddle bags, various attachment straps including decorative rosettes and lacing straps, and elaborate tooled leather fenders and stirrup covers, with a sheepskin lining Overall: 14” H x 19” W x 25” D; seat size: 17”; gullet: 15” W; swell: 4.5” H x 16.5” W $800-1,200

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Marjorie Reed

(1915-1996) “Ride ‘M Cowboy!”

Oil on canvas Signed lower right with the alias: Harvey Day; titled along the canvas overlap, verso 8” H x 10” W $1,000-1,500 Provenance: Private Collection, San Diego, CA Sold: John Moran Auctioneers, Pasadena, CA, “California & American Fine Art,” June 15, 2010, Lot 157 Other Notes: By the time she was 14, artist Marjorie Reed was already working as a graphic artist alongside her father at Mission Graphics. The focus of most early Marjorie Reed paintings and sketches were the San Gabriel Mountains, done in ink or oil paint. In her 20’s she began studying under Jack Wilkinson Smith who lived in an area known as Artist’s Alley, a stretch of homes where affluent artists like Norman Rockwell lived. Artist Marjorie Reed was known for her paintings of the Butterfield Overland Stage Route that ran through California. While creating her 20 paintings in the series she would often camp out on location to create true-to-life pieces. Other popular subjects in Marjorie Reed’s paintings for sale are scenes of western life involving cowboys, horses, or the Navajo people. Reed sometimes signed her works with a male alias. Male names she was known to use include Harvey Day, as here, and Fred Day.

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Marjorie Reed

(1915-1996) “Bulldoggers” Oil on canvas Signed lower right with the alias: Harvey Day; titled along the canvas overlap, verso 8” H x 10” W $1,000-1,500 Provenance: Private Collection, Westlake Village, CA Sold: John Moran Auctioneers, Pasadena, CA, “California & American Fine Art,” September 14, 2011, Lot 137

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Nicholas S. Firfires

(1917-1990) “Running Them In,” 1970 Oil on canvas Signed and dated lower right: Nicholas S. Firfires © CA [superimposed letters, indicating membership in Cowboy Artists of America]; titled on a label affixed to the stretcher 30” H x 44” W $4,000-6,000 Other Notes: The artist’s label affixed verso, in addition to the title of this work, includes a number 393.

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Olaf Wieghorst

(1899-1988) Horses pulling a stagecoach Oil on canvas Signed lower left with the artist’s device: O - Wieghorst; inscribed with a possible title on stretcher: Mail Going East and West 28” H x 38” W $12,000-16,000

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Nancy Cawdrey

(b.1948) “Glenna Shey and Rainbow Girl” Mixed media on silk over mat board Signed lower left: Nancy Cawdrey; titled in pen on the frame’s backing paper 12” H x 12” W $700-900

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David Lemon

(b. 1945) “Sassy” Patinated and cold-painted bronze on a rotating wood base Edition: 4/80 Signed and numbered in the casting: Lemon © AICA; titled and attributed to front plaque 20” H x 9.5” W x 11.5” D $1,500-2,500

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Nancy Cawdrey

(b.1948) “Arno Rink Rides Jasper,” 2002 Mixed media on silk over mat board Signed and dated lower right: N. Cawdrey; signed again and titled in pen on the frame’s backing paper 12” H x 12” W $700-900

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A. Kelly Pruitt

(1924-2009) “Quitting Time,” 1971 Patinated bronze on a wood base Edition: 1/36 Signed, dated, and numbered in the casting: A. Kelly Pruitt / 1971 Overall: 21” H x 16.5” W x 9.5” D $400-600

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Joe DeYong

(1894-1975) Soldier on horse Mixed media on paper laid to board Signed lower left: Joe DeYong Sight: 17.5” H x 12” W $1,500-2,500 Provenance: Coeur d’Alene, ID, “Annual March in Montana Auction,” March 20, 2020, Lot 650

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Arthur William Best

(1859-1935) “Grand Canyon,” circa 1925 Oil on canvas laid to board Signed lower right: A W Best; signed again, titled, and inscribed in pencil faintly, verso: 4270 Piedmont Ave. / Oakland 10” H x 14” W $2,000-3,000

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Arthur William Best

(1859-1935) Native Americans crossing the mountains on horseback Oil on canvas laid to board Signed lower right: A W Best 13” H x 19” W $1,000-1,500

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Charles Payzant

(1898-1980) Nocturnal western street scene Watercolor on paper Signed lower right: Charles Payzant Sheet: 13.5” H x 19.5” W $2,000-3,000

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Allan Houser

(1914-1994, Chiricahua Apache) “Old Memories,” 1982 Patinated bronze Edition: 2/12 Signed, numbered, and dated in the casting 24” H x 16.5” W x 13” D $7,000-9,000 Provenance: Windsor Betts Art Brokerage House, Santa Fe, NM Private Collection, Atlanta, GA, acquired from the above, November 10, 2003

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A framed Navajo Germantown eyedazzler textile

Late 19th/early 20th century, Diné Woven in multicolored wool in an all-over diamond motif with crosses, framed and mounted within a custom double-sided clear acrylic frame 60” H x 37” W approximately $3,000-5,000

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A large Navajo Germantown textile

Late 19th/early 20th century, Diné Woven in red, cream, black, green, and purple wool with cactus designs in the corners, floating vallero star variations, and expanded central diamonds 88” H x 57.5” W approximately $5,000-7,000

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A Navajo regional rug

Late 19th/early 20th century, Diné Woven in red, cream, dark brown, and orange wool with a large central stepped X motif and double stepped borders 53” H x 44” W $500-700

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A Navajo banded blanket

Early 20th century, Diné Woven in brown, grey, cream, red, and yellow wool with alternate striped and sawtooth diamond banded motifs 59.5” H x 41” W $500-700

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A Navajo wearing blanket

Late 19th/early 20th century, Diné A banded blanket woven in red, cream, and black wool with five stepped zigzag bands 36” H x 47” W $500-700

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John W Nieto

(1936-2018) “Nieto; Les Livres des Peintres,” 1996 The complete set of 37 screenprints in colors on wove paper in a leather-bound book Edition: PP 27/50 (there was also a regular edition of 395, 75 artist’s proofs, 20 hors de commerce deluxe edition, and 100 roman numerals) Black leather-bound book with 1 screenprint directly printed on the bound sheet, signed and numbered PP27/50 in pencil underneath the image; 30 unsigned and un-numbered screenprints in colors directly printed on the bound sheets, and with an additional 6 screenprints in colors signed and numbered in silver ink, loose with the original interleaving sheets and affixed with four clear archival corners on the verso of the bound sheets: Nieto / PP 27/50; Marco Fine Arts, Hawthorne, CA, pub.

Loose screenprint of the Buffalo, Dancer, and Landscape: Image: 14” H x 17.625” W (or reverse); Sheet: 16” H x 19.625” W (or reverse); Loose Archer screenprint: Image: 11.625” H x 19” W; Sheet: 13.625” W x 21” W; Loose portrait screenprint: Image: 18.25” H x 14” W; Sheet: 20.25” H x 16” W $2,000-4,000 Provenance: Adagio Galleries, Palm Springs, CA Other Notes: This lot is sold together by a certificate of authenticity from the publisher, Marco Fine Arts, Hawthorne, CA, and signed by the company president. The certificate states that the edition number is PP 27/50 and that the condition of the original plate, screen, or mold, has been destroyed. In addition, papers from the Adagio Galleries, Palm Springs, CA, pertaining to this work are also accompanied by this lot.

With the original table of contents and introductory essay by Lauren Monsen; Each section is separated by the visual theme that the table of contents calls (Archers, Buffaloes, Dancers, Landscapes, Portraits, and Wolves).

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Joseph Velazquez

(b. 1942) “Keeper of the Medicine Pipe,” 1981 Patinated bronze on a wood plinth Edition: 16/21 Signed, numbered, and dated in the casting Object: 41.5” H x 18.5” W x 21” D; Base: 31” H x 14.5” W x $3,000-5,000 Provenance: Collection of Steven De Christopher Sr. Palm Springs Art Museum, acquired as gift from the above

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14.5” D

Top View

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A large Yokuts basketry bowl

Early 20th century; Central California Coiled monumental bowl with two rows of triangular banded motifs 9.5” H x 30” Dia. $6,000-8,000

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A polychrome Yokuts basket

Early 20th century; Central California A coiled tall bowl with a tapering cylindrical form and multiple floating geometric motifs, with rim ticking 4.5” H x 8.5” Dia. $700-900

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A polychrome California Mission basket

Early 20th century; Southern California A coiled figural tray with a band of alternating dark and light figures to sides and five-lobed flower to center 3” H x 10.5” Dia. $1,000-1,500

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A Panamint basketry bowl

Early 20th century, Timbisha Shoshone; Eastern Central California A small coiled flared bowl with three radiating stepped motifs and rim ticking 2.7” H x 7” Dia. $600-800

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A Washoe basketry bowl

Early/mid-20th century; Great Basin A coiled low bowl with a wide sawtooth zigzag band around bowl 2.75” H x 6.75” Dia. $500-700

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A miniature Pomo basket

Early 20th century; Northern California A coiled diminutive globular bowl with all-over stepped motif 1.75” H x 2.75” Dia. $300-500 Attached tag indicates collected 1900.

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A miniature Pomo basket

Early 20th century; Northern California A coiled diminutive globular bowl with four sawtooth motifs 0.625” H x 1.5” Dia. $200-300

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A California Mission basket

Early 20th century; Southern California A coiled oval bowl with geometric banding 4.5” H x 9” W x 7.75”D approximately $500-700

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A Tübatulabal/Kawaiisu polychrome basket

Early/mid-20th century; Central California A large coiled tapered finely stitched bowl with a heavy rattlesnake band and inner narrow garter snake band, with spaced vertical ticks to rim and a center silver button bead for hanging 5” H x 16” Dia. $3,000-5,000

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A Central California basketry bowl

Mid-20th century A coiled polychrome bowl with five narrow snake motif bands and diagonal rim stitching 4.5” H x 9” Dia. $400-600

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A large Pima basket

Early 20th century, Akimel O’odham; Southwest United States A coiled basketry tray with a central swirling ancestral pueblo hooked motif 7” H x 21” Dia. $1,500-2,000

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A Pima basketry tray

Early 20th century, Akimel O’odham; Southwest United States A small coiled tray with central concentric stepped motif 1.5” H x 8.5” Dia. $200-400 Provenance: Collection of Lura Gard Newhouse Palm Springs Art Museum, acquired as gift from the above

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An Apache olla basket

Early 20th century; Southwestern United States A tall coiled olla with an overall stepped lattice motif 10” H x 8.5” Dia. $300-500 Provenance: Private Collection, Southern California

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An Apache basketry bowl

Early 20th century; Southwestern United States A large coiled tray with central star and checkerboard motifs, with alternating columns to rim 3.625” H x 14.25” Dia. $700-900

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A Pomo gift basket

Early 20th century; North A coiled low bowl with ce with applied shell discs, b 2.75” H x 7.25” Dia. $500-700

hern California entral five-armed swirling sawtooth motif, enhanced beads, and topknot accents

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A Pomo basket

Early 20th century; Central California A coiled globular low bowl with four stepped narrow columns 3” H x 6.75” Dia. $300-500

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David Lemon

(b. 1945) “Out of Arrows” Patinated bronze on a wood plinth Edition: 28/35 Signed and numbered in the casting: Lemon ©; Titled and attributed to front plaque 21.5” H x 28.5” W x 17” D $1,500-2,500

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David Lemon

(b. 1945) “Prairie Dispute” Patinated and cold-painted bronze on a wood base Edition: AP/24 Signed and numbered in the casting: Lemon ©; titled and attributed to front plaque 28” H x 19” W x 17” D $1,500-2,500

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A Zuni Pueblo polychrome pottery olla jar

Late 19th century; New Mexico Appears unmarked The three-color jar with painted rose medallions and banded avian motifs to waist, including puki indentation to underside 9.25” H x 12.5” Dia. $3,000-5,000

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An Acoma Pueblo pottery olla jar

Late 19th/early 20th century; New Mexico Marked to underside: Acoma The three-color polychrome jar painted in all-over foliate motifs 8.325” H x 10.325” Dia. $1,000-1,500

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An Acoma Pueblo pottery olla jar

20th century; New Mexico Marked to underside: Acoma, N.M. The large polychrome jar with painted geometric motifs and puki indentation 8.125” H x 11.325” Dia. $1,000-2,000

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An Acoma Pueblo polychrome bowl

Mid-20th century; New Mexico Appears unmarked The three-color pottery bowl with brown and red on white buff featuring foliate and geometric motifs and an indented rim 5.625” H x 8” Dia. $200-400 Provenance: Private Collection, Southern California

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Daryl Candelaria (b. 1970, San Felipe Pueblo

A San Felipe polychrome pottery jar, late 20th/early Signed: Daryl Candelaria / San Felipe, NM The wide jar with red and brown on white foliate and 7.25” H x 12.25” Dia. $300-500 Provenance: Private Collection, Southern California

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An Acoma Pueblo olla pottery jar

Early 20th century; New Mexico Graphite inscription to underside: Sept 13, 1932 / [sic] Laguna / [sic] ariz.

The jar with brown on white buff geometric motifs and a terracotta wash to the base 5.5” H x 8.25” Dia. $200-300 Provenance: Private Collection, Southern California

o)

21st century

d geometric motifs

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A Hopi Pueblo manta weaving

Early 20th century; Arizona With a twill weave cream cotton center and integral banded borders woven in red and grey wool with dark blue corded edging 38.5” H x 46” W approximately $1,500-2,000

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David Lemon

(b. 1945) “Walking with the Wind” Patinated and cold-painted bronze of a rotating wood base Edition: 4/30 Signed and numbered in the casting: Lemon © AICA; titled and attributed to front plaque 13” H x 8.5” W x 8.25” D $700-900

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David Lemon

(b. 1945) “Spirit Wings” Patinated bronze on wood plinth Edition: 2/40 Signed and numbered in the casting: Lemon ©; titled and attributed to front plaque 11.875” H x 9” W x 9.75” D $600-800

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Fritz White

(1930-2010) Double Jeopardy Patinated bronze on rotating marble and wood stand Edition 1/30 Signed and editioned in the bronze base Overall: 25.5” H x 27.5” W x 14.5” D $5,000-7,000 Provenance: Collection of Steven De Christopher Sr. Palm Springs Art Museum, acquired as a gift from the above

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Pahponee (b. 20th century, Kickapoo/Potawatomie) A large whiteware micaceous pottery jar, 2007 Signed: 2007 / Pahponee / [cipher] The globular form large jar with narrow flared neck 13’’ H x 14.25” Dia. $700-900 Provenance: Private Collection, Southern California

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Frederick Prescott

(b. 1949) Figure on horseback Painted steel Unsigned 15.25” H x 16” W x 4” D $200-400

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Eyvind Earle

(1916-2000) “Silent Thunder” Screenprint in colors on paper Edition: AP 45/45 Signed and numbered in the lower edge: Eyvind Earle Sight: 23.75” H x 31.75” W $700-900 Eyvind Earle was born in 1916 in New York, NY, and he began painting with the encouragement of his father. Many of Eyvind Earle’s paintings were exhibited in a one-man art show held in France when he was just 14. He produced numerous landscape watercolors during those early years, and Eyvind Earle’s art for sale financed his exploratory bicycle trip from Hollywood to New York. Eyvind Earle’s prints were first produced one Christmas during the Great Depression years when he began an enduring custom of creating his own lino-cut and printed festive season greeting cards. He spent the 1950s working for Disney, and his earliest work was on Peter Pan as a background painter. He made his name on Sleeping Beauty, where for the first time ever, the animators had to follow the lead of the background painter. About 20 years later, Eyvind Earle’s prints of imaginary California landscapes were immensely popular.

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A large Northwest Coast Raven clapper mask

Mid/late 20th century; Pacific Northwest Coast Appears unmarked A large polychrome painted carved wood raven mask in blue, red, and white, with an articulated beak with hide hinges, hide cord pull, and horse hair embellishments 13” H x 12.5” W x 26.5” D. $500-700

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Stanley E. Hunt III (1958-2011, Kwakiutl/Kwakwaka’wakw)

A Kwakwaka’wakw/Kwakiutl raven clapper mask, 2003 Marked in ink to base: Stanley E. Hunt III / Kwakiutl Hamatsa Raven / Kingcome Inlet / British Columbia / Aug 2003 The polychrome painted wood, likely cedar Hamatsa raven mask with articulated clapper beak, cedar bark strips to top and skirting, with clapper pull beneath, and mounted to a painted wooden base 16.5” H x 19” W x 9” D including base $300-500 Provenance: The Common Ground, Inc, New York, NY The Estate of Eleanor Koffler, acquired from the above Other Notes: Collector’s notes indicate gallery provenance.

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64

Richard Hunt

(b. 1951) “Kwa-Gulth Hok Hok,” 1979 Screenprint in colors on ivory Teton paper Edition: 313/600 (there was also an edition of 48 artist proofs, 23 remarques, and 2 printer proofs) Signed, titled, dated, and numbered in pencil along the lower edge: Richard Hunt; Liza Anthony and Thomas Anthony, prntr.; Carol Sims, Artisan Prints, Victoria, B.C., Canada, pub.

Sight: 17.5” H x 17” W $200-300 Provenance: The Estate of Eleanor Koffler Other Notes: According to a document affixed to the frame’s backing board there are 48 artist proofs, 23 remarques, 2 printer proofs, and 600 regular edition prints that have been created and the screens have been destroyed. It continues to say that this image was screenprinted on Teton paper stock, in either ivory or tan, and it was published in 1979. The document is then signed by the artist, printer, and publisher.

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65

After Ulayu Pingwartok

(1904-1968) Inuit) “Asivaqti (Man Hunting),” 1977 Lithograph in colors on wove paper Unsigned; titled in pencil near the upper left corner; two unidentified blindstamps lower right; Cape Dorset, Canada, pub.

Sight: 19” H x 25.5” W $500-700 Other Notes: An artist biography sheet is affixed to the frame’s backing board.

Ulayu Pingwartok was a prolific Inuit artist that produced over 700 drawings of domestic Inuit life in Canada. As a part of the Inuit artist’s collective at Cape Dorset, her work was published as a part of catalogs of artworks by Inuit artists each year.

The Cape Dorset collective produced 30 of Pingwartok’s drawings as lithographs between 1965 and 1979, this lot being a part of the 1977 printing.

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66

Patrick Amos

(b. 1957, Nuu-chah-nulth) “West Coast Bone Game,” 1979 Screenprint in colors on Strathmore paper Edition: 532/600 (there was also an edition of 59 artist proofs) Signed, titled, and numbered in pencil along the lower margin; Crest Screen, Victoria, B.C., Canada, prntr.; Artisan Prints, Victoria, B.C., Canada, pub.

Image: 11.25” H x 11.875” W; Sight: 15” H x 14.125” W $500-700 Other Notes: According to a document affixed to the frame’s backing board there are 59 artist’s proofs and 600 prints that have been created and the screens are now destroyed. The document continues to say that this image was screenprinted on Strathmore text paper stock, in white, and it was published in 1979. The document is then signed by the artist, printer, and publisher.

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67

Two Northwest Coast polychrome model totems

Early/mid-20th century; Pacific Northwest Coast Comprising two carved and painted wood models, including a tall totem model with stylized animal figures including an eagle, killer whale, and possibly a beaver at the base, together with a smaller model totem with three animal figures including a bald eagle, salmon, and bear, 2 pieces Larger: 11” H x 3.5” W x 2.5” D; smaller: 6.5” H x 1” W x 1.125” D $400-600

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68

A Northwest Coast carved horn bowl

Mid-20th century or earlier; Pacific Northwest Coast A carved mountain sheep horn bowl with a carved stylized beaver motif to exterior, with abalone set eyes and tail 3.25” H x 4.5” W x 9.5” D $400-600

70

A Northwest Coast polychrome mask

Mid-20th century; Pacific Northwest Coast A carved cedar mask with painted green face and red and black/dark blue painted features, inlaid abalone eyes, shell teeth, and tufts of hair to forehead 9.75” H x 7.5” W x 6.75” D $300-500

84

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69

Danny Dennis (1951-2012, Gitksan)

A Northwest Coast silver cuff bracelet, late 20th/early 21st century Stamped: D. Dennis / © Metal Arts / Sterling / Made in USA A sterling silver cuff with engraved raven and sun motif 7.25” total inner C x 1.125” H, wit ha 1” gap 63.2 grams $200-300

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71

Two Northwest Coast polychrome masks

20th century; Pacific Northwest Coast Each carved wood mask with vibrant painted features, 2 pieces Larger: 9.75” H x 6.75” W x 4.75” D; smaller: 8.875” H x 6.75” W x 4” D $400-600 Provenance: Collection of Lura Gard Newhouse Palm Springs Art Museum, acquired as gift from the above

86

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72

A Northwest Coast polychrome mask

Early/mid-20th century; Pacific Northwest Coast A carved cedar wood mask with vibrant green, red and black painted features and accents 9” H x 7” W x 3.75” D $500-700

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87

73

A Northwest Coast polychrome mask

Mid-20th century; Pacific Northwest Coast A carved wood mask with painted features and inlaid abalone shell accents 9.25” H x 7” W x 4.25” D $200-400 Provenance: Collection of Lura Gard Newhouse Palm Springs Art Museum, acquired as gift from the above

88

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74

A Northwest Coast-style mask

Mid-20th century A small carved wood mask with painted features and red curvilinear and geometric accents 6.875” H x 4.875” W x 2.5” D $400-600

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75

A Northwest Coast mask

Mid-20th century; Pacific Northwest Coast A large carved cedar wood mask with red and black painted features and accents 9.25” H x 7” W x 4.75” D $400-600

90

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76

A polychrome Northwest Coast Tlingit basket

Early 20th century; Pacific Northwest Coast Twined with imbricated floating cross motifs within stepped diamonds and with self-colored v-shaped banding to top and lower edges 7” H x 8” Dia. $400-600

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77

A group of Northwest Coast baskets

Early/mid-20th century, Nuu-chah-nulth (Nootka), Makah, Tlingit; Pacific Northwest Coast Seven twined basketry items comprising a polychrome Tlingit twined “berry” bowl/cup with imbricated banding (3.5” H x 3.75” Dia.), a polychrome Nootka twined tray with figural motifs and narrow banding (7” Dia.), three polychrome Makah/Nootka lidded baskets (largest: 2.5” H x 4” Dia.; smallest: 1.5” H x 2.625” Dia.), a Makah/Nootka basket lacking a lid, (3” H x 4” Dia.), and a Northwest Coast twined basket lid/mat or miniature winnowing tray (0.75” H x 4” Dia.), 7 pieces $400-600 Provenance: Collection of Mr. and Mrs. A. A. Weigner Palm Springs Art Museum, acquired as gift from the above

92

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78

A Navajo Germantown saddle blanket

Late 19th century, Diné Woven in green, black, red, and speckled grey wool with a central cross within a large stepped diamond and green bands to ends 21” H x 37” W $800-1,200

94

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95

7

A

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96

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79

A Haida argillite totem carving

Early 20th century; Pacific Northwest Coast Unmarked The carved stone totem representing five figures including a bear, raven, wolf, and possibly marten or dog, with a human face at base, and with a concave carved backside 18.5” H x 4.25” W x 3.5” D

$3,000-5,000

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80

A Haida argillite totem carving

Early 20th century; Pacific Northwest Coast Unmarked The carved stone totem representing five figures including a bear, raven, eagle and wolf, with a human face at base, and with a concave carved backside 17” H x 4.5” W x 3.25” D $2,000-3,000

81

A Haida argillite totem carving

Early 20th century; Pacific Northwest Coast Unmarked The carved stone totem representing two animal figures, likely an eagle perched above a wolf 10.5” H x 3.125” W x 3.125” D $800-1,200

98

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82

A fragmented Haida argillite totem carving

Late 19th century; Pacific Northwest Coast Appears unmarked The carved stone totem sculpture originally representing multiple figures including a bear, raven, wolf, and human, many shown clutching or devouring other creatures, with a concave carved back side and two-step base, which has fractured into three large fragments with various missing sections Assembled: 27” H x 3.5” W x 3.5” D; base: 2.25” H x 7.75” W x 7.25” D $1,000-2,000 Provenance: Property of the American Broadcasting Company, New York Walt Disney Co., Burbank, California, acquired by corporate merger with the above Private Collection, Los Angeles, California, acquired from the above

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83

A Northwest Coast polychrome bird rattle

Early 20th century; Pacific Northwest Coast A polychrome stained carved wood rattle with painted bird features and stylized motifs to body and wings, and corded lashing to sides 3.75” H x 12” W x 4” D $500-700 Provenance: Collection of Lura Gard Newhouse Palm Springs Art Museum, acquired as gift from the above

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84

A Northwest Coast polychrome totem figure

Early/mid-20th century; Pacific Northwest Coast A carved wood shaman figure with multicolor painted details mounted on a wooden base 9.25” H x 3.75” H x 2.625” D $400-600 Provenance: Collection of Lura Gard Newhouse Palm Springs Art Museum, acquired as gift from the above

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85

A Northwest Coast frog grease bowl

Early 20th century; Pacific Northwest Coast A frog-form carved wood oval dish with legs, likely cedar, with inlaid abalone eyes and inlaid shell accents to bowl 3.25” H x 4.375” W x 9.25” D $500-700 Provenance: Collection of Lura Gard Newhouse Palm Springs Art Museum, acquired as gift from the above

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86

A large Northwest Coast frog bowl

Early 20th century; Pacific Northwest Coast A frog-form carved wood oval dish with legs, likely cedar, with inlaid abalone eyes and dentalia shell accents to bowl edge 6.5” H x 8.75” W x 23.5” D $500-700 Provenance: Collection of Lura Gard Newhouse Palm Springs Art Museum, acquired as gift from the above

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87

A Tlingit halibut grease bowl

20th century; Pacific Northwest Coast A carved wood deep oval dish, likely cedar, with a flat fish-form rim accented with abalone inlaid eyes 5.25” H x 15.75” W x 10.25” D $400-600 Provenance: Collection of Lura Gard Newhouse Palm Springs Art Museum, acquired as gift from the above

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88

A Northwest Coast polychrome rattle

Early 20th century; Pacific Northwest Coast A polychrome stained carved wood rattle with painted bear visage and corded lashing to sides 11.5” H x 4.75” W x 4.75” D $500-700 Provenance: Collection of Lura Gard Newhouse Palm Springs Art Museum, acquired as gift from the above

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89

A pair of Atikamekw snow shoes

Early 20th century; Northeastern North America Each with bent wood forms and woven and lashed sinew central supports, with tufted yarn to sides, 2 pieces Each: 33-33.5” H x 10.25” W x 0.25” D $800-1,200

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90

Joseph Shuqslak

(b. 1958, Inuit; Gjoa Haven/Uqsuqtuuq) Carved standing figure, circa 1991 Stone, whalebone, and fur on bronze base Appears unsigned Figure: 21.5” H x 10.75” W x 5” D; Base: 1.125” H x 8” W x 8” D $1,000-1,500 Provenance: Marion Scott Ltd., Vancouver, British Columbia Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, July 30, 1992 Other Notes: Artist’s work has been exhibited at The Guild Shop, Galleria d’Arte Moderna e Contemporanea, and Pucker Gallery, among others.

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

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91

Johnny Inukpuk

(1911-2007, Inuit; Port Harrison/Inukjuak) Accordion Player, circa 1999 Stone Appears unsigned 11” H x 10” W x 4.75” D $400-600 Provenance: Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired November 22, 2000

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94

Lucy Tasseor Tutsweetok

(1934-2012, Inuit; Eskimo Point/Arviat) Stone faces Carved stone Signed syllabically to underside 4.875” H x 3.75” W x 3.125” D $800-1,200

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92

Charles Harper (b. 20th century, Kwakiutl/Kwakwaka’wakw)

A carved wood salmon plaque, late 20th century; Pacific Northwest Coast Signed and inscribed in pen verso: Kwakiutl / Salmon / Charles Harper A flat wall plaque with elaborate carved relief details of a stylized salmon 8.5” H x 23” W x 1” D $200-400 Provenance: Collection of Lura Gard Newhouse Palm Springs Art Museum, acquired as gift from the above

93

Lucy Tasseor Tutsweetok

(1934-2012, Inuit; Eskimo Point/Arviat) Stone faces Carved stone Signed syllabically to underside 6.125” H x 4.75” W x 2.75” D $800-1,200

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95

Qavaroak Tunnillie

(1928-1993, Inuit; Cape Dorset/Kinngait) “Talelayo and the Walrus” Soapstone Appears unmarked 10.25” H x 17” W x 12” D $600-800 Other Notes: This lot is accompanied by a certificate of authenticity with artist attribution and title from Gallery of the Arctic, dated August 13, 1984.

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96

An Inuit carved antler

20th century Appears unmarked Possibly a cane handle, with carved human face to one side and carved animal face to the other, each with pigmented eyes 3.325” H x 6” W x 1.75” D $200-400 Provenance: Collection of Lura Gard Newhouse Palm Springs Art Museum, acquired as gift from the above

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97

Tudlik

(1890-1966, Inuit; Cape Dorset/Kinngait) Carved owl figure Stone Unsigned 4.5” H x 4.25” W x 1.75” D $1,500-2,500 Provenance: Sold: Waddington’s, Toronto, Ontario, “Inuit Art Auction,” November 8-9, 2004 Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, November 8, 2004

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98

Karoo Ashevak

(1940-1974, Inuit; Spence Bay/Taloyoak) Carved bird figure Whalebone Annotated in pen to underside, possibly by another hand: Karoo Ashevak 9.5” H x 12.875” W x 9.5” D $2,500-3,500 Provenance: Marion Scott Ltd., Vancouver, British Columbia Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, circa 1990 This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

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99

Matiusie Iyaituk

(b. 1950, Inuit; Ivujivik) Carved figure with inset face and knife Stone, bone, and caribou antler Marked syllabically; further marked: EA / © / 3-1; further marked with stickers: I-16803 / 195 / [partially illegible] / 3-16085 / Matthew Iyaituk / Canada eskimo art esquimau / [graphic of figure building igloo] / 3 5.25” H x 2” W x 4.25” D $200-300 Provenance: INUK 1, Eskimo Art, San Francisco, CA Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, October 1, 1981 This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

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100

Syollie Weetaluktuk

(1906-1962, Inuit; Port Harrison/Inukjuak) Carved figure skinning a fox Stone Signed syllabically to underside and with artist’s disc number: EF1745; further marked with sticker: canadian eskimo art 7” H x 6.125” W x 7.875” D $200-400 Provenance: Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired Toronto, Ontario circa 1965 Other Notes: Artist’s work has been exhibited at the National Gallery of Canada and Gimpel Fils, among others.

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101

Paul Toolooktook

(1947-2003, Inuit; Baker Lake/Qamaniítuaq) Carved lounging figure Stone Appears unsigned 7.75” H x 12.5” W x 7” D $200-400 Provenance: Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired November 22, 2000 Other Notes: Artist’s work has been exhibited at Arctic Inuit Art, Arctic Inuit Art Gallery, and D/Erlien Fine Art Limited presented by Orca Aart, Chicago, among others.

102

An Inuit carved stone figure

20th century Appears unmarked The carved stone standing figure with raised arm holding a metal knife and mounted on an acrylic base 9.75” H x 5.25” W x 3.875” D $200-400 Provenance: Collection of Lura Gard Newhouse Palm Springs Art Museum, acquired as gift from the above

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103

An Inuit carved stone figure

20th century Appears unmarked The seated figure carved from a black stone 8” H x 6.5” W x 5.75” D $200-400 Provenance: Collection of Lura Gard Newhouse Palm Springs Art Museum, acquired as gift from the above

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104

Harrison (Haskay Yahne Yah) Begay

(1917-2012, Navajo/Diné) A man with two lambs Gouache on grey paper Signed near the lower edge in English and Navajo: Harrison Begay / Haskay Yahne Yah Sight: 14.5” H x 10.75” W $500-700 Provenance: Private Collection, Southern California

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105

Harrison (Haskay Yahne Yah) Begay

(1917-2012, Navajo/Diné) Two riders on a horse Gouache on beige paper Signed in the lower edge in English and Navajo: Harrison Begay / Haskay Yahne Yah Sight: 12.75” H x 11” W $500-700 Provenance: Private Collection, Southern California

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106

Virgil Vigil

(20th century, Tesuque Pueblo) “Mountain Lion,” 2004 Gouache and ink on cream-colored paper Signed and dated in ink lower right: Virgil Vigil ©; signed again, titled, and inscribed in blue pen on the frame’s backing paper: Tesuque Pueblo Sight: 9.5” H x 7.5” W $200-300 Provenance: The Estate of Eleanor Koffler

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107

Elbridge Ayer Burbank

(1858-1949) “San Juan Indian Pueblo Indian House, San Juan, New Mexico” Oil on canvas laid to board mounted to cardboard Signed lower right: E.A. Burbank; titled on a label affixed verso 3.5” H x 5” W $1,000-2,000

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108

Jules Tavernier

(1844-1889) “Village Indien,” 1882 Watercolor on paper Signed, titled, and dated in ink lower right: Jules Tavernier / 5 Julliet 82 Sight: 10.25” H x 14.5” W $2,000-3,000

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109

Ferdinand Burgdorff

(1881-1975) “Southwest Desert Scene,” 1908 Watercolor on paper Signed and dated lower left: Ferdinand Burgdorff; titled on a gallery label affixed to the frame’s backing board Sight: 11.75” H x 11.75” W $600-800 Provenance: Trotter Galleries, Carmel, CA

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110

A Navajo Yei pictorial textile

Mid/late 20th century, Diné Woven in multiple colors including cream, tan, brown, green, pink, yellow, and blue wool with four Yei figures alternating with corn stalks, and with an elaborate double border 42” H x 85.5” W $600-800

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111

A Navajo Yei pictorial textile

Mid/late 20th century, Diné Woven by Thelma Begay (b. 20th century, Diné) in grey, brown, cream, and multicolored wool depicting five standing Yei figures alternating with corn stalks, with an elaborate zigzag sawtooth border 31” H x 47” W $800-1,200 Other Notes: This lot with attached tag denoting Thelma Begay, Shiprock, as weaver.

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112

A Navajo Yei pictorial textile

Late 20th century, Diné Woven in black, grey, cream, brown, tan, and red wool in a fine tapestry weave, depicting six various Yei figures with stylized elaborate borders to three sides and a central stepped diagonal 32.75” H x 43” W $600-800

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113

A Navajo Yei pictorial textile

Mid-20th century, Diné Woven by Wellen Bitsie in cream, grey, brown, tan, and ochre wool with seven standing Yei figures surrounded by a Guardian figure 31.5” H x 46” W $500-700 Other Notes: This lot with attached tag denoting Wellen Bitsie of Many Farms as weaver.

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114

A Navajo regional rug

Early/mid-20th century, Diné Woven in natural grey, cream, brown, and red wool with a central interlaced checkered X motif and floating stepped diamonds 69” H x 31” W $500-700

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115

A Navajo regional rug

Early/mid-20th century, Diné Woven in natural brown, dark brown, red, and cream wool with a stacked column of diamonds and sawtooth border 65” H x 30” W $500-700

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116

A Navajo regional rug

Early/mid-20th century, Diné Woven in cream, red, and brown wool with two red diamonds surrounded with floating elements 49” H x 25” W $400-600

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117

A Navajo regional rug

Early/mid-20th century, Diné Woven in cream, natural grey, brown, and red wool with a repeating stepped V motif 53” H x 29” W $300-500

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118

A Navajo regional rug

Early 20th century, Diné Woven in orange, red, cream, and light grey wool with multiple diagonally striped bands 51” H x 21” W $200-300

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119

A Navajo regional rug

Mid-20th century, Diné Woven in grey, cream, and red wool in a hatched double diamond pattern 63.5” H x 31.5” W $200-300

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120

Three Navajo textiles

Mid/late 20th century, Diné Three works including a small regional rug woven in grey, brown, cream and taupe wool with an elaborate central stepped cross motif (42” H x 28.5” W), a tapestry fine weave mat woven in grey, black and brown wool with a central hooked diamond and elaborate black border (32” H x 26” W), and a small mat woven in brown, grey, cream, and black wool with a small central stepped diamond (30.75” H x 19.25” W), 3 pieces $200-400

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121

A Sioux beaded hide saddle blanket

Late 19th/early 20th century; Northern/Central Plains With a double-layered cotton canvas body framed by heavily beaded sinew-sewn hide side panels in alternating geometric motifs in white, red, blue, green, and metallic beads, with four tabs trimmed with green and white chunky cylindrical beads and added hide fringing Overall: 67” H x 24.75-27” W; fringe: 7” L approximately $3,000-5,000

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122

A Sioux beaded hide saddle blanket

Late 19th/early 20th century; Northern/Central Plains With a cotton canvas body framed by heavily beaded mostly sinew-sewn hide side panels in alternating geometric motifs in white, red, blue, green, and metallic beads, with four tabs with green wool felt edging and hide fringing 57.25” H x 27.5” W; fringe: 8-9” L $3,000-5,000

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123

A Sioux beaded hide tobacco bag

Late 19th century; Northern/Central Plains A soft brain-tanned hide bag with sinew-stitched beads in various colors yellow, blue, red, white and green, with three elongated triangular beaded hide tabs finished with self- fringe and metal cones Bag: 14” H x 5.5” W; tabs: 7.25” L $1,200-1,800

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124

A Sioux beaded hide tobacco bag

Late 19th/early 20th century; Northern/Central Plains A brain-tanned sinew-stitched hide bag with polychrome geometric beaded panel and edging in white, red, green, and yellow beads, with a long self-fringe Bag: 15.5” H x 5” W; fringe: 10.5” L $1,000-1,500

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125

A Sioux beaded hide vest

Late 19th/early 20th century; Northern/Central Plains A heavy beaded vest with geometric motifs to all sides worked in white, blue, green, red and metallic sinew-sewn beads with red and white beaded ticking trim, quilled hide fringe enhancements with tin cones and feathers to center front, and with a checked calico cloth interior lining and edge finish 18.25” H at center back; 14” W at shoulders; 18.5” W at underarms $2,500-3,500

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126

A Plains beaded leather pouch

Late 19th/early 20th century; Great Plains A re-purposed commercial leather hide belt bag, sinew-sewn with multicolor beaded geometric motifs, and with Navajo style buttons and a fringe of tin cone dangles/tinklers 9” H x 6.75” W; fringe: 1.5” H approximately $1,000-1,500

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127

Two Sioux beaded hide bags

Early/mid-20th century; Northern/Central Plains Comprising a small polychrome beaded strike-a-light bag in with tin cone tassels (3.25” H x 2.5” W), and a larger polychrome belt pouch with geometric motifs worked in green, blue, yellow, and orange/red beads with a long leather fringe and tin enhancers (6.5” H x 5.25” W; fringe: 5.5” L), 2 pieces $400-600

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128

Two Sioux beaded hide bags

Late 19th/early 20th century; Northern/Central Plains Comprising two bags, including one likely a lower bag section fragment, fully beaded in blue and white on both sides, and with elongated triangular double-sided beaded tabs to lower edge (11.5” H x 7.5” W), and a long tapered plain hide bag with triangular hide tabs and fringe, with various glass trade beads (19.5” H x 9” W; tabs: 10.75” L), 2 pieces $700-900

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129

A Sioux beaded hide sheath and awl

Late 19th/early 20th century; Northern/Central Plains Comprising a narrow cylindrical sheath with “Crazy” beads on hide, with beaded cover flap, and quilled fringe dangles with metal cone drops, together with an pointed metal awl formed from a re-purposed utensil with wood handle, 2 pieces Sheath: 8” H x 0.875” W; dangles: 11.5” H; awl: 5.25” H x 0.625” W $500-700

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130

A pair of Sioux beaded hide moccasins

Early 20th century; Northern/Central Plains Each beaded in red, blue, green, and white with sawtooth diamond and geometric motifs, with a two-flap beaded tongue with feathertipped cone metal dangles, 2 pieces 11.5” L x 3.5” H x 4.5” W $400-600

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131

A pair of Sioux beaded hide moccasins

Early 20th century; Northern/Central Plains Beaded in red, blues, and white with geometric motif band to sides and central lattice design, with fold-over cuffs at ankles with red plain weave fabric band, 2 pieces Each: 10.5” L x 4” H x 4” W approximately $400-600

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132

A pair of Cheyenne beaded hide moccasins

Late 19th century; Southern Plains Each beaded in green, blue, red, and white with geometric motif bands to sides center, with narrow beaded tongues with cone dangles, and each ankle edged in red plain weave fabric, 2 pieces Each: 11-11.25” L x 3.25-3.5” H x 4-4.25” W approximately $500-700

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133

A pair of Sioux beaded hide moccasins

Early 20th century; Northern/Central Plains Each beaded in red, green, yellow, and white with sawtooth diamonds and other geometric motifs, with fold-over hide cuffs at ankles and hair-on-hide soles, 2 pieces Each: 10.25” L x 4” H x 3.25”-4” W approximately $300-500

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134

135

20th century; Northern/Central Plains A narrow, finished strip worked in white, blue, red, and yellow beads with five triangle motifs separated by blue dashes 3” H x 29.5” W

Late 19th century; Northeastern Designed with polychrome bea worked on cloth, with a purple and with hide additions to each 4.5” H x 45” W

A Sioux beaded hide strip

$500-700

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A Woodlands beaded bag

$500-700

strap/sash

n United States ads in floral, foliate and geometric motifs silk backing/lining, added glass bead drops, h end for securing as a sash

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136

Three Plains beaded hide bags

Early 20th century; Great Plains Comprising a Blackfoot polychrome beaded front drawstring pouch with two columns of stacked stepped diamond motifs and bead trim to edges (7.75” H x 4.625” W), a Sioux small round white beaded pouch with blue cross motifs and red ticking, with beaded edging (4” Dia.), and a round beaded pouch worked in clear yellow and polychrome beads on a fabric ground with a central medallion motif and long beaded fringing, and hide backing, likely Apache (5” Dia.; fringing: 2” L), 3 pieces $300-500

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137

Two Plains beaded hide horse tail ornaments

Late 19th/early 20th century; Great Plains Comprising two polychrome beaded hide ornaments with attached long horse hair/horse tail segments, one with calico fabric lining, and each with various additional quilled hide fringing with tin cone feathered tips, 2 pieces Each: 36” H x 2.25” W approximately $600-800

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138

Elijassiapik

(1912-1972, Inuit; Port Harrison/Inukjuak) Carved figure leaning on pole Stone Signed syllabically to underside; further marked with artist’s disc number: E9-915 12” H x 4.25” W x 3.325” D $300-500

140

Johnny Inukpuk

(1911-2007, Inuit; Port Harrison/Inukjuak) Carved figure of boy ice fishing Stone Signed syllabically to underside and numbered: C-NO-5-87 / 14160; fu sticker: [illegible] / eskimo art esquimau 10” H x 6.875” W x 6.5” D $200-300

Provenance: The Guild Shop, Toronto, Ontario Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired November 27, 1989

Other Notes: Johnny Inukpuk began carving in the early 1950s after Ja visit to Inukjuak. His work, including a very large piece entitled “Hunter collection of Inuit art that was acquired by the TD Bank Financial Group received recognition as part of an exhibition of Inuit art known as The C held at Gimpel Fils in London, England in 1953.

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139

An Inuit carved stone figural sculpture

Mid-20th century Signed syllabically to underside; further incised: 003C22 The abstract figure of a mother carrying her child 5” H x 3.5” W x 4.125” D $200-400 Provenance: Collection of Lura Gard Newhouse Palm Springs Art Museum, acquired as gift from the above

urther marked with

d from the above,

ames Houson’s first r,” was part of a p in 1951. His work Coronation Exhibition

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141

Two Inuit carved stone figures Two works:

Daniel Kasudluak (b. 1925, Inuit; Port Harrison/Inukjuak) Carved stone figures of adult with seal pup, mid-late 20th century Signed syllabically to underside; further marked with artist’s disc number: E9-1699 8” H x 5.75” W x 3.75” D John I. Pullock (b. 20th century, Inuit) A carved stone kneeling male figure, 1970 Signed and dated to underside: John I. Pullock / 1970 7” H x 3” W x 6” D 2 pieces $300-500 Provenance: Collection of Lura Gard Newhouse Palm Springs Art Museum, acquired as gift from the above

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142

Three Inuit carved stone figures Three works:

Allie Kasudluak (1926-1982, Inuit; Port Harrison/Inukjuak) Carved bird figure with incised feathers Stone Signed syllabically to underside 3.25” H x 6.5” W x 2.75” D Josie Pamiutu Papialuk (1918-1996, Inuit; Povungnituk/Puvirnituq) Carved seal head breaching ice, circa 1986 Stone Signed to underside: Josie Papialook [sic] / © / 81; further marked with partially illegible disc number 2.875” H x 2.5” W x 2.75” D Davidee Saumik (1925-1984, Inuit; Port Harrison/Inukjuak) Carved duck Stone Signed syllabically to underside; further marked: 187391 4” H x 4.25” W x 2” D 3 pieces $200-300 Provenance of the second: Marion Scott Ltd., Vancouver, British Columbia Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, October 9, 1986

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143

A group of carved stone animals 6 works:

Alvin Kayouktuk (1934-1997, Iñupiaq; Alaska) A carved stone bird figure, mid/late 20th century Incised signature to underside: Kayouktuk 3.25” H x 5.5” W x 2” D A carved standing figure, mid/late 20th century Incised to underside: Leew Wei 171658 The figure depicted holding a bundle 4” H x 1.5” W x 2” D Three carved birds, 20th century One marked to underside: Ganik Gahanwe / 10-SN-57-50; two signed syllabically to undersides; one dated: 1976 Comprising three carved stone birds, one mounted to stone stand Largest: 3.875” H x 5.25” W x 2.125” D; smallest: 2.325” H x 3” W x 2.875”D 3 pieces A carved scene of three penguins, 20th century Unmarked The carved stone penguins set into a white stone background 6 pieces total $200-400 Provenance: Collection of Lura Gard Newhouse Palm Springs Art Museum, acquired as gift from the above

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144

A group of Inuit carved stone animal figures

Mid/late 20th century Flounder marked: EVAGLOK [possibly for Alice Evaglok (b. 1917, Inuit; Coppermine/Kugluktuk)]; one incised illegibly to underside; one marked 1662 Comprising four stone fish, one mounted on a wood base, 4 pieces Mounted fish: 4.25” H x 5” W x 1.5” D; smallest: 1.325” H x 3.5” W x 0.875” D $300-500 Provenance: Collection of Lura Gard Newhouse Palm Springs Art Museum, acquired as gift from the above

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145

Paul Kavik

(b. 1948, Inuit; Belcher Islands/Sanikiluaq) Two carved birds Stone One signed: Paul K / 171; one appears unsigned, with two applied stickers to underside: Canadian Eskimo art / Hudson’s Bay Company / 9 / WHU 2 pieces Larger: 4.625” H x 5” W x 2.75” D; smaller: 3.5” H x 5.75” W x 2.25” D $100-200 Provenance of the signed bird: Hudson Bay Co., Toronto, Ontario Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, June 7, 1976

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146

Dietrich “Dimu” Muchelstein

(b. 20th century) Two carved birds and a beaver Stone Each signed: Dimu 3 pieces Largest: 2.5” H x 5” W x 1.875 D; smallest: 2” H x 5.25” W x 1.875 D $200-300 Provenance: Property from the Rex Gilman Chase Collection, Berkeley, CA

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147

148

Four works:

C. Alan Johnson (1926-2 Mid/late 20th century Each marked for artist; fu title/name Comprising eight polych activities including a gra Y74), a mother and a chi including one holding tw pail of berries (Sarah; 19 (‘Ahtoon’; 1962; AF160), Naomi), 8 pieces Largest: 8.5” H x 4” W x

Four Inuit carved stone animals John Ayek (1938-1999, Inuit) A carved stone walrus figure with bone tusks, mid-20th century Signed to underside: J Ayek 1.875” H x 2.875” W x 4.625” D A carved stone seal pup figure, mid-20th century Signed to underside: Melvin K. 1.5” H x 4.5” W x 1.875” D Two carved stone sea otters figures, mid-20th century Each signed to underside possibly reading: Ganik Gahanwe; further marked with various numbers and letters 2 pieces Each: 1.625” H x 6.125” W x 1.25” D 4 pieces total $200-400 Provenance: Collection of Lura Gard Newhouse Palm Springs Art Museum, acquired as gift from the above

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A group of C. Alan Jo

$200-400

Othe Notes: This lot acc

ohnson Inuit ceramic figurines

2013)

urther variously marked with date, number, and

hrome ceramic Inuit figures in various poses and andfather playing a string game (Issac; 1970; ild (Anna; 1962; AG4), and six further children, wo dogs (Christopher; 1989; AF113), a girl with a 992; AH121) a young child with a pail on his head , as well as three further children (Benny, Ruth,

x 3.5” D; smallest: 4.25” H x 3.25” W x 2.75” D

companied by an artist’s information booklet, 1983.

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149

A Northwest Coast-style polychrome totem

Mid/late 20th century Appears unmarked Carved wood sculpture with polychrome painted details of multiple various figures, with a blue raven head and detachable red wings to top, above a second bird figure, likely a Blue Jay, and a green frog figure, 3 pieces 80.5” H x 36” W x 17.75” D approximately $800-1,200

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150

A Northwest Coast-style polychrome totem

Mid/late 20th century Appears unmarked A two section carved wood sculpture with polychrome painted details of multiple various figures including a blue and red bird with detachable wings atop a red masked human figure holding fish, 4 pieces 79.5” H x 32” W x 15.5” D approximately $800-1,200

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151

Steve T. Smith (b. 1948, Iroquois)

A lidded pot with antler finial, 1991 Incised to underside of pot: Talking Earth / STS / 91 / 3-847; incised to rim of lid: Talking Earth / STS / 91 / 3-840 The smoke kiln-fired lidded earthenware pottery vessel with allover incised geometric motifs; the lid with an incised, carved, and painted antler finial, one end carved in the shape of an eagle’s head and inlaid with abalone eyes, surmounting a carved turtle figure base with a trim of applied shells Pot: 5.875” H x 8.25” Dia.; lid: 5” H x 7.125” W x 4.625” D $300-500 Provenance: The Estate of Eleanor Koffler Other Notes: This lot is accompanied by a description about the piece from the artist and has been transcribed here: “’91 Talking Earth Pottery S.T.S #3-840 lid with carved antler #3-847 pot or jar This is an original and contemporary piece of Iroquois pottery. The handle on the lid is carved from three separate pieces of deer antler. The deer is one of nine clans and was a food staple. When a chief was installed, the antlers of authority were symbolically placed on his head. The turtle represents the land or North America “turtle island.” According to legend life started on the turtle’s back. The “guardian eagle” symbolizes strength, vision, and guardianship. The beads are made from shell like the ancient wampum. The eagle’s eye are inlaid with abalone shell. The ancient people viewed a piece of pottery as representing the earth from which it was made. The geometric designs represent the earth’s surfaces.

The earthenware clay has been fired in an electric kiln to give it strength, then a smoke kiln to give it an ancient and smokey finish.

Steve T. Smith”

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152

Steve T. Smith (b. 1948, Iroquois)

“Turtle Seed Pot,” 1992 Signed and dated: Talking Earth / 5-460 / S.T.S / ‘92 The black, brown, and white glazed and painted seed pot depicting repeated women dancing hand-in-hand and a turtle 3.75” H x 8.325” Dia. $100-200 Provenance: The Estate of Eleanor Koffler Other Notes: This lot is accompanied by a description of the piece from the artist and has been transcribed below: “Talking Earth Pottery / ‘92 / S.T.S “Turtle Seed Pot” This is an original and contemporary piece of Iroquois pottery. The rim on this seed pot shows the circle which symbolizes a sacred and continuous life cycle of renewal. The turtle is one of the nine clans and according to legend represents the continent of North America or “turtle island.” The women represent the earth which the turtle also symbolizes as being female or Mother.

Steve T. Smith S.T.S.”

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153

An Iroquois False Face mask

Mid/late 20th century, Hodensosaunee; Northeastern North America A carved dark-stained wood mask with metal overlay eyes, painted features, and horsehair hair 10.5” H x 6.125” W x 5” D; hair: 30” L approximately $300-500

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154

Sharon Spencer

(b. 20th century) “Heartline,” 1989 Painted carved stone set on a wood stand Incised to underside: S. Spencer © 89 Object: 7.75” H x 6.25” W x 5” D $800-1,000 Other Notes: This lot is accompanied by a CoA signed by the artist as well as a purchase receipt from Saratoga Rotary Art Show, dated May 7th, 1989. Further accompanied by an artist’s statement and explanation of process.

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156

Anna Katharine Skeele

(1896-1963) “Winter-New Mexico” Watercolor on paper, watermark Arches Initialed lower right: AKS; titled and inscribed in ink on the frame’s cardboard backing: 314 So. Mentor Ave. -PasadenaImage/Sheet: 22” H x 28.25” W $1,500-2,000 Other Notes: There is a Pasadena Art Institute label affixed to the frame’s cardboard backing with the ink-stamped date [FEB. 1953].

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157

Sharon Spencer

(b. 20th century) “Nammu” Patinated bronze Edition: 23/27 Signed and numbered near bottom: SPENCER 23.25” H x 29” W x 21.75” D $800-1,200 Other Notes: This lot is accompanied by a CoA signed by the artist and the purchase receipt from Kings Mt., dated August 31, 2003.

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155

Sharon Spencer

(b. 20th century) “Calling in the Dreams,” 1996 Patinated bronze Edition: 2/50 Incised edition, signature, and date near bottom: S Spencer © 96 17” H x 9.5” W x 4.25” D $800-1,000 Other Notes: This lot is accompanied by a CoA signed by the artist as well as a purchase receipt from Saratoga Rotary Art Show, dated May 4th, 1997. Further accompanied by an artist’s statement, an explanation of process, and instructions for care.

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158

A set of L. & J.G. Stickley side chairs, no. 350

Circa 1901-1917 Each marked to verso: THE WORK OF L & JG STICKLEY; one marked with Stickley shop mark [joiner’s compass] Comprising six oak wood ladder back dining chairs with leather wrapped seat upholstery, sold together with one Gustav Stickley dining chair no. 1301 with leather wrapped seat upholstery and iron tacking, 7 pieces Set of six: 35” H x 16.625” W x 18.75” D; solo chair: 36.5” H x 16.875” W x 20.25” D $1,000-1,500

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159

160

Mid-20th century, Diné A small mat woven in purple, black, cream, and red wool with three rows of “spider woman’ crosses and striped banding 30.5” H x 21.75” W

Late 20th century, Diné Woven in red, blue, black, and cream wool with bands and stepped zigzag banding and corner 46” H x 40” W

$200-400

$300-500

Provenance: Private Collection, Southern California

Provenance: Private Collection, Southern Califo

A Navajo Moki-style textile

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A Navajo Moki-style rug

h multiple single rs

ornia

161

A Navajo regional rug

Mid/late 20th century, Diné Woven in multiple colors such as red, black, cream, blue, yellow, and pink wool in an all-over eyedazzler pattern with sawtooth diamonds and diagonal motifs with an elaborate border 60” H x 39.25” W $400-600

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162

A small Navajo regional textile

Mid/late 20th century, Diné A small mat woven in terracotta, cream, brown, and grey wool with a central stepped diamond 24.625” H x 23.5” W $200-300 Provenance: Private Collection, Southern California

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163

A Navajo Ganado rug

Mid/late 20th century, Diné Woven in red, grey, cream, and black wool with an elaborate central diamond and stepped border 48” H x 40” W $250-350

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164

A Navajo Two Grey Hills textile

Mid-20th century, Diné Woven in black, grey, cream, and brown wool with central stepped motifs and stepped corners, with banded borders 48.5” H x 33.5” W $400-600 Other Notes: This lot with attached Fred Harvey tag: “Guaranteed Genuine Navajo; Woven of Native Wool on Primitive Loom.”

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165

A Navajo regional rug

Mid-20th century, Diné Woven in brown, grey, cream, orange, and green wool with a central column of conjoined serrated diamonds and sawtooth border to sides 52.5” H x 38” W $200-400 Provenance: Private Collection, Southern California

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166

A Navajo regional rug

Mid/late 20th century, Diné Woven in grey, red, black, and cream wool with two central stacked diamonds, floating motifs and a stepped border to long sides 39” H x 27” W $300-500 Provenance: Private Collection, Southern California

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167

A Navajo regional rug

Mid-20th century, Diné Woven in brown, black, ochre, and cream wool with three central Vallero star motifs and long hooked motifs to sides 53” H x 33” W $400-600

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168

A Navajo regional rug

Early 20th century, Diné Woven with brown cream, red, orange, and grey wool with five bands of hooked whirling log motifs 56” H x 29.5” W $300-500

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169

A Navajo regional rug

Early 20th century, Diné Woven in cream, red, black, and blue wool with multiple floating crosses and hooked motifs to center 52” H x 31” W $400-600

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170

Jerry McKellar

(b. 1944) “The Bow Stringer,” 1993 Patinated bronze and wood Edition 26/28 Signed, titled, numbered, and dated to the base: J McKellar / © 93 35.5” H x 22.5” W x 18.25” D $1,000-2,000

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171

A Navajo Storm variant saddle blanket

Mid/late 20th century, Diné Woven in black, cream, orange, yellow, and grey wool in a Storm pattern variant motif with sawtooth border to sides 28.5” H x 30” W $300-500

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172

A Navajo “Sunday” saddle blanket

Mid- 20th century, Diné Woven in grey, cream, blue, yellow, pink, brown, and black wool in multiple zigzag columns with looped yarn fringe to two sides 34” H x 37.5” W; fringe: 3” H approximately $500-700

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173

Dan Namingha

(b. 1950, Hopi-Tewa) Abstract Acrylic on paper, blindstamp Strathmore Signed lower right: Namingha Image/Sheet: 14.5” H x 23” W $2,500-3,500

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174

Charles Frederic Lovato

(1937-1987, Santo Domingo) “Motifs and Man in Thought,” 1977 Watercolor and ink on paperboard Signed and dated lower right: CF Lovato; signed again, titled, and inscribed in ink on the frame’s backing paper Sight: 9” H x 15.5” W $400-600

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175

A Hopi Pueblo pottery canteen

Early/mid-20th century; Arizona Appears unmarked A polychrome canteen with two lug handles, featuring kiva stepped and geometric motifs 5.5” H x 8” Dia. $400-600

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176

A Hopi Pueblo polychrome pottery bowl

Mid-20th century; Arizona Unmarked The three-color yellowware low bowl with interior and exterior geometric motifs 3.625” H x 11.75” Dia. $200-300 Provenance: Private Collection, Southern California

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178

A Hopi Jeditto pottery bowl

Pre-1500 AD Unmarked Possibly early Sikyatki, the ceramic bowl with polychrome glyph triangle motif to the interior and a geometric motif to exterior side 3” H x 8.25” Dia. $200-400 Provenance: Private Collection, Southern California

177

A Hopi Jeditto pottery bowl

Pre-1500 AD Unmarked The ghost fired black on yellow bowl with a Four Directions motif 3.5” H x 8.25” Dia. $200-400 Provenance: Private Collection, Southern California

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179

Three Puebloan polychrome pottery vessels Three works:

A Zia Pueblo polychrome pottery jar, early 20th century The polychrome jar with curved and geometric motifs and a secondary red band on base, with puki indentation 5.325” H x 6.5” Dia. A Nampeyo-style polychrome yellowware seed jar, early 20th century Appears unmarked Attributed to Fannie Nampeyo by repute, the three-color wide-shoulder pot with eagle tail motif 3.325” H x 5.25” Dia. Priscilla Namingha Nampeyo (1924-2008, Hopi-Tewa) A diminutive polychrome yellowware jar, late 20th century Signed to underside: Priscilla N. Nampeyo The three-color jar with geometric motif 1.75” H x 2.625” Dia. 3 pieces $500-700 Provenance: Private Collection, Southern California

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180

Ramona Ami (b. 1929, Hopi Pueblo)

A group of Hopi yellowware bowls, 1999 Large bowl marked: Hopi / Ramona Ami / 1999; each smaller bowl signed: Ramona Comprising a large serving bowl (4” H x 9.5” Dia.) and four smaller soup bowls (2.5” H x 5.25” Dia.), each with red and black geometric motifs on yellow ground, 5 pieces $300-500 Provenance: Private Collection, Southern California

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181

Claudina Lomakema (b. circa 1940, Second Mesa Hopi)

A lidded soup bowl, mid/late 20th century Signed to underside: Claudina Lomakema The bowl with opposed handles and conformingly designed lid finial, decorated with brown and red geometric motifs on a white buff glaze ground 4.5” H x 7.25” W x 5.5” D $300-500 Provenance: Private Collection, Southern California

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182

Four Hopi Pueblo polychrome pottery vases

Mid/late 20th century; Arizona One marked to underside: K. Collateta Comprising three yellowware cylindrical vases with various figural motifs and one larger three-color cylindrical vase by Kathleen Collateta (b. 1969, Hopi/Jemez Pueblo) featuring all-over geometric motifs on white buff slip ground, 4 pieces Largest: 7.625” H x 5.25” Dia.; smallest: 5.25” H x 4.25” Dia. $400-600 Provenance: Private Collection, Southern California

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183

Five Hopi Pueblo yellowware pottery tiles Five works:

Sadie Adams (1905-1995, Hopi-Tewa) Two polychrome pottery tiles, mid-late 20th century Each three-color yellowware tile depicting a parrot Largest: 4.325” H x 4.5” W Lorna Lomakema (b. 1930, Hopi-Tewa) A polychrome pottery tile, mid/late 20th century Signed to underside: Lorna Lomakema The tile with opposed three-color geometric motifs 4.25” H x 4.25” W Darlene Nampeyo (b. 1956, Hopi-Tewa) A polychrome pottery tile, late 20th century Incised signature to underside: Darlene Nampeyo [corn cipher] The three-color tile depicting a kachina-style face with arms 4.75” H x 4.25” W Rachel Sahmie Nampeyo (1956-2022, Hopi-Tewa) A polychrome pottery tile, late 20th/early 21st century Signed to underside: R Sahmie Nampeyo The three-color tile with nine graphic squares, four corner panels painted with geometric motifs and a central panel depicting a moth figure 4.25” H x 4” W 5 pieces $400-600 Provenance: Private Collection, Southern California

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184

Nyla Sahmie Nampeyo, (b. 1954, Hopi-Tewa)

A large Hopi polychrome pottery canteen, late 20th century Signed to underside near bottom: Nyla Sahmie The canteen with opposed lug handles and three-color geometric motifs on buff ground 10.25” H x 10” W x 5” D $200-400 Provenance: Private Collection, Southern California

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186

A group of Puebloan pottery vessels Five works:

Gloria Kahe (b. 1951, Hopi/Navajo/Diné) A seed pot, late 20th century Signed to underside: G. Kahe The low-shouldered vessel with black painted star geometric motifs on orange ground 3.25” H x 6” Dia. Laverne Loretto-Tosa (b. 1964, Jemez Pueblo) A swirl polychrome pot, early 21st century Incised to underside: Loretto-Tosa / Jemez The olla-form jar with incised and black painted swirl motif on a white burnished ground and orange interior 4.125” H x 5” Dia. Juanita Fragua (b. 1935, Jemez Pueblo) A polished buff jar, late 20th/early 21st century Signed to underside: Juanita Fragua / Jemez Pue / N.M The jar with small orange arrow paint to rim interior 8.75” H x 6.625” Dia. Phyllis M. Tosa (b. 20th century, Jemez Pueblo) A polychrome pot, late 20th century Signed to underside: P.M. Tosa / Jemez The globular bowl with all-over black painted checkered and geometric motifs on buff ground and an orange interior 4.125” H x 5.325” Dia. A Jemez Pueblo seed pot, early 21st century Signed to underside: M M Toya / Jemez The three-color egg-shaped pot with overlapping foliate and linear motifs 4.75” H x 4.5” Dia. 5 pieces $500-700 Provenance: Private Collection, Southern California

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185

Verna Nahee (b. 1940, Hopi-Tewa)

A polychrome pottery low bowl, late 20th century Signed to underside: Verna Nahee / Tewa Village / Polacca Ariz.

The yellowware nearly flat-shouldered bowl with three-color geometric and step motifs 3.75” H x 6.625” Dia. $200-400 Provenance: Private Collection, Southern California

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187

Rock Newcomb

(b.1945) “Visions of the Potter” Acrylic on Masonite Signed lower left: Rock Newcomb ©; Signed and copyrighted again, titled, and with a lengthy inscription about the subject matter, all verso 13.5” H x 19.5” W $1,000-2,000

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188

Rock Newcomb

(b.1945) “Cortez Kiva Jar” Acrylic on Masonite Signed lower left: Rock Newcomb ©; Signed and copyrighted again, titled, and with a lengthy inscription about the subject matter, all verso 8” H x 10” W $500-700

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189

Rock Newcomb

(b. 1945) “Nature’s Abundance” Acrylic on Masonite Signed lower left: Rock Newcomb ©; Signed and copyrighted again, titled, and with a lengthy inscription about the subject matter, all verso 11.5” H x 9.5” W $500-700

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190

An Anasazi Tularosa pottery handled jar

Pre-1500 AD The jar with overall black on white zigzag geometric motif and stepped banding to neck, featuring a skunk figural handle 6.75” H x 7” Dia. $300-500 Other Notes: This lot is accompanied by a purchase receipt dated March 8, 2012 and a CoA dated May 27, 1999, each from Turquoise Buffalo, Sedona, AZ.

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191

An Anasazi pottery mug

Pre-1500 AD The black on white mug with lug handle and linear geometric motif 4” H x 5” Dia. $200-400 Provenance: Private Collection, Southern California

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192

An Anasazi pottery ladle

Pre-1500 AD Appears unmarked The ladle with checkered motif to handle and other black on white decorations to bowl 8.5” L x 4.5” W $200-300 Provenance: Private Collection, Southern California

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193

A large Atsugewi basket

Early 20th century; Pit River/Northeastern California A twined utilitarian style basket with stepped sawtooth zigzag motifs 8.375” H x 13.5” Dia. approximately $1,200-1,800

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194

A large Hupa/Yurok/Karuk basket

Early 20th century; Northern California A twined globular tall bowl with multiple columns of imbricated floating geometric motifs 6.5” H x 9” Dia. $1,000-1,500

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195

A polychrome Hupa/Yurok/Karuk lidded basket

Early/mid-20th century; Northern California A twined lidded basketry bowl in a squat rounded shape with imbricated zigzag sawtooth banded motifs, 2 pieces 4.25” H x 6.5” Dia. $600-800

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196

A small lidded Hupa/Yurok/Karuk basket

Early/mid-20th century; Northern California A diminutive twined basketry bowl with banded imbricated motifs and star/flower motif to lid, 2 pieces 3.75” H x 4” Dia. including lid $500-700

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197

A polychrome Hupa/Yurok/Karuk basketry hat

Early/mid-20th century; Northern California A twined basketry hat with four floating imbricated motifs and banding at rim 3.5” H x 7.875-8” Dia. $400-600

198

A small Hupa/Yurok/Karuk basket

Early/mid-20th century; Northern California A diminutive twined basketry bowl with two bands of geometric imbricated motifs 2.875” H x 4” Dia. $300-500

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199

A polychrome Hupa/Yurok/Karuk basket

Early/mid-20th century; Northern California A twined basketry bowl with imbricated zigzag sawtooth banding 4.75” H x 8.5” Dia. $500-700

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200

A Hupa/Yurok/Karuk basket

Early/mid-20th century; Northern California A twined basketry bowl with a stepped sawtooth imbricated banded motif 4.5” H x 6.5-7” Dia. $400-600

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202

A small polychrome Hupa/Yurok/Karuk basket

Early/mid-20th century; Northern California A twined basketry bowl with three floating geometric motifs with imbricated accents 4.125” H x 6.5” Dia. $400-600

201

A Hupa/Yurok/Karuk basket

Early/mid-20th century; Northern California A twined basketry bowl with three stepped sawtooth imbricated motifs and narrow band to rim 3” H x 6” Dia. $400-600

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203

A small polychrome Hupa/Yurok/Karuk basket

Early/mid-20th century; Northern California A twined basketry bowl with floating stepped motifs with imbricated accents and openwork under rim 4.75” H x 6.5” Dia. $300-500

204

A small p

Early/midA small tw open lattic 3” H x 3.5 $300-500

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205

A Modoc basket

Mid-20th century; Northeastern California/Southern Oregon A twined globular basketry bowl with a central band of contrasting geometric motifs and floating motifs to rim 5.25” H x 6.75” Dia. $300-500

polychrome Hupa/Yurok/Karuk basket

-20th century; Northern California wined basketry bowl with multiple imbricated banded motifs and ce at rim 5” Dia.

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206

A Paiute basketry bowl

Early/mid-20th century; Great Basin A coiled basketry bowl with two rows of floating elements with a single rod construction 3.25” H x 8.125” Dia. $300-500

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207

A Maidu basketry bowl

Early/mid-20th century; Northeastern California A coiled bowl with nine radiating bands of joined triangles 4.25” H x 8.625” Dia. $400-600

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208

Gordon Coutts

(1868-1937) “Twilight” Oil on canvas Signed lower right: Gordon Coutts; titled by repute 40” H x 30” W $3,000-5,000 Provenance: The artist Johnny Vance, acquired by exchange with the artist Private Collection, Lodi, CA, by descent from the above Other Notes: Johnny Vance, the original owner of this piece, rented a house from the artist and traded three saddles for “Twilight.” Later, the painting hung in a memorial exhibit held by Dee Bradford Art Gallery in association with Ramus of London.

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209

Late 19th/Early 20th Century American School

Horses and Taos pueblo Oil on canvas Indistinctly signed and dated [possibly 1902] in the lower right corner 12.5” H x 16” W $400-600 Other Notes: There are two hesitant notations on the verso of the stretcher, one written in pencil and the other in ink, apparently by the hand, both of which read, “Paul Strayer?.” The artist Paul Strayer lived from 1885-1981.

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210

211

(b. 1944, Santa Clara Pueblo-Tewa) “Secret” Patinated bronze with granite base Edition: 4/10 Signed and numbered to the left heel: Naranjo © 29.5” H x 9” W x 9” D

(b. 20th century) “Wind Shaman” Copper with mix Each titled and a Each: 24.25” H x

Michael Naranjo

$400-600 Provenance: Four Winds Gallery, Pittsburgh, PA Private Collection, San Francisco, CA

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Sheri Meldrum

$700-900

m

) ” and “Rain Shaman” xed media set on plastic rotating base attributed to metal plaque applied to stone base x 24.5” W x 10” D approximately

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213

Robert Tenorio (b. 1950, Kewa/Santo Domingo Pueblo)

A large Santo Domingo polychrome pottery jar, late 20th/early 21st century Signed to base: Robert Tenorio / Santo Domingo Pueblo A olla form jar with an avian and floral motif panel flanked by curvilinear motifs and banding to neck, with a red base 10.325” H x 12” Dia. $700-900 Provenance: Private Collection, Southern California

212

Robert Tenorio (b. 1950, Santo Domingo/Kewa Pueblo)

A pottery bowl, late 20th century Incised to underside: Robert Tenorio / Santo Domingo Pueblo N.M. The black on red bowl featuring avian and succulent motifs 4.125” H x 8” Dia. $400-600 Provenance: Private Collection, Southern California

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214

A Santo Domingo Pueblo pottery dough bowl

Early 20th century; New Mexico Marked in felt pen to underside: MZC; additionally etched to the side: P.C. The polychrome dough bowl with black-on-white geometric banded motif above a red base 4.75” H x 9.5” Dia. $300-500 Provenance: Private Collection, Southern California

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215

Two Santo Domingo Pueblo pottery bowls

Early/mid-20th century; New Mexico Each appears unmarked Comprising a chili bowl with banded foliate motif above a terracotta wash and a smaller older bowl with black on white geometric banded motif, 2 pieces Larger: 3.25” H x 7.25” Dia.; smaller: 2.25” H x 4.25” Dia. $300-500 Provenance: Private Collection, Southern California

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217

Fred Begay

(1932-2013, Diné) Bear figure, 1994 Carved limestone Incised signature and date to back left leg 14.25” H x 23” W x 12.25” D $300-500

216

A Santo Domingo Pueblo polychrome pottery jar

Mid-20th century; New Mexico Unmarked The three-color wide jar with black and red avian and leaf motifs on a white ground 10.5” H x 13” Dia. $600-800 Provenance: Private Collection, Southern California

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218

Nancy Cawdrey

(b.1948) A cowboy on horseback Mixed media on silk over mat board Signed lower right: N. Cawdrey 33” H x 23” W $1,500-2,500

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219

Nancy Cawdrey

(b.1948) Sunflowers Mixed media on silk over mat board Signed lower left: N. Cawdrey Sight: 11.25” H x 11.875” W $400-800

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220

Harry B. Wagoner

(1889-1950) Desert landscape Oil on canvas laid to Masonite Signed lower right: H.B. Wagoner 6” H x 8” W $600-800

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221

Marjorie Lee Eaton

(1901-1986) Woman with headscarf and fish Oil on canvas Signed verso: M Eaton 26” H x 22” W $2,000-4,000 Provenance: Private collection of the grandson of Andrew Saks, Founder of Saks 5th Ave Other Notes: Marjorie Lee Eaton was an accomplished artist and actor, known for her modernist depictions of Native Americans in New Mexico. Born and raised in Palo Alto, California, Eaton studied at The Art Institute of Boston, and spent time honing her craft in Florence and Paris. In the early 1930s Eaton moved to Taos, New Mexico, and spent time with Diego Rivera and Frida Kahlo at their home in northern Mexico. Eaton turned from painting to acting, landing roles in Mary Poppins and as the costumed figure of Emperor Palpatine in Star Wars: The Empire Strikes Back.

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222

223

(1932-2005, Navajo/Diné) “Modesta,” 1990 Lithograph in colors on paper Edition: 219/225 Signed, dated, and numbered in pencil along the lower edge of the image: RC Gorman; Western Graphics Workshop, prntr., and pub.; with the artist’s blindstamp in the lower image, at center Sheet: 30.25” H x 37.75” W

Two works:

R.C. Gorman

$500-700

R. C. Gorma

“Boulder Can Screenprint in Edition: 34/55 Signed, titled, R.C. Gorman Image: 26.5”

“Santa Fe Daw Screenprint in Edition: 5/50 Signed, titled, below the ima Image: 13” H $400-600

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an (1932-2005, Navajo/Diné)

nyon” n colors on paper 5 , and numbered in pencil along the lower edge of the image: H x 8.375” W

wn,” 1992 n colors on paper

, dated, and numbered in pencil in the lower margin directly age: R.C. Gorman© x 19” W

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224

R.C. Gorman

(1932-2005, Navajo/Diné) “Pueblo Jar,” 1986 Lithograph in colors on paper Edition: 22/200 (there was also an edition of 30 artist proofs) Signed, dated, and numbered in pencil in the lower edge: R.C. Gorman; Western Graphics Workshop, prntr., and pub.; with the Artist’s blindstamp and Western Graphics Workshop blindstamp in the lower image, at center Image/Sheet: 38” H x 28.5” W $200-400 Literature: Adams and Newlin 214

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226

Irene Lopez (b. 20th century)

A tapestry portrait of a woman, late 20th century; New Mexico Signed in the weave verso: IL A small wall hanging woven in cream, black, and grey wool with fringing to lower edge and a black fabric lining 26.5” H x 18” W; fringe: 3” L approximately $100-200 Provenance: The Estate of Eleanor Koffler

225

R.C. Gorman

(1932-2005, Navajo/Diné) “Noon,” 1987 Glazed ceramic Edition: Potter’s Proof Signed and numbered to lower edge: R.C. Gorman; further marked in pen to the underside: 1987 / Gorman Editions / Greg Grycner Ltd. © / “Noon” 26” H x 18” Dia. $200-400

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227

Neil Boyle

(1931-2006) Untitled Oil on canvas Signed lower right: Boyle BSWCA 24” H x 20” W $500-700

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228

John Dawson

(b. 1946) Untitled Acrylic and graphite on paper Signed lower right: John Dawson Sight: 27.75” H x 19.625” W $300-500

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229

A Zia Pueblo polychrome pottery jar

Early 20th century; New Mexico Appears unmarked The olla form jar with three-color geometric kiva and stepped motifs above a terracotta wash 5.125” H x 6.625” Dia. $200-400 Provenance: Private Collection, Southern California

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230

An Acoma Pueblo polychrome pottery jar

Mid-20th century; New Mexico Marked to underside: Acoma NM The jar with two registers of geometric banding and a crimped red rim 4.75” H x 5.75” Dia. $200-300 Provenance: Private Collection, Southern California

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231

A Hopi Pueblo polychrome pottery ladle

Early 20th century or earlier; Arizona With a central polychrome Sikyatki-style parrot/avian motif 10” H x 4.125” W x 2” D $200-300 Provenance: Private Collection, Southern California

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232

Wallace “Wally” Lomakema (b. 20th century, Hopi-Tewa)

Two Hopi Pueblo pottery ladles, late 20th century Plain ladle unmarked; painted ladle signed verso: Wally Lomakema Comprising one smooth micaceous clay narrow ladle (11.5” H) and a wide pottery ladle with polychrome geometric motifs (10.5” H x 5” W), 2 pieces $200-400 Provenance: Private Collection, Southern California Other Notes: Smaller plain ladle accompanied by a First Place blue ribbon from the SWAIA 72nd Annual Indian Market, Santa Fe NM, 1993. Attribution of plain ladle per collector’s notes.

233

A Cochiti Pueblo lizard pottery bowl

Early/mid-20th century; New Mexico Appears unmarked The bowl three-color bowl with sawtooth motif and opposed raised lizards 3.25” H x 4.875” W x 4.325” D $200-400 Provenance: Private Collection, Southern California

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234

Sara Arquero (b. 20th century, Cochiti Pueblo)

A Cochiti plate in black and white, mid-20th century Inscribed to base: Mrs. Sara Arquero / August 10, 1967 / St. Lawrence Day / Gift by Juana (Grandma) The plate with black cloud and lightning motifs on beige ground and underside with terracotta wash 6” Dia. $200-300 Provenance: Private Collection, Southern California

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235

Minnie Vigil (b. 1931, Santa Clara Pueblo)

Two redware pottery vessels, Mid/late 20th century Larger marked to underside: Minnie / Santa Clara Each burnished red clay pot with grey painted banded kiva step motifs to the shoulders 2 pieces Larger: 6.125” H x 9.25” Dia.; smaller: 4” H x 5.325” Dia. $500-700 Provenance: Kiva Trading Post, Santa Fe, NM Private collection, acquired from the above July 15, 1978 Other Notes: This lot is accompanied by a photocopied purchase receipt from Kiva Trading Post, Santa Fe, NM, dated July 15, 1978, and a photocopied appraisal from Packard’s Indian Trading Co., Inc., Santa Fe, NM, dated July 10, 1985.

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236

A Santo Domingo Pueblo blackware pottery jar Mid-20th century; New Mexico Appears unsigned A tall vase form jar with geometric slip motifs 9.75” H x 7.25” Dia. $200-400 Provenance: Private Collection, Southern California

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237

Madeline Naranjo (1916-2020, Santa Clara Pueblo)

A blackware pottery bowl, mid/late 20th century Incised to underside: Madeline Naranjo / Santa Clara Pueblo The bowl with squared rim and impressed kiva step and sawtooth motifs to waist 3” H x 5.25” Dia. $200-400 Provenance: Private Collection, Southern California

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238

Virginia Garcia (b. 1963, Santa Clara/Ohkay Owingeh)

A blackware pottery jar, 1989 Incised to underside: Virginia Garcia / San Juan/Santa Clara / 9-89 A wide, low-shouldered bowl with three impressed bear paw motifs to waist 4.25” H x 6.75” Dia. $200-400 Provenance: Private Collection, Southern California

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239

Two Santa Clara Pueblo blackware pottery bowls Two works:

Teresa Gutierrez (b. 1933, Santa Clara) A Santa Clara Pueblo blackware bowl, mid-20th century Incised to underside: Teresa V. Gutierrez / Santa Clara Pueblo A small carved bowl with deep carved geometric motifs 3” H x 4” Dia. Maria Naranjo (b. 1919, Santa Clara Pueblo) A Santa Clara Pueblo blackware bowl, mid-20th century Incised to underside: Maria I. Naranjo / Sta. Clara Pue A small melon form bowl with carved ribs 2.5” H x 3.25” Dia. 2 pieces $200-400 Provenance: Private Collection, Southern California

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240

A Navajo silver squash blossom necklace

Mid/late 20th century, Diné Appears unmarked A sand-cast silver and stone-set turquoise double-strand necklace suspending six fleur-de-lis blossoms and finished with a naja 22” to 26” L x 3” H 213.4 grams gross $1,000-1,500

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241

Two Pueblo necklaces

Mid/late 20th century; Southwest United States Comprising a double-strand Zuni-style necklace with multiple carved shell fetish birds and a triple-strand Santo Domingo-style necklace with nugget and bead turquoise, 2 pieces Each: 30” L $300-500

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242

A group of Southwest-style necklaces

Mid/late 20th century Each appears unmarked Five works comprising a Zuni fetish-style necklace with multiple carved stone animals alternati with turquoise and coral stones (26” L x 2” H), two silver bead necklaces, one with coral bead (27” L) and one with a turquoise stone-set pendant (19” L x 2.25” H), as well as a multistrand Pueblo-style necklace with shell and silver animal fetish beads (27” L), and a necklace with silv metal nugget beads, figural accents and small turquoise beads (23” L), 5 pieces 245.3 grams gross $500-700

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ing ds

ver

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243

A Native American antler necklace

Early 20th century or later Comprising a necklace of seven antler tips strung on hide cording with red glass white-heart trade bead and silver bead spacers and hide fringing 24” L x 3.5” H $500-700

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244

A Pueblo-style multistrand fetish necklace

Late 20th century Cones stamped: Sterling A five-strand necklace with various carved stone animal figures, all strung to sterling silver cones with likely porcupine quill beads, and with a central carved turquoise pendant 23.5” L x 2” H (pendant) $300-500

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245

A group of Southwest silver accessories

Mid/late 20th century Four variously marked for maker, region and silver Comprising three ranger sets including a four-piece silver Jackson ranger set with turquoise and lapis inlay, mounted to leather strap (marked: RA buckle: 2” H x 1.75” W; opening: 0.75” H), and a four-piece incised silver ranger set mounted to leather strap: (marked: RA; buckle: 1.75” H x 2” opening: 1” H), and a four-piece inlaid turquoise ranger set (buckle: 1.125” H x 1.75” W; opening: 0.75” H), as well as an incised silver buckle an matching tip (buckle: 1.875” H x 2” W; opening: 0.875” H), a chased silver buckle (1.75” H x 2” W; opening: 0.75” H), a pair of Mexican sterling overlay cufflinks (marked: Sterling / VGV / DF; each: 1.25” H x 1” W), a four-piece set of chased silver boot tips and heel accents (each marked: M / Alpaca; each boot tip: 1” H x 2.75” W x 2.25” D; each heel:1.25” H x 2.75” W x 2” D), as well as three pairs of silver collar tips in various desig sizes, one pair with set turquoise (largest: 1.25” H x 1.625” W; 1” H x 1.25” W; smallest: 0.75” H x 0.875” W), 27 pieces total 363.0 grams gross $400-600

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A; ” W; nd g silver Mexico gns and

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246

A group of Southwest-style silver table items

Mid/late 20th century Three marked to base for maker; urns further stamped: Sterling; donkey further stamped: Hecho en Mexico D.F. / Sterling / .925 Four works comprising three pairs of silver salt and pepper shakers, including a pair of katsina figures with drums (each: 4” H), a pair of chunky howling coyote shakers (each: 3” H), and a pair of sterling silver TKW stamped urn shaped shakers (each: 2” H), as well as an F. Ramerez Mexican sterling silver donkey with burden baskets, likely for toothpicks (2.25” H x 2.25” W x 1.5” D), 7 pieces 202.5 grams gross $300-500 Provenance: Private Collection, Southern California

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247

A Navajo Wide Ruins textile

Mid/late 20th century, Diné Woven by Maggie Roan in taupe, grey, ochre, and cream wool with alternating bands of floating stepped motifs 58.5” H x 37” W $300-500 Other Notes: This lot with attached label from the Navajo Arts and Crafts Guild Tribal Enterprise denoting Maggie Roan as weaver.

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248

Mabel White (b.1921, Diné; Pine Springs)

A Navajo Wide Ruins rug Woven in light grey, cream, gold, dark grey, and ochre wool with alternating striped and geometric banding 54” H x 35” W approximately $300-500 Other Notes: This lot with attached label from the Navajo Arts and Crafts Guild Tribal Enterprise denoting Mabel White, Pine Springs, as weaver.

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249

A Navajo Wide Ruins textile

Late 20th century, Diné A small rug woven in multiple colors including salmon, red, cream grey and purple wool with alternating bands of conjoined serrated diamonds and striped banding 35.25” H x 26” W $200-400 Provenance: The Estate of Eleanor Koffler

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250

Two Navajo Wide Ruins textiles

Mid/late 20th century, Diné Comprising a large Wide Ruins/Pine Springs textile woven by Anna Ashley (b. 20th century, Diné) in tan, ochre, cream and terra cotta wool with alternating striped banding and sawtooth diamond banding (60” H x 38” W), together with a smaller Wide Ruins textile woven in beige, cream, yellow and green wool with alternating geometric, striped and ticked banding (35.5” H x 26” W), 2 pieces $300-500 Other Notes: This lot with attached tag denoting Anna Ashley, Pine Springs, as weaver.

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251

Two Navajo Wide Ruins textiles

Mid/late 20th century, Diné Comprising a large Wide Ruins textile woven by Mary Jane Barker (b. 20th century, Diné) in ochre, shades of grey, and cream wool with alternating geometric and striped banding (48” H x 35” W), as well as a smaller Wide Ruins textile woven by Mary C. Nez (b. 20th century, Diné) in ochre, tan, grey and cream wool with alternating striped and sawtooth diamond bands (37.25” H x 23” W), 2 pieces $300-500 Other Notes: Each piece with an attached tag from Hubbell Trading Post, Ganado, Arizona, denoting weaver and region.

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252

Two Navajo regional rugs

Mid/late 20th century, Diné Comprising two Chinle rugs, the smaller woven in ochre, tan, grey and cream wool with alternating striped and diamond banding (41.5” H x 36” W), and the larger with multiple diamond banding woven in dark ochre, brown, grey and cream wool (56.5” H x 37” W), 2 pieces $300-500

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253

Two small Navajo textiles

Mid/late 20th century, Diné Comprising a small Yei pictorial weaving in tan, black, cream and ochre wool depicting three standing figures with feathers (23” H x 27” W), together with a banded saddle blanket woven in black, cream, grey, ochre, and pale green wool (31.25” H x 31.5” W), 2 pieces $200-400

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254

Two Navajo regional rugs

Mid/late 20th century, Diné Each with a central Storm pattern variant motif, one in brown, cream, black, and red wool with waterbug motifs and a finely serrated border to sides (31” H x 23” W), and one in pale grey, black, cream, and red wool with elaborate central motifs and elaborate stepped border to sides (35.5” H x 23.5” W), 2 pieces $300-500 Other Notes: This lot with attached tag denoting Jane Deering as weaver.

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255

A group of Navajo regional rugs

Mid/late 20th century, Diné Comprising four small weavings in various colors of wool including one with central stacked serrated diamonds in red wool (33.5” H x 20.5” W), one in black, grey, tan, and cream wool with a central stepped hooked diamond and floating motifs (31” H x 20.5” W), a longer textile with banding and overall sawtooth diamonds in red, cream, ochre, and brown wool (37.5” H x 19.25” W), and one in cream, tan, blue, green, black, and red wool with a central stepped banded motif and stepped border in red (32” H x 19.75” W), 4 pieces $300-500

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256

A group of Navajo regional textiles

Mid/late 20th century, Diné Comprising four works woven in black, white, red, and grey wool including a small mat with three bands of sawtooth diamonds (27.5” H x 21” W), a longer mat with four bands of floating red diamonds (39.5” H x 22.5” W), a mat with Wide Ruinsstyle banding (29.5” H x 21.5” W), and a small mat with central stacked column of sawtooth diamonds (26” H x 20.5” W), 4 pieces $400-600

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257

Two Navajo saddle blankets

Mid/late 20th century, Diné Comprising a two-faced double weave saddle blanket woven in grey, red, cream and black wool by Victoria Davis (39” H x 24” W) and a double saddle blanket woven in red, black, and cream wool in a two-faced twill weave (61” H x 31” W), 2 pieces $200-400 Other Notes: the smaller with an attached tag from Crowpoint [sic] Weavers Association, Crownpoint New Mexico, denoting Victoria Davis of Kinlichee as weaver.

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258

Two Navajo Moki-style dresses

20th century, Diné Each formed of two pieces woven in black and red wool with stepped and serrated banding to ends, each constructed with shoulder and side seams, 2 pieces Larger: 36” H x 19.5” W; smaller: 28” H x 13.75” W $500-700

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259

David Lemon

(b. 1945) “Eagle Dancer” Patinated bronze on wood plinth Edition: 1/40 Signed in the casting: Lemon ©; titled and attributed to front plaque; also titled, attributed, and numbered to sticker verso 11.625” H x 8.125” W x 5.25” D $1,000-1,500

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260

David Lemon

(b. 1945) “Peace Talker” Patinated and cold-painted bronze on a wood plinth Edition: 5/40 Signed and numbered in the casting: Lemon ©; titled and attributed to front plaque 15.5” H x 7.5” W x 5.75” D $1,000-1,500

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261

Chester Begay (b. 1964) and Albert Tosie (1935-2005)

“Home of the Bear and Snake” Sandpainting on panel in a specially designed, cut, and colored mat Inscribed in pencil on the verso with the artists’ names and the work’s title, presumably in the hand of one of the artists; titled again on labels affixed to the frame’s backing paper Sight: 17.375” H x 17.375” W $200-400 Provenance: The Estate of Eleanor Koffler Other Notes: According to a label and ribbon attached to the frame’s backing paper, this work was awarded 3rd Place at the 1993 Inter-Tribal Indian Ceremonial in Gallup, NM.

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262

Rosie Yellowhair

(b. 1950) “Feather Maiden Dancer” Colored sand on board Signed and titled in ink on the frame’s backing paper: R. Yellowhair; titled again on an exhibition label affixed to the frame’s backing paper Sight: 3.875” H x 6.875” W $200-400 Provenance: The Estate of Eleanor Koffler Exhibited: Gallup, NM, “Inter-Tribal Indian Ceremonial,” 1995 Other Notes: This lot is sold together with the first prize blue ribbon awarded to the artist in 1995 at the “Inter-Tribal Indian Ceremonial” exhibition in Gallup, NM.

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263

Julian Martinez

(1897-1943) Skunks fighting over a chicken Watercolor and gouache on paper Signed lower right in red: Julian Martinez Sight: 7.5” H x 9.5” W $200-400 Provenance: Private Collection, Southern California

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264

Selina Sanchez (b. 1957, Acoma Pueblo)

A fine line and polychrome pottery seed pot, late 20th/early 21st century Marked to underside: Acoma, New Mexico / By: [Zia symbol] ‘Selina Sanchez’ The three-color pot with fine line geometric motifs centering a domestic scene of a couple holding hands, surmounted by two applied black bear cubs 5.5” H x 5.5” Dia. $200-300

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265

Jay Vallo (b. 1959, Acoma Pueblo)

A fine line pottery seed jar, late 20th/early 21st century Marked to underside: Jay Vallo / Acoma N. Mexico The pot with all-over geometric fine line design 6.75” H x 7” Dia. $100-200 Provenance: Private Collection, Southern California

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266

Margaret Seymour (1931-2006, Acoma Pueblo)

An Acoma Pueblo pottery seed pot, mid-20th/21st century Signed to underside: M. Seymour / Acoma / NM / USA / [pictograph of Acoma Pueblo] The black-on-white pottery vessel with black fineline starburst pattern to top, edged with a polychrome and a figural band, and with black and white diamond columns beneath, all on white slip glaze 7” H x 7.5” Dia. $100-200

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267

An Acoma Pueblo polychrome pottery jar

Mid-20th century; New Mexico Marked to underside: Acoma N.M. The three-color vase with crimped rim and overall geometric and kiva step motifs on white slip 6.75” H x 6” Dia. $200-400 Provenance: Private Collection, Southern California

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268

An Acoma Pueblo polychrome pottery bowl

Late 20th/21st century; New Mexico Signed to underside: S. Garcia / Acoma N.M. The likely Sarah Garcia (1928-2015, Acoma Pueblo) three-color deep bowl with black and red lizard and geometric motifs on white ground 7.25” H x 7.75” Dia. $200-300 Provenance: Private Collection, Southern California

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269

Santana Antonio and Irma Maldonado (b. 1915 and b. 1932, Acoma Pueblo) A pottery olla jar, late 20th century Signed to underside: Acoma N.M. / S. Antonio + I.R.M. The black on white jar with fine-line geometric design and terracotta wash to the rim 9.25” H x 10.25” Dia. $200-400 Provenance: Private Collection, Southern California

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270

Sylvia Naha (1951-1999, Hopi Pueblo)

A fine line pottery vase, late 20th century Signed with artist’s cipher to underside The egg-shaped vase with geometric and fine line designs on white buff glaze 6.125” H x 5.75” Dia. $500-700

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271

A polychrome Zia Pueblo olla pottery jar

Early 20th century; New Mexico Marked to underside: Zia / [illegible] The pottery jar with black and red roadrunner and kiva step motifs about a terracotta wash 6.75” H x 8.25” Dia. $200-400 Provenance: Private Collection, Southern California

272

A San Ild

Early 20th Appears The black featuring 6.5” H x 5

$200-300

Provenan

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273

A Southwest polychrome pottery bowl

Late 19th/early 20th century Unmarked The possibly Puebloan three-color varnished bowl with checkered triangle motifs 2.5” H x 7.5” Dia. $200-400 Provenance: Private Collection, Southern California

defonso Pueblo redware pottery jar

h century; New Mexico unmarked k on red vase of modified olla form with flared and squared neck a floral motif 5.25” Dia.

0

nce: Private Collection, Southern California

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274

A Hopi Pueblo piki bread bowl

Late 20th century; Arizona Appears unmarked The yellowware pottery bowl used for processing blue cornmeal to make piki bread 4.75” H x 13” Dia. $300-500 Provenance: Private Collection, Southern California

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276

A polychrome Southwest Pueblo katsina figure

Mid-20th century Comprising a carved and painted wood katsina figure, likely a Wakashi or Waka Katsina (Cow Kachina) 6” H x 4” W x 2” D $200-400 Provenance: Collection of Mr. and Mrs. James G. Swinnerton Palm Springs Art Museum, acquired as gift from the above

275

Michael Pavatea (b. 20th century, Hopi-Tewa/Diné)

A Hopi Pueblo piki bread bowl, 1986 Incised to underside: Michael Pavatea / Polacca, Az / Hopi / July 4, 86 The pottery bowl used for processing blue cornmeal to make piki bread 7.75” H x 12.5” Dia. $400-600 Provenance: Private Collection, Southern California

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277

John Stanton

(1857-1929) Desert bluffs Oil on canvas Signed lower left: J Stanton 12” H x 14” W $300-500

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278

William Darling

(1882-1963) Desert scene Oil on canvas laid to Masonite Signed lower left: William Darling 20” H x 24” W $500-700 Provenance: Gift of the Estate of Marjory Adams Darling Palm Springs Art Museum

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279

Lorenzo Palmer Latimer

(1857-1941) Riverbank willows Watercolor on paper laid to board Signed lower right corner: L.P. Latimer 6.75” H x 9” W $500-700

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280

Daryl Millard

(b. 1964) “Winding Trail - San Pasqual Valley” Oil on canvas laid to wood Signed lower right: Daryl Millard; signed again and titled in red marker, verso 13” H x 10” W $500-700

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281

Daryl Millard

(b. 1964) “Signs of Spring” Oil on canvas Signed lower right: Daryl Millard; signed again and titled, twice more, in pencil and pen, verso 9” H x 12” W $500-700

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283

Arthur Haddock

(1895-1980) Adobe in a landscape, 1976 Watercolor on paper Signed, dated, inscribed, and with the artist’s device, all lower right: Arthur Haddock / Feb. 15 / #1134 Sight: 10.5” H x 14.5” W $400-600 Provenance: Mayans Gallery, Santa Fe, NM

282

Sydney Janis Yard

(1855-1909) Clouds over a mountainous landscape Oil on canvas laid to Masonite Signed lower left: Sydney J. Yard 12” H x 17” W $500-700 Provenance: Sold: Turner Auctions + Appraisals, South San Francisco, CA, “Part II The Glenn & Taaffe Estates,” December 6, 2020, Lot 30

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284

285

“A California Rancho” Oil on board Signed lower left: Samson; titled on a handwritten note affixed, verso, and under a piece of Plexiglas 10.5” H x 8.5” W

Two works:

20th Century American Regionalist School

$500-700

Carl Schmidt (1885-1969) A figure on horseback pulling a wagon Oil on canvas Signed lower right: Carl Schmidt 20” H x 16” W A woman with children and a wagon Oil on canvas Unsigned 20” H x 16” W $200-400

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286

George ‘Standing Eagle’ Bryan (b. 20th century, Ojibwa)

A carved stone pipe, 20th century Signed to base of pipe head: Standing Eagle A carved catlinite stone pipe head in the shape of an eagle claw holding an egg, attached to a flat wooden stem, with a polychrome beaded leather fringe embellishment Pipe head: 2.625” H x 1.25” W x 4.75” D; stem: 20” L x 1.25” H $200-300 Provenance: The Estate of Eleanor Koffler

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287

A Plains carved catlinite pipe

20th century; Great Plains Signed to base of stone: [figural motif] / Crow Pipe head with brushed metallic inlay stripes attached to newer curved wood stem embellished with a beaded and hide fringe embellishment to center 30” L x 4” H x 1” Dia. approximately $200-300 Provenance: The Estate of Eleanor Koffler

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288

Dawn Hardy

(b. 1959) Horse and colt, 1987 Patinated bronze on a marble base Edition: 22/25 Numbered, signed, and dated in the casting: © 87 $300-500

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289

A group of stone implements

Pre-historic or later Comprising a group of carved stone objects including ax heads, net stones or sinkers, a mortar or paint pot, and a flat mortar and oval grinding stone, 11 pieces Largest: 1.25” H x 17.25” W x 10” D; smallest: 2.25” H x 2.5” W x 1.5” D $200-400

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290

A group of stone points

Pre-historic or later Comprising five trays of various points of differing stones, shapes and sizes, including arrowheads, points, and hooks, from various regions including Nevada, Oregon, Utah, Oklahoma, Colorado, New Mexico, Arizona, and California, 89 pieces approximately Largest: 4.25” H; smallest: 0.625” H $200-400

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291

Gene Kloss

(1903-1996) “Little Hoop Dancer” Conte crayon on paper Signed lower right: Gene Kloss; titled in ink, presumably in another hand, on the frame’s backing paper Sight: 10.75” H x 8.875” W $300-500 Provenance: Mission Gallery, Taos, NM

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292

Elbridge Ayer Burbank

(1858-1949) Hunter with three dogs Graphite on paper Signed and inscribed in pencil in the lower edge: E.A. Burbank / Pet / Pat / Patsy / After Print Sheet: 11” H x 10.75” W $500-700

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293

After Edward Borein

(1872-1945) Cowboy with cattle Offset lithograph in brown ink on paper Bears signature lower right: Edward Borein Sight: 10.5” H x 13.75” W $100-200

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294

Cornelius Sampson

(1907-1978) “Bull Dogging No.1” Etching on paper Signed and titled in pencil in the lower margin: Cornelius Sampson Plate: 5” H x 7.5” W; Sight: 5.625” H x 7.75” W $200-400

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295

A large group of Chimayo textiles

Mid-20th century; New Mexico Six with fabric label: Ortega’s Weaving Shop / 100% Wool Hand Woven / Chimayo, New Mexico A group of handwoven fringed wool table textiles in various colors and sizes, with geometric and figural designs, including stepped and serrated diamonds, striped banding, roadrunners, and thunderbirds, comprising eight drinks coasters (variously: 4.5” H x 4.5” W), six medium placements (variously: 10” H x 10” W), eight longer table mats (variously: 20” H x 10” W), and one long table runner (58” H x 18” W), 23 pieces $300-500

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296

After Frederic Remington

(1861-1909) “The Broncho Buster,” modeled 1895 Patinated bronze on a green marble base Signed in the casting: Frederic Remington Overall: 23” H x 9” W x 20” W $400-600 Literature: Greenbaum 51

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297

A Navajo Yei textile

Mid-20th century, Diné A small pictorial mat woven in cream, red, black, orange, yellow, pink, grey, and green wool with two dancers and cornstalk surrounded by a Rainbow Guardian 26” H x 32” W $200-300

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298

Two Navajo Yei pictorial rugs

Mid/late 20th century, Diné Comprising a Yei textile woven in grey, red, black, orange, green, and other multicolored wool with four Yei figures alternating with corn and squash motifs with aa stepped border (32.5” H x 53 “ W), and a smaller Yei textile woven in cream, green, pink and other multicolored wool with four Yei figures around a central corn stalk and surrounded by a Rainbow Guardian (34” H x 41” W), 2 pieces $500-700

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299

A group of Puebloan blackware pottery vessels Four works:

Lucy Martinez (1905-1995, San Ildefonso Pueblo) A blackware pottery jar, mid/late 20th century Incised to underside: Lucy Martinez The black on black olla form jar with banded feather motif to shoulder 4.25” H x 4.625” Dia. Maria Montoya Martinez (1887-1980) and Santana Martinez (1909-2002, San Ildefonso Pueblo) A small blackware jar, mid-20th century Signed to underside: Marie + Santana The small olla form jar with slip painted raincloud to shoulder 3.5” H x 3.875” Dia. Blue Corn (1921-1999, San Ildefonso Pueblo) A small blackware vessel, mid-20th century Signed to underside: Blue Corn / San Ildefonso Pueblo The globular bowl with black on black slip painted with scalloped motif to rim 3.25” H x 4” Dia. A blackware low bowl, mid-20th century Signed to underside, possibly reading: M. Simona Vigil The bowl with banded kiva step and migration motifs 3.25” H x 7.125” Dia. 4 pieces $300-500 Provenance: Private Collection, Southern California

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300

Four Puebloan blackware pottery bowls Four works:

Desideria Montoya (1889-1982, San Ildefonso Pueblo) A blackware bowl, mid-20th century Signed to underside: Desideria The small bowl with painted slip geometric motifs 3.325” H x 4.325” Dia. A blackware bowl, mid/late 20th century Signed illegibly The small bowl with black painted banded geometric motif on burnished black ground 3.25” H x 4.125” Dia. A blackware bowl, mid/late 20th century Incised to underside: Santana The bowl with black painted banded sawtooth motif on burnished black ground 3.5” H x 5” Dia. A blackware low bowl, mid/late 20th century Possible illegible signature to underside The low-shouldered bowl with black painted kiva step and geometric motifs on a burnished black ground 2.875” H x 4.625” Dia. 4 pieces $300-500 Provenance: Private Collection, Southern California

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301

Three Puebloan blackware handled pottery bowls Three works:

Mary Singer (b. 1936, Santa Clara Pueblo) A blackware bowl, mid/late 20th century Signed to underside: Mary Singer / Santa Clara Pueblo, New Mexico The black on black handled bowl with twisted handle and carved Avanyu motif 5.625” H x 4.5” Dia. Margaret Garcia (b. 20th century, Santa Clara Pueblo) A small blackware handled bowl, 1988 Incised to underside: Margaret Garcia / Santa Clara Pue / N. Mex 88 The black on black bowl with tall pointed handle and banded geometric motifs 7.325” H x 4.5” Dia. A small blackware handled bowl, mid-20th century Appears unmarked The black on black bowl with painted cloud motif edging 5.25” H x 4.25” Dia. 3 pieces $300-500 Provenance: Private Collection, Southern California

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302

A group of Puebloan blackware pottery items Five works:

Juan Tafoya (1949-2006, San Ildefonso) A small blackware bowl, 1978 Incised to underside: Juan Tafoya / San Ildefonso / 1978 The bowl with black painted wave motif on burnished black ground 2” H x 2.5” Dia. Pula Gutierrez (1927-2002, Santa Clara Pueblo) A small painted blackware bowl, late 20th century Signed: Pula Gutierrez / Santa Clara Pueblo The bowl with black painted geometric and spot motifs on burnished black ground 3.5” H x 2.5” Dia. Maximiliana Montoya Martinez, or “Anna” (1885-1955, San Ildefonso Pueblo) A small blackware dish, early/mid-20th century Signed to underside: anna The dish with topside painted black geometric spiral motif on burnished black ground 4.25” Dia. Blue Corn (1921-1999, San Ildefonso Pueblo) A small blackware bowl, mid/late 20th century Incised to underside: Blue Corn / San Ildefonso Pueblo 3.325” H x 4” Dia. A small burnished blackware bowl, mid-20th century Signed illegibly to underside 1.5” H x 2.325” Dia. 5 pieces $300-500 Provenance: Private Collection, Southern California

303

A group of Puebloan blackware wedding vases

Mid/late 20th century; Southwestern United States Diminutive vase incised to underside: Linda Askan [b. 1954] / Santa Clara Pueblo / ‘97; one with indecipherable signature The burnished pottery vases in various sizes, four with black on black painted designs, 5 pieces Largest: 7.75” H x 5.325” W x 3” D; smallest: 3” H x 2.5” W x 1.75” D $200-400 Provenance: Private Collection, Southern California

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305

Lena “Corn Woman” Charlie (1888-1978, Hopi-Tewa)

A redware canteen, mid-20th century Signed with artist’s corn cipher to underside The canteen with hide strap tied to opposed lug handles, painted black on red swirling geometric motif, and later added corn cob stopper 8.5” H x 8.25” W x 6” D $200-300 Provenance: Private Collection, Southern California

304

A Southwestern pottery canteen

Late 19th/early 20th century Appears unmarked The canteen with opposed lug handles 9” H x 8.325” W x 4” D $400-600

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306

Alvin Baca (b. 1966, Santa Clara Pueblo)

A redware pottery canteen, late 20th century Incised to underside: Alvin Baca The melon ribbed vessel with opposed lug handles and hide strap 4.5” H x 5.5” W x 3.25” D $100-200 Provenance: Private Collection, Southern California

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307

A Cochiti Pueblo pottery canteen

Early 20th century; New Mexico Appears unmarked The upright canteen with three-color kiva step and foliate motifs, opposed lug handles, and later added corn cob stopper 5.75” H x 8.75” W x 7” D $200-400 Provenance: Private Collection, Southern California

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308

Pauline Setalla (b. 1930, Hopi)

A Hopi Pueblo polychrome pottery canteen, mid/late 20th century Signed to underside: [bear paw] Pauline Setalla The three-color canteen with corn cob and geometric motifs, cork stopper, and leather strap 11” H x 9.5” W x 6.5” D $200-300 Provenance: Private Collection, Southern California

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309

Yolanda Trujillo (b. 1963, Acoma Pueblo)

A double lobed polychrome pottery canteen, early 21st century Marked to underside: Yolanda Trujillo / Acoma, N.M. The two-compartment canteen featuring four-color geometric and kiva step motifs and featuring a black bear, a parrot, and a deer 6.25” H x 10.325” W x 4.625” D $100-200 Provenance: Private Collection, Southern California

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310

Two Acoma Pueblo polychrome pottery canteens

Late 20th century; New Mexico One marked to underside: Acoma N.M. Comprising one four-color canteen with geometric motifs centering a pinwheel, a terracotta wash to verso, and leather strap attached to opposed lug handles, one canteen with avian motif and opposed twisted handles, each with corn cob stopper, 2 pieces Larger: 8” H x 7” W x 6” D; smaller: 7.75” H x 6” W x 7.25” D $200-400 Provenance: Private Collection, Southern California

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312

Two Native American pottery Two works:

Joe Cajero Jr. (b. 1971, Jemez Pu “Morning of Feast Day,” late 20th Signed and titled to base side ver A Jemez polychrome pottery figu micaceous clay shirt 16” H x 4.625” W x 5.25” D

Tamalyn “Tammy” Tarbell (b. 20th Kanien’kehá’ka (Mohawk) Nation; A seated woman, 1992 Signed in clay to front of cloak: Ta A pottery figure of a seated wom with beaded hide fringing and fea 9.5” H x 9” W x 8.5” D 2 pieces $300-500

Provenance: The Estate of Eleano

311

Three Puebloan micaceous pottery canteens

20th century; Southwestern United States Brown canteen incised: Romero; strapped canteen signed illegibly Comprising one large older canteen with twisted fibrous cord, a canteen with applied hide circle and strap and opposed lug handles, and a small brown canteen with lug handles, 3 pieces Largest: 9.5” H x 7” W x 4.5” D; smallest: 5” H x 5.5” W x 2.5” D $200-300 Provenance: Private Collection, Southern California

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y figures

ueblo) h/21st century rso ure of a man holding a pot, with

h century, Haudenosaunee, ; New York)

arbell / 92 man wrapped in a fringed blanket athers to top

or Koffler

313

Two Puebloan pottery items Two works:

Sandra Victorino (b. 1958, Acoma Pueblo) A braided handled wedding vase, late 20th/early 21st century Signed: S. Victorino / Acoma N.M. The slip glazed vase with geometric and kiva step motifs and fine line sunburst designs 10.5” H x 6.125” W x 5.25” D Marie E. Coriz (b. 1946, Santa Domingo Pueblo) A storyteller figure, 1997 Signed: Marie E. Coriz / Santo Domingo Pue. / “97” The painted pottery figure with ten children and a floral motif to verso 9.5” H x 5.875” W x 6.75” D 2 pieces $300-500 Provenance: The Estate of Eleanor Koffler

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314

Two Hopi Pueblo pottery jars Two works:

Verla Dewakuku (b. 1932, Hopi) A black on red pottery bowl, late 20th century Signed to underside: V. Dewakuku The bowl with all-over geometric motif 4” H x 4.325” Dia. Ella Mae Talashif (b. 20th century, Hopi) A polychrome pottery jar, late 20th century Signed to underside: Ella Mae Talashif / Waipi Village The three-color jar with all-over geometric motif 4.75” H x 4.875” Dia. 2 pieces $200-400 Provenance: Private Collection, Southern California

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315

Erma Tawyesva (1897-1993, Hopi Pueblo)

A pottery low bowl, late 20th century; Arizona Signed to underside: Erma Tawyesva / Polacca, Ariz.

The black on red wash bowl with geometric banding to exterior and geometric motif to the interior 3.5” H x 9.25” Dia. $300-500 Provenance: Private Collection, Southern California

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317

Loretta Navasie (b. 1948, Hopi-Tewa Pueblo)

Three Hopi Pueblo polychrome olla jars, late 20th century Each signed to underside: [frog cipher] / L The jars with red and black avian and geometric motifs on a white buff ground, 3 pieces Largest: 5.875” H x 6.325” Dia.; 4.5” H x 5.75” Dia. $300-500 Provenance: Private Collection, Southern California

316

Miriam Nampeyo (b. 1956, Hopi-Tewa)

A group of polychrome pottery vessels, late 20th century Each signed to underside: Miriam Nampeyo [corn stalk] Comprising a yellowware seed pot, a high-shouldered yellowware jar, and a small low-shouldered jar, each with three-color migration motifs 3 pieces Seed pot: 3.325” H x 5” Dia.; jar: 3.875” H x 3.125” Dia. $300-500 Provenance: Private Collection, Southern California

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318

A group of Southwest pottery wedding vases Four works:

Pearl Norris (b. 20th century, Maricopa) A handled wedding vase, mid-20th century Signed to underside: Pearl Norris W.H.P. The redware vase with denticulated motif 7.25” H x 5.325” W x 5.325” D Vivian K. Mumzewa (1905-1984, Hopi) A black on redware wedding vase, mid-20th century Signed to underside: Vivian K Mumzewa The vase with avian motifs to waist and painted handle 8.5” H x 6.325” W x 4.5” D A Navajo wedding vase, early/mid-20th century Appears unmarked The vase with pitch slip and incised yucca plant motifs 7.25” H x 4.625” W x 3.75” D A Maricopa wedding vase, early/mid-20th century Appears unmarked The vase with possible cloud motif and flat handle 7” H x 7” W x 4.75” D 4 pieces $200-400 Provenance: Private Collection, Southern California

319

Four Hopi Pueblo polychrome pottery vessels

Early/mid-20th century; Arizona One signed to underside: Made by Te-Wanq-i-nema The yellowware group consisting two olla-form jars and two bowls, 4 pieces Largest: 3.875” H x 6” Dia.; smallest: 2.75” H x 4.25” Dia. $300-500 Provenance: Private Collection, Southern California

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320

A group of Hopi Pueblo polychrome pottery items

Early/mid-20th century; Arizona Each appears unmarked The yellowware group comprising a three-color handled Nampeyo-style pitcher with banded geometric motif, a three-holed pen holder with geometric motif, and three black on beige handled creamers with various traditional motifs, 5 pieces Pitcher: 6.75” H x 6” W x 5” D; smallest creamer: 2.875” H x 3.5” W x 2.5” D $400-600 Provenance: Private Collection, Southern California

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321

Four Hopi Pueblo polychrome pottery bowls

Mid/late 20th century; Arizona Each appears unmarked The yellowware bowls with various geometric or avian motifs, 4 pieces Largest: 4.125” H x 5.875” Dia.; smallest: 3.5” H x 5.5” Dia. $200-400 Provenance: Private Collection, Southern California

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322

323

Early/mid-20th century; Arizona One signed: Ethel Youvella Polacca Ariz.; one marked with Hattie Carl raincloud flower cipher; one marked with leafless flower cipher The yellowware group comprising a likely Hattie Carl (1866-1970, Hopi) bowl with three-color geometric and moth motifs, an Ethel Youvella (1919-2006, Hopi-Tewa) bowl with three-color banded kiva step and fauna motifs, and three more bowls, each with various geometric motifs, 5 pieces Tallest bowl: 4.875” H x 5.25” Dia.; smallest: 2.75” H x 4.75” Dia.

20th century; Southwestern Largest marked: Vickey T. C by [indecipherable] Comprising six Hopi and Sa duotone painted designs, 6 Largest: 6” H x 5.5” W; sma

A group of Hopi Pueblo polychrome pottery bowls

$300-500 Provenance: Private Collection, Southern California

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A group of Puebloan po

$200-300

ottery vessels

n United States Calabaza / S.D.P.; second smallest marked: Tegua

anto Domingo Pueblo vessels with monotone and 6 pieces allest: 2” H x 2.25” W

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324

A group of Hopi Pueblo polychrome pottery items

Mid/late 20th century; Arizona Bird bowl signed: Annette Silas; small bowl signed: E. Adams / Hopi; spoon signed: C. Naha Nampeyo The yellowware group comprising an Annette Silas (1915-1990, Hopi) bowl with three-color bird motif to interior, a Cheryl Naha Nampeyo (b. 20th century, Hopi) pottery spoon, and various bowls with geometric and avian motifs, 8 pieces Tallest bowl: 4.125” H x 5.125” Dia.; spoon: 1” H x 4.5” L x 1.75” W $500-700 Provenance: Private Collection, Southern California

325

A group of Puebloan and Mata Ortiz pottery Six works:

Dorothy Torivio (b. 1946, Acoma Pueblo) Two seed pots, late 20th/early 21st century Each signed: Dorothy Torivio / Acoma N.M. The pots with black painted geometric motifs on white slip glaze 1.325” H x 3.25” Dia. and 1.25” H x 2.75” Dia. Gabriel Paloma (b. 1966, Zuni Pueblo) A diminutive pottery vessel, late 20th/early 21st century Signed to underside: Paloma / 89’ / Zuni The vessel with brown and orange geometric motifs on a white ground 2.125” H x 2.5” Dia. Jesus Ledezma (20th century, Mata Ortiz) A seed pot, late 20th/early 21st century Inscribed to underside: Jesus Ledezma The flat-shouldered seed pot with red and black repeating geometric motif on a white slip glaze 1.325” H x 3.625” Dia. A handled water jug, late20th/early 21st century Unmarked The water jug with opposed handles and polychromed slip glaze and avian motif 6.875” H x 7.325” W x 6.25” D A seed pot, late 20th/early 21st century Signed: Chino The pot with fine line star motif in black on white with blue and red centered band with geometric motif 2.25” H x 5.75” Dia. 6 pieces $400-600 Provenance: The Estate of Eleanor Koffler

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326

A mixed group of Native American-style miniature objects

20th century Six marked for maker A large varied group of diminutive items including a pierced carved wood cup (Sinner / SKS / O4), a Hopi pottery katsina figure, a Hopi wooden kiva ceremony tableau scene with tiny figures, four Puebloan miniature pottery jars in various styles (N. Simplicio, Zuni; AROY [feather]; Nona Naha), a silver jar with applied lizard motifs, two Pima/Tohono O’odham-style miniature white horsehair lidded baskets, a large painted pottery lidded jar, two miniature lidded baskets, and a basketry woven bird figure, 14 pieces total Largest: 4.75” H x 2” Dia.; smallest: 0.625” H x 0.5” Dia. $200-400 Provenance: The Estate of Eleanor Koffler

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328

Two San Ildefonso Pueblo pottery vessels Two works:

Albert and Josephine Vigil (1927-2009 and 1927-2001, San Ildefonso Pueblo) A San Ildefonso redware pottery jar, late 20th/21st century Signed to base: Albert & Josephine / San Ildefonso Pue A shouldered small bowl with banded buff feather motif 4.25” H x 5.25” Dia. Doug and Charlotte Vigil (each b. 1954; San Ildefonso Pueblo) A San Ildefonso redware pottery jar, late 20th century Signed to base: Doug Charlotte Vigil / San Ildefonso Pue A vase form jar with a band of buff curvilinear motifs 6.75” H x 5” Dia. 2 pieces $200-300 Provenance: Private Collection, Southern California Second jar exhibited: SWAIA 69th Annual Indian Market, Santa Fe, NM, 1990.

Other Notes: Second jar accompanied by a Second Place ribbon award, SWAIA, Santa Fe, NM, 1990.

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327

Helen Tafoya Henderson (b. 20th century, Jemez Pueblo)

A diminutive jar, late 20th/early 21st century Incised to underside: Henderson / Jemez Pue NM The jar recto featuring sgraffito and painted floral and hummingbird motifs, the verso with deep carved linear design 3.625” H x 3.625” W x 3.125” D $100-200 Provenance: Private Collection, Southern California

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329

Four Maricopa pottery vessels

Mid-20th century; Arizona Each appears unmarked The redware vessels comprising one jar with banded swirling motif, one bowl with dimpled waist, one bowl with dot motif, and one bowl with sawtooth motif to rim, 4 pieces Largest: 5.75” H x 6” Dia.; smallest: 3” H x 4” Dia. $400-600 Provenance: Private Collection, Southern California

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330

Two Puebloan pottery owls

Mid/late 20th century; Southwestern United States One marked to underside: [rising sun] / Acoma Sky City / Virginia Lowden; one marked: Santa Clara Comprising one Virginia Lowden (b. 1936, Acoma Pueblo) brown on white painted pottery owl and one burnished blackware owl set in a nest, 2 pieces Blackware: 4” H x 2.5” W x 2.325” D; Lowden: 3” H x 3” W x 2.125” D $200-400 Provenance: Private Collection, Southern California

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331

A group of Native American baskets Three works:

A Washoe basketry bowl Early 20th century; Great Basin A coiled tray with faded hooked sawtooth band 2” H x 8.5” Dia. A small round basket Mid-late 20th century; likely Central/Northern California A small coiled bowl with two bands of floating motifs 2” H x 5.5” Dia. A small oval Papago basket Mid-20th century, Tohono O’odham; Arizona With stepped zigzag motif and overcast stitching to rim 1.25” H x 4.25” W x 3.5” D 3 pieces $300-500 Provenance: Collection of Lura Gard Newhouse Palm Springs Art Museum, acquired as gift from the above

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332

A group of Hopi Pueblo baskets

Early/mid-20th century; Arizona Four works comprising a polychrome coiled basketry tray (11” Dia.), two twined wicker basketry plaques (larger: polychrome, 17.5” Dia.; smaller: 10.375” Dia.), and a Hopi woven piki basket (2.75” H x 11.25” Dia.), 4 pieces $100-200 Provenance: Collection of Lura Gard Newhouse Palm Springs Art Museum, acquired as gift from the above

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333

A group of Native American baskets

Mid-20th century; Western United States Seven works comprising a polychrome coiled round handled tray (14” Dia.), a twined low basketry bowl (3.5” H x 7.5” Dia.), three polychrome twined lidded trinket boxes, one with attached enamel birds (Largest: 3.25” H x 5” Dia.), a small polychrome twined round basket (3” H x 5.25” Dia.) and a large Apache-style burden basket with hide attachments (11.5” H x 13” Dia.), 7 pieces $200-300 Provenance: Collection of Lura Gard Newhouse Palm Springs Art Museum, acquired as gift from the above

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334

A mixed group of pottery and basketry vessels Mid/late 20th century Seven works:

Tamalyn “Tammy” Tarbell (b. 20th century; Haudenosaunee, Kanien’kehá’ka (Mohawk) Nation, New York) A small burnished brownware pottery bowl, circa 1989 Signed and dated to base Tarbell / 89 A low globular bowl with textured rim and fire clouding 2” H x 3.625” Dia. Six further works including a large lidded coiled pine needle basket with applied pine cone accents (8” H x 8” Dia.), a Nicaraguan redware pottery jar with incised geometric motifs by Dina y Felipe Guiterrez (4” H x 4.25” Dia.), a Hungarian matte micaceous brownware pottery seed jar by Kaváts (2.25” H x 5” Dia.), and three Santa Clara Pueblo blackware pottery jars (largest: 3.25” H x 4.25” W; smallest: 2,25” H x 3” Dia.), 6 pieces 7 pieces total $100-200 Provenance: The Estate of Eleanor Koffler

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335

An Apache water basket

Late 19th century; Southwest United States A coiled tall olla with remnants of braided horsehair handles 9.5” H x 7” Dia. $200-300

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336

Two Hopi Pueblo polychrome baskets

Mid-20th century; Arizona Comprising two Hopi Pueblo coiled trays, including a wall plaque tray with antelope motifs (9” Dia.), as well as a Second Mesa miniature tray by Mamie Puhuyesva, with stepped motifs and starburst to center (1” H x 4” Dia.), 2 pieces $200-400

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337

A Southwest clown katsina tree and carved katsinas

20th century; Southwestern United States Tree unsigned; Figures: one marked: Warrior; one marked: Wolf by Pooley [possibly for Emil Pooley] Comprised of a mounted tree branch with four polychrome painted clown figures together with three small polychrome carved wood katsina figures, 4 pieces Tree: 23” H x 18” W; largest figure: 4.625” H $200-300

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339

Two Puebloan pottery figures Two works:

Cheyenne (Diane Lynn) Jim (b. 1957, Diné) A micaceous clay Taos storyteller figure, late 20th century Signed to base: Cheyenne Jim; further marked in ink: Taos NM A seated figure with polychrome details and additional figures seated to legs, with hide fringing and small hide bag 7.25” H x 5” W x 7.5” D Dorothy Herrera (b. 20th century, Cochiti Pueblo) A polychrome Cochiti pottery drummer figure, mid-20th century Marked to base: Dorothy Herrerra / Cochiti NM Seated singing figure holding drum and beater 4.5” H x 3.25” W x 4.25” D 2 pieces $200-400 Provenance: Private Collection, Southern California

338

A group of Puebloan pottery rain god figures

Early/mid-20th century; Southwestern United States One signed to base Six works comprising three Tesuque Pueblo pottery rain god figures, each with a pot, two with pigmented body and designs, and one with smoke-marked finish overall, as well as a large Tesuque Pueblo micaceous pottery rain god with a large pot, together with two blackware pottery rain gods including a Nambe Pueblo figure by Marie Herrera (b.1943, Nambe Pueblo) and one with a two-strand turquoise necklace, 6 pieces Largest: 7.25” H x 4” W x 4.5” D; smallest: 5.75” H x 3.25” W x 3.5” D $400-600 Provenance: Private Collection, Southern California

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340

A large group of Puebloan carved stone fetish figures

Late 20th/21st century Most marked variously: sixteen etched: TT [for Terrence Tsethlakai, Zuni]; two etched: AS /NM [likely for Thelma and/or Aaron Sheche, Zuni]; five dual coyotes marked indistinctly in ink: [likely Thelma and/or Aaron Sheche, Zuni] Comprising a mixed group of fetish carved figures in various stones, sizes, and animals, including coyotes, dual coyotes, wolves, bears, moles, beavers, coyotes, badgers, birds, a squirrel, a frog and a large figural shape, fifteen with bindings, and one shaped like an arrowhead, 34 pieces Largest: 1.75” H x 6” W x 0.75” D; smallest: 1.625” H x 0.625” W x 0.125” D $200-400 Provenance: The Estate of Eleanor Koffler

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341

A group of Hopi Pueblo polychrome pottery items

Mid/late 20th century; Arizona Each appears unmarked The yellowware vessels comprising a low bowl with banded brown kiva step and geometric motifs, a smaller low bowl with wave motif, a handled mug with banded geometric motif, an ashtray with opposed high-relief rests and banded motif, a smaller ashtray with banded floral motif, a bowl with single handle to one side, and an ashtray in the form of a domicile, 7 pieces Largest: 1.875” H x 6.625” Dia.; smallest: 2” H x 3.75” Dia. $500-700 Provenance: Private Collection, Southern California

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342

A group of Puebloan polychrome pottery vessels

Mid-20th century; Southwestern United States One incised: Blue Corn / San Ildefonso Pueblo Comprising one Blue Corn (1921-1999, San Ildefonso Pueblo) three-color bowl with banded geometric motif, one redware wedding vase with cloud, kiva step, and arrow motifs, one redware wedding vase with geometric motif, and two small redware bowls with three-color kiva step and geometric motifs, 5 pieces Largest: 6.75” H x 5.5” W x 3.75” D; smallest: 2.5” H x 4.325” Dia. $300-500 Provenance: Private Collection, Southern California

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343

Three Santo Domingo Pueblo polychrome pottery vessels

Early 20th century; New Mexico Each appears unmarked The three-color pots comprising a top-handled teapot (7.25” H x 6.25” Dia.), a varnished bowl with piecrust crimped rim (6.25” H x 7.75” Dia.), and a varnished jar with flared neck and puki indentation to underside (6.5” H x 6.5” Dia.), each with various floral and foliate motifs on buff ground, 3 pieces $300-500 Provenance: Private Collection, Southern California

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344

A group of Santo Domingo Pueblo pottery items

Early/mid-20th century; New Mexico Each appears unmarked The polychrome items with various traditional foliate and floral motifs comprising a pitcher, three diminutive handled baskets, a bowl with crimped rim, a wedding vase, and a cup, 8 pieces Largest: 4.25” H x 7” W x 4.25” D; smallest: 2.25” H x 3.325” W x 2.325” D $200-400 Provenance: Private Collection, Southern California

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345

A group of Santa Domingo Pueblo pottery items

Early/mid-20th century; New Mexico Each appears unmarked The polychrome pottery group with various three-color floral and foliate motifs, comprising two with crimped rims, two with flared spouts, and two other handled baskets, 6 pieces Largest: 5” H x 7.5” W x 5.75” D; smallest: 2.325” H x 4.875” W x 2.875” D $200-400 Provenance: Private Collection, Southern California

346

A group of Maricopa pottery 4 works:

Barbara Johnson (1925-2004, Maricopa) A red and buff pottery jar, mid-20th century Signed to bottom: B.J The three-color varnished jar with curved sawtooth and swirling motifs 5.25” H x 3.5” Dia. Mary James (active 20th century) A red and buff pottery bowl, early/mid-20th century Signed to underside: Mary James The three-color varnished bowl with banded sawtooth and denticulated motifs 5.25” H x 6” Dia. Malinda Redbird (b. 20th century) A polychrome vase-form jar, mid-20th century Signed to underside: Malinda Redbird The three-color jar with banded modified sawtooth motifs 5.875” H x 4” Dia. A polychrome pottery bowl, early 20th century Appears unmarked The three-color low bowl with banded sawtooth motifs on buff ground 4.75” H x 7.5” Dia. 4 pieces $200-400 Provenance: Private Collection, Southern California

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347

A group of Maricopa pottery vessels

Early/mid-20th century; Arizona One marked to underside: Blackwater Arizona; another marked: PJ The black painted redware group comprising one bowl with high-relief snakes, one smaller frog bowl, one bowl with zigzag motif, one bowl with scalloped rim and curved motif, and one bowl with indented rim and banded dot and curved motifs, 5 pieces Largest: 4.125” H x 5.75” Dia.; smallest: 3.125” H x 3.125” Dia. $200-400 Provenance: Private Collection, Southern California

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348

A group of Puebloan pottery vessels Four works:

Emma Yepa Jemez (b. 1968, Jemez Pueblo) A redware olla jar, late 20th century Incised to underside: Emma Yepa / Jemez The jar with sgraffito banded feather and stepped motifs 5.25” H x 6” Dia. Mark Wayne Garcia (b. 20th century, Santo Domingo Pueblo) A low shouldered seed pot, late 20th century Signed to underside: Mark Wayne Garcia / Santo Domingo Pueblo / [MW cipher] With black feather motif radiating from center on red ground 2” W x 5.75” Dia. Two redware bowls, mid/late 20th century Each appears unmarked Comprising of one flat shouldered and one small bowl, each with banded indented designs to shoulder, 2 pieces Larger: 3” H x 7.5” Dia.; smaller: 2.75” H x 4.5” Dia. 4 pieces total $300-500 Provenance: Private Collection, Southern California

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349

A group of Acoma Pueblo polychrome pottery vessels

Mid-20th century; New Mexico Largest olla signed to underside: Mrs. F. Waconda The three-color vessels comprising a Florence Waconda (b. 20th century, Acoma Pueblo) olla form jar with banded checkered geometric motif and puki indentation, a smaller olla form jar with kiva step motif, a small bowl with checkered geometric motif, and a modified olla form jar with kiva step and foliate motifs, 4 pieces Largest: 6.625” H x 8” Dia.; smallest: 3” H x 4.875” Dia. $300-500 Provenance: Private Collection, Southern California

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350

A group of Acoma Pueblo polychrome pottery vessels

Mid/late 20th century; New Mexico Four marked to undersides: Acoma N.M.; one signed to underside: M. Ascensio / Acoma N.M. Comprising one Margaret Ascencio (b. 20th century, Acoma Pueblo) bowl with three-color avian and geometric motifs, one pot with high-relief rope to shoulder, and three more small vessels with three-color geometric motifs, 5 pieces Largest: 4” H x 5.325” Dia.; smallest: 1.875” H x 2.5” Dia. $300-500 Provenance: Private Collection, Southern California

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351

Three Acoma Pueblo pottery vessels Three works:

Santana Antonio (b. 1915, Acoma Pueblo) A polychrome olla jar, late 20th century Signed to underside: Acoma N.M. / S. Antonio The three-color jar with chicken and floral motifs on white slip 4.5” H x 5.25” Dia. Vivian Seymour (b. 20th century, Acoma Pueblo) A black on white seed pot, late 20th century Signed to underside: V Seymour / Acoma, NM The pot with black spiraled step motif of white slip 3.75” H x 4.75” Dia. Jackie Shutiva Histia (b. 1961, Acoma Pueblo) A white corn jar, early 21st century Incised to underside: Histia Shutiva / Acoma N.M. The speckled white jar with high relief ear of corn and opposed twisted handles 6.125” H x 6.5” Dia. 3 pieces $200-400 Provenance: Private Collection, Southern California

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352

Two Acoma Pueblo pottery bowls Two works:

Emma Lewis (b. 1931, Acoma Pueblo) A polychrome bowl, late 20th/early 21st century Signed to underside: Emma Lewis / Acoma The three-color bowl with Mimbres animal motifs 4.25” H x 6.5” Dia. A black on white pottery bowl, late 20th/early 21st century Signed to underside: M. Miller of Acoma, N. Mex. The bowl with all-over black checkered geometric motif on white buff 2.875” H x 4.25” Dia. 2 pieces

$300-500 Provenance: Private Collection, Southern California

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353

A group of Puebloan polychrome pottery items

Early/mid-20th century; Southwestern United States Each appears unmarked The three-color painted vessels comprising four bowl/dishes, an Isleta Pueblo wedding vase, two Isleta handled pitchers, a small Isleta bowl, and an Acoma Pueblo jar, each with painted floral motifs, 9 pieces Largest: 4.5” H x 5.5” Dia.; smallest: 0.625” H x 2.875” Dia. $200-400 Provenance: Private Collection, Southern California

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354

A group of Puebloan polychrome pottery vessels

Mid/late 20th century; Southwestern United States One signed to underside: R. Malie / Acoma N.M.; one marked: PC / Jemez; one marked: Acoma N. M. / F. W. The group of three-color items comprising one Rita Malie (b. 1946, Acoma Pueblo) pottery basket with twisted handle and foliate motif, two pitchers with kiva step motifs, one Isleta candlestick holder, two pottery baskets with twisted handles, one Acoma diminutive bird bowl, and an Acoma bottleneck vase, each with various traditional motifs, 8 pieces Largest: 6.325” H x 4.25” Dia; smallest: 3.25” H x 2.75” W x 2.325” D $500-700 Provenance: Private Collection, Southern California

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355

A group of Puebloan pottery ashtrays Five works:

Martha Arquero (b. 1944, Cochiti Pueblo) A Cochiti frog, mid/late 20th century Signed to underside: Martha Arquero / Cochiti The frog figure with fly on outstretched tongue 2.75” H x 3” W x 3.25” D A bird head ashtray bowl, mid/late 20th century Marked to underside: Acoma N.M. The ashtray with high relief bird head and three-color geometric motifs to waist 3.5” H x 3.625” W x 3.325” D A bird head low ashtray, mid/late 20th century Marked to underside: Acoma Pottery The ashtray with high relief bird head and opposed curved handle and threecolor avian motif to interior with indented edges 2.25” H x 5.875” W x 5.325” D A polychrome ashtray, mid/late 20th century Marked to underside: Acoma Pottery The ashtray with opposed rests and three-color avian motif to interior with scalloped edges 1.325” H x 4.875” W x 4.5” D A polychrome bird head ashtray, mid-20th century Marked to underside: Acoma. n mex.

The ashtray with high relief bird head and opposed curved handle and opposed rests, featuring three-color avian motif to interior 2.75” H x 5.5” W x 5.75” D 5 pieces $100-200 Provenance: Private Collection, Southern California

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356

A group of Puebloan pottery items Five works:

Juanita Fragua (b. 1935, Jemez Pueblo) A polychrome lizard canteen, early 21st century Signed to underside: Juanita Fragua / Jemez Pue N.M The three-color canteen with high-relief lizard and painted corn stalk motifs, featuring a braided hide strap and corn cob stopper 6” H x 6” W x 4.125” D Terry Tapia (b. 1930, Tesuque Pueblo) A small polychrome canteen, late 20th/early 21st century Signed to underside: Terry Tapia The canteen with hide strap and opposed lug handles, decorated with three-color geometric motif 3.75” H x 3.325” W x 2.25” D Alma Chapella Tahbo (1915-1993, Hopi-Tewa) A polychrome flat pottery disc, mid/late 20th century Signed to underside: Tahbo The disc with three-color moth 2.5” Dia. An Acoma Pueblo miniature canteen, mid-20th century Marked to underside: Acoma N.M. The canteen with indented edges, hide strap, and three-color painted geometric motif 3.875” H x 3.325” W x 1.625” D A round pottery canteen, late 20th century Appears unmarked The canteen with braided hide strap and banded hand motif centering a purple ground 4.125” H x 3.75” W x 3.75” D 5 pieces $100-200 Provenance: Private Collection, Southern California

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Consign Today

Art of the American West 3.12.2024 A Santa Clara Pueblo pottery olla

Price Realized: $8,450

Consignment and Auction Inquiries: marandam@johnmoran.com

SINCE 1969

AUCTIONEERS & APPRAISERS 3 7 4 A r t o f t h e Am e r i c a n We s t l We d n e sd ay, Nov e mb e r l 1 5 , 2 0 23

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SINCE 1969

AUCTIONEERS & APPRAISERS w w w. j o h n m o r a n . c o m 3 7 5

Condition Reports

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

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

3 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 18” H x 30.25” W x 1.75” D 4 Visual: Overall good condition. Dust accumulation and specks of grime commensurate with age.

Blacklight: No evidence of restoration.

Frame: 14” H x 16” W x 1.25” D

Blacklight: No evidence of restoration.

5 Overall good condition. Pale surface soiling and toning throughout. The extreme edges of the sheet slightly worn and abraded. As mentioned, the sheet is laid to artist’s board. The verso of this board is then affixed to the frame’s foamboard backing with double-sided tape.

Frame: 12” H x 14” W x 2.5” D

Framed under glass: 23” H x 29” W x 1.25” D

Frame: 12” H x 14” W x 2.5” D

6 Overall good condition. The tiniest flecks of pigment loss in the upper edge, at center. Not examined out of the frame.

13 Visual: Overall good condition. Slight dust accumulation, occasional specks of grime, and fine craquelure showing primarily in the upper left quadrant, all commensurate with age.

7 Overall good condition. Tiny and occasional specks of scattered foxing in the image. The sheet is hinged to the overmat with two pieces of white hinging tape along the verso of the upper sheet edge.

Condition Reports

10 Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. Missing front metal plaque.

11 Visual: Overall good condition. Dust accumulation commensurate with age. Stretcher bar crease showing slightly along the upper edge.

Framed without glazing: 26” H x 36” W x 1.5” D

378

9 Overall good to fair condition with dust accumulation, minor soiling, and wear commensurate with age. Worn and with scattered areas of darkening to the leather and typical scuffs/scratches, and various marks from use. Scattered minor splits and cracking to some areas including side edges of saddle flaps and stirrup fenders. A break to a narrow front strap, piece retained. Saddle stand not included in sale.

Framed under glass: 19” H x 23” W x 1.25” D 8 Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age.

12 Visual: Overall good condition. Dust accumulation commensurate with age.

Blacklight: No evidence of restoration.

Blacklight: No evidence of restoration Frame: 39.5” H x 53.25” W x 1.75” D 14 Visual: Overall good condition. Slight dust accumulation, occasional specks of grime, minor varnish discoloration, and fine craquelure throughout, all commensurate with age. A few pinhead-sized areas of pigment loss near the center of the upper left quadrant. Stretcher bar creases along the left and upper edges.

Blacklight: No evidence of restoration.

Frame: 36.25” H x 46.25” W x 2.5” D

15 Overall good condition. The silk is pinned on all edges to the back mat and the remaining outermost edges are then taped to the verso of the back mat with blue painter’s tape.

22 Overall good condition. Remnants of brown paper tape from previous mounting are along the edges, verso. The sheet is hinged to the overmat with linen hinge tape along the upper edge.

Framed under Plexiglas: 19.25” H x 19.25” W x 2” D

Framed under glass: 21.5” H x 26.5” W x 1.5” D

16 Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. Felt applied to underside.

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

Framed under Plexiglas: 19.25” H x 19.25” W x 2” D

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

19 Overall good condition. Sandwiched in the mat.

Frame: 28” H x 22.5” W x 1.25” D 20 Visual: Overall good condition. An approximate 0.5” H x 1” W area with flecks of pigment loss to the darker blue-grey pigment in the sky, along the upper edge, at left. A small band of indentation to the pigment along the upper edge, possibly attendant with the pigment not dried to completion and then set inside it’s frame. Artist pinholes in the extreme upper edge.

Blacklight: No evidence of restoration.

Frame: 13.5” H x 17.5” W x 2” D 21 Visual: Dust accumulation, surface dirt, and specks of grime commensurate with age. The canvas detached from the board in the upper right corner. The signature, originally written in brown, reinforced in black. Frame abrasion along each of the extreme edges.

Blacklight: No evidence of restoration.

Unframed

24 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Side A with even fading. A few scattered faint marks verso. With remnants of decorative fringe.

A couple of minor single breaks to side edge cording. With two small holes, one near the center of one long edge, 0.75”; another near opposite edge, 0.25”. Mounted with Velcro strips stitched to textile and adhered to frame. Adhesive Velcro to frame loosening in places. Textile measurements approximate; textile not examined out of frame.

Frame: 64.5” H x 41.5” W x 1.625” D 25 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: very slight fading to one side and areas of likely color variation; a few scattered faint spots/marks; a couple of minor small holes, and very minor evidence of moth damage, with a tiny a hole approximately two warps and a spot of surface grazing.

26 Overall fair condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: uneven fading to side A; scattered areas of light soiling/small spots; areas of dye transfer; multiple scattered areas of loose weave and holes, with fraying and loss to selvage edges and breaks to the selvage cords.

27 Overall fair condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: even fading to side A; scattered areas of light soiling/small spots; areas of dye transfer; scattered areas of loose weave/ small holes and fraying with loss to selvage edges and breaks to the selvage cords.

Condition Reports

17 Overall good condition. The silk is pinned on all edges to the back mat and the remaining outermost edges are then taped to the verso of the back mat with blue painter’s tape.

379

28 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; areas of soiling overall, especially to one side; a couple of holes near one edge with loss and loose weave; scattered breaks to selvage edges, with associated loose weave; and a narrow area of loose weave to the center of a striped band, 8” L.

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

29 Overall good condition. The six loose screenprints are loose, as issued, and affixed to the bound sheets by four clear archival corners. Very soft and unobtrusive surface scratches to the leather-bound book.

39 Overall good condition with dust accumulation and wear commensurate with age and use. Scattered stitch losses to rim, largest area: 0.75”. Scattered stitch losses to interior and exterior, largest area: 0.25”.

Leather-bound book: 22.5” H x 17.5” W x 1.125” D

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

30 Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. The base with 2” long scratch, sticker ghost, and a scuff at the mounting to topside.

31 Overall good condition with dust accumulation and wear commensurate with age and use. With a few scattered stitch losses to rim and interior, and multiple scattered stitch losses to exterior, primarily to banded motifs. A small opening to center.

With light shelf wear to base, and a small patch of adhesive residue. Scattered pale white marks to sides. Shape very slightly slumped.

Condition Reports

32 Overall good condition with dust accumulation and wear commensurate with age and use. Pinhole to base.

380

33 Overall good condition with dust accumulation and wear commensurate with age and use. Multiple stitch losses to rim, largest area: 0.625”. Scattered wear to stitches and scattered stitch losses to interior and exterior. Shelf wear to base.

34 Overall good condition with dust accumulation and wear commensurate with age and use. A few scattered single stitch losses to interior and exterior.

Discreet pinhole just below rim.

35 Overall good condition with dust accumulation and wear commensurate with age and use. A single stitch loss to rim. Old paper label residue to interior base.

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

38 Overall good condition with dust accumulation and wear commensurate with age and use. Scattered single stitch losses to interior. A few scattered single stitch losses to exterior and light shelf wear to base.

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

42 Overall good condition with dust accumulation and wear commensurate with age and use. Rim with one stitch loss and breaks to a couple of adjacent stitches. Slight fading to interior.

43 Overall good condition with dust accumulation and light wear commensurate with age and use. With stitch loss to rim at terminal point. Scattered stitch losses to exterior. Rim slightly out-of-round.

44 Overall good condition with dust accumulation and light wear commensurate with age and use. A few scattered stitch losses to rim and to interior. Light shelf wear and multiple scattered single stitch losses to exterior and base. A few minor white marks to side near base. With custom built acrylic display case.

45 Overall fair to good condition with dust accumulation and wear commensurate with age and use.

Darkening to shoulders overall. A few scattered stitch losses overall. A few scattered losses to beads, one retained. Feathers with wear and a few losses. At least two previous adhesive repairs to rim, including to rods below.

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

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

49 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Scattered flaking and small chips to rim, flaking to decorations throughout with rubbed wear to the glaze. More concentrated wear to underside.

50 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With a 3” crack radiating from rim and scattered fleabites to rim. One side and bottom with smoke clouding, as well, mounting putty to underside. Scattered rubbed wear, and small chips to the polychrome and glaze.

51 Overall good condition with shelf wear, scattered scuffs, and inherent firing flaws commensurate with age. A 1.5” x 1” repaired chip to rim. Scattered ladle fleabites to rim. Scattered surface chips and abrasions to the glaze and rubbed wear/degradation to polychrome. The underside with smoke clouding.

52 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The rim with a 1” crack to the glaze. More scuffs concentrated near the underside, with a previous retailer’s mark in graphite.

53 Overall good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. One side with significant erosion to the decoration. With allover cuffing to the decorations, the largest being 1.25” long.

54 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With a few small scuffs to the rim and sticker ghost to underside.

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

Issues include, but not limited to: overall staining/ soiling to cotton center; a couple of areas of loose stitching to sides, a few scattered areas of minor moth grazing to each side of wool banding 56 Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age.

57 Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. Felt feet applied to underside of plinth.

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

59 Overall good condition with scattered scuffs and light surface scratches commensurate with age.

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

61 Overall good condition. The colors fresh. Not examined out of the frame.

Framed under Plexiglas: 36.25” H x 44.25” W x 2” D 62 Overall good condition with dust accumulation, scattered scuffs, scratches, nicks, shrinkage cracks, and indentations commensurate with age.

Polychromed surface with darkening in areas and rubbed wear. A few older partial fractures to openwork ear/feather motifs, with very slight loosening to these sections. Light wear and some loss to hair elements.

63 Overall good condition with dust accumulation and wear commensurate with age. With scattered light scuffs to paint and imperfections inherent to wood.

Cedar bark strips slightly disheveled.

64 Overall good condition. The colors good. Pale light staining. Not examined out of the frame.

Framed under Plexiglas: 26.5” H x 25.5” W x 1” D

Condition Reports

46 Overall fair condition with dust accumulation and wear commensurate with age and use. Scattered multiple breaks to rim rods and through to rods below, with some horizontal breaks, all with attendant stitch losses.

381

65 Overall good condition. The colors fresh. Not examined outside of the frame.

Framed under glass: 24.25” H x 30.75” W x 1.5” D 66 Overall good condition. The colors good. Pale time staining along the extreme edges. Not examined out of the frame.

Framed under glass: 23.25” H x 22.25” W x 1” D 67 Overall good condition with scattered light scratches, scuffs, nicks, indentations, shrinkage cracks, and wear commensurate with age and use. The larger with possibly original shop information label verso, partially obscured and with lost corner.

68 Overall good condition with light wear and scratches commensurate with age and use. Shell inlay with scattered light abrasions. Horn with inherent surface reaching fractures.

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

70 Overall good condition with dust accumulation and wear commensurate with age. Scattered scratches, scuffs and crazing to paint and imperfections inherent to wood. A few scattered surface marks. A small hole to one eye area, and likely missing one shell tooth to top right corner of mouth.

Condition Reports

71 Each overall good condition with scattered light scratches, scuffs, nicks, indentations, shrinkage cracks, and wear commensurate with age and use.

382

72 Overall good condition with scattered light scratches, scuffs, nicks, indentations, shrinkage cracks, and wear commensurate with age and use. Rubbed wear to painted areas.

73 Overall good condition with dust accumulation, scattered light scratches, scuffs, nicks, indentations, and wear commensurate with age and use. Shell inlay with scattered abrasions, and losses to one eyebrow.

74 Overall good condition with scattered light scratches, scuffs, nicks, indentations, and wear commensurate with age and use.

75 Overall good condition with scattered light scratches, scuffs, nicks, indentations, shrinkage cracks, and wear commensurate with age and use.

With three-sided fracture through top edge, 1.75” L x 1” W, held in place.

76 Overall good condition with dust accumulation and wear commensurate with age and use. Red stitching to center base. Slight dimpling around lower edge.

With original collector’s label.

77 Each in overall fair to good condition with dust accumulation and wear commensurate with age and use. Each with fading to exposed colors. Tlingit basket with scattered minor losses to imbrication.

Largest Makah lidded basket with detached base and attendant stitch losses. Makah basket without lid has collapsed rim with a couple of stitch breaks near rim edge.

78 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered light, even fading to each side; scattered breaks to selvage cords, with attendant stitch losses primarily to grey edges. A couple of small areas with minor insect grazing.

79 Overall good condition with wear, dust accumulation, and minor scuffs and scratches commensurate with age. Stone with inherent surface-reaching fractures, inclusions, and abrasions. A few scattered minor chips. Evidence of previous repair to top figures.

80 Overall good condition with wear, dust accumulation, and minor scuffs and scratches commensurate with age. Stone with inherent surface-reaching fractures, inclusions, and abrasions. Scattered chips verso, along vertical edge, with one large chip 1.25” L. Scratches to base. Adhesive residue to base at join with carving, likely repaired.

81 Overall good condition with wear, dust accumulation, and minor scuffs and scratches commensurate with age. Stone with inherent surface-reaching fractures, inclusions, and abrasions.

82 The carving is presented broken in three large fragments, with sections from each missing. The largest with a vertical fracture to one side. Several small fragments also retained. The three large fragment dimensions: 14” H; 9.25” H; 8.25” H.

84 Overall good condition with dust accumulation, scattered scuffs, scratches, nicks, shrinkage cracks, and indentations commensurate with age.

Polychromed surface with rubbed wear. Fracture to one point at viewing right side of masked face.

85 Overall good condition with dust accumulation, scattered light scratches, scuffs, nicks, indentations, and wear commensurate with age and use. Shell with scattered abrasions. Tiny chip to one claw.

86 Overall good condition with scattered scratches, scuffs, nicks, indentations, and wear commensurate with age and use. Shell with scattered abrasions.

Scattered marks/nicks to bowl interior. A few scattered shrinkage cracks to base, with evidence of previous repair.

87 Overall good condition with scattered light scratches, scuffs, nicks, indentations, and light wear commensurate with age and use. A few scattered shrinkage cracks to bowl interior.

88 Overall good condition with scattered light scratches, scuffs, nicks, indentations, and wear commensurate with age and use.

89 Overall good condition with dust accumulation, light soiling, scuffs, scratches, and wear commensurate with age and use. Darkening to wood in areas, likely from use. Wood with scattered areas of small splits and chips to edges, primarily to toe areas. Each with remnants of hide lacing to center area. Some losses to yarn tufts.

90 Overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. Each foot with Mounted to a metal base with a support bar to the backside. With felt feet applied to underside of base. Figure swivels slightly.

91 Overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. The entire underside is lined with adhesive felt, possibly obscuring any markings.

Figure is loose on mounting.

92 Overall good condition with scattered light scratches, scuffs, nicks, indentations, and wear commensurate with age and use. A deep nick to wood above the eye 1” L, and a second small nick just above at the edge.

A small nick to the top of one fin.

93 Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. With a nickel-sized abrasion to chin of one of the faces.

Other scattered inclusions inherent in the material.

94 Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age.

95 Overall good condition with wear, dust accumulation, and scattered scuffs and scratches commensurate with age. More concentrated scuffing to underside and front of walrus.

96 Overall good condition with minor shelf wear and minor scuffs commensurate with age. With a glued numbered sticker to underside.

97 Overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material.

98 Overall good condition with wear and minor scuffs commensurate with age. The bone with naturally occurring imperfections, inclusions, and weathering typical for the material. With large crack spanning from the neck to midsection of figure with attendant smaller cracks throughout.

99 Overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. With felt feet to underside.

Knife is loose, not secured to figure.

Condition Reports

83 Overall good condition with scattered light scratches, scuffs, nicks, indentations, and wear commensurate with age and use. A small area of heavier rubbed wear to neck.

383

100 Overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. With cork feet applied to underside.

101 Overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. With felt feet applied to underside.

102 Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. Two spots of darkening to figure verso, possibly sticker residue.

Mild scratching to acrylic base.

103 Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. The underside with sticker and glued numbered label.

The verso with two localized areas of possible scuffs, possibly inherent in the material.

104 Overall good condition. Not examined out of the frame.

Framed under glass: 22” H x 17.5” W x 1.25” D 105 Overall good condition. Not examined out of the frame.

Framed under glass: 19” H x 17” W x 1.25” D 106 Overall good condition. Not examined out of the frame.

Condition Reports

Framed under glass: 17.25” H x 14.25” W x 1.5” D

384

107 Visual: Overall good condition. A rice-sized area of surface loss in the extreme upper right corner, and two pinhead-sized spots of abrasion with attendant pigment loss in the extreme lower corners. Wear to the cardboard backing commensurate with age and handling.

Blacklight: No evidence of restoration.

Unframed

108 Overall good condition. The paper slightly toned throughout. A small group of scattered pinpointsized pale stains in the sky near the left edge. An occasional tiny and unobtrusive foxmark in the upper left quadrant. A few short, delicate, and unobtrusive surface scratches near the left and right edges. Not examined out of the frame.

Framed without glazing: 19” H x 23” W x 1” D 109 Overall good condition. Not examined out of the frame.

Framed under glass:16.75” H x 16.75” W x 1.75” D 110 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered marks/soiling to one side, near one short edge and along center line.

111 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few scattered minor spots of soiling/staining, a few scattered small minor areas of light insect grazing to one corner; and a loose tassel to one corner.

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

113 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: A few scattered areas of minor light moth grazing near one edge, and a long vertical area of discoloration/ staining to a section between the second and third figures from left edge.

114 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to side A; a few areas of red dye transfer; a few scattered small spots, with a larger area of soiling near one end; a couple of small holes and an area of loose weave near one corner; and a few areas of stitched repair/reweaving. With applied fabric sleeve for hanging verso.

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

Issues include, but not limited to: fading to side A; a few scattered faint stains, and a couple of minor small areas of loose weave. With applied fabric sleeve for hanging verso.

117 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to side A; scattered pale spots/small stains to one end; an area of additional staining to side B; and a couple of scattered small holes and a few small areas of loose weave. With attached fabric sleeve for hanging verso.

118 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: slight fading to side B, scattered small spots/stains overall, a few small areas of dye transfer, and a minor break to selvage cord at one end. With applied fabric sleeve for hanging verso.

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

Issues include, but not limited to: fading to side A; scattered areas of loose weave to corners and edges with some breaks to selvage cords and with attendant stitch losses.

120 Each in overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Third textile with a small faint spot to one side.

121 Overall good condition with dust accumulation and wear commensurate with age and use. A few scattered areas of loose beading and single row bead loss to one short side. Canvas fabric with two unfinished openings for inserting saddle straps, and scattered areas of soiling and stains, primarily near openings for saddle straps. Scattered creasing, small stains and soiling to the leather. Two tabs with losses to green and white beads.

122 Overall good condition with dust accumulation and wear commensurate with age and use. Scattered small areas of loose beading and bead loss. Scattered areas of minor loose seam stitching. A few short minor splits to hide at edges. Canvas fabric with four openings for inserting saddle straps, and scattered areas of soiling and stains, primarily near openings for saddle straps. Scattered creasing, small stains and soiling to the leather. Green felt edging with scattered small holes. Wear and minor losses to fringe.

123 Overall good condition with dust accumulation and wear commensurate with age and use. Scattered minor creasing, a few small stains and light soiling to the leather. Oxidation to the metal cones.

124 Overall good condition with dust accumulation and wear commensurate with age and use. Scattered creasing, small stains and soiling to the leather. A 1” Dia. hole near top, possibly inherent to hide structure.

125 Overall good condition with dust accumulation and light wear commensurate with age and use. Scattered areas of loose beads and single row bead losses, primarily to right shoulder. Light soiling, a few stains and darkening to calico lining, with a couple of red marks, likely dye transfer. Hide fringe with wear and losses to wrapped quills, losses and breaks to feathers, and oxidation to metal cones.

126 Overall good condition with dust accumulation, hide discoloration and wear commensurate with age and use. A few scattered areas of loose or missing beadwork, primarily along right long edge and center flap. Repurposed leather with previous decorative stitching lines overall. Tarnishing/oxidation to metal.

“BC” inscribed in ink verso.

127 Each in overall good condition with dust accumulation and wear commensurate with age and use. Scattered creasing, small stains and soiling to the leather.

128 Each Overall good condition with dust accumulation and wear commensurate with age and use. Scattered creasing, small stains and soiling to the leather.

Beaded bag with scattered loose beads and single strand bead losses. Scattered losses to beaded edging. A few areas of failed seam stitches, and a worn hole to top edge with attendant bead loss and break to edge. Long bag with

Condition Reports

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

Issues include, but not limited to: slight fading to side A; a few scattered faint stains and a couple of minor loose stitches. With applied fabric sleeve for hanging verso.

385

129 Each in overall good condition with dust accumulation and wear commensurate with age and use. Sheath with scattered quill losses to fringe dangles. Awl with scattered minor shrinkage cracks and small chips to wood handle.

130 Each in overall good condition with dust accumulation and wear commensurate with age and use. A couple of scattered areas of single row bead loss and loose stitching near edges. Scattered creasing, small stains and soiling to the leather.

Soiling and used wear to soles. Wear and small breaks to feathers.

131 Each in overall good condition with dust accumulation and wear commensurate with age and use. A few scattered areas of bead loss and loose stitching, especially to one heel. Scattered creasing, small stains and soiling to the leather. Soiling and used wear to soles.

132 Each in overall good condition with dust accumulation and wear commensurate with age and use. Scattered areas of bead loss and loose stitching, especially to one heel. Scattered creasing, small stains and soiling to the leather. Soiling and used wear to soles. One tongue lacking dangles, and loss of feathers to remaining dangle. A small area of failed stitching to one sole.

Condition Reports

133 Each in overall good condition with dust accumulation and wear commensurate with age and use. Scattered creasing, small stains and soiling to the leather. Soiling and used wear to soles. A small area of loose stitching to one sole seam.

386

134 Overall good condition with dust accumulation and wear commensurate with age and use. A couple of areas of single row bead loss. Scattered edge creasing, small stains and soiling to the leather.

135 Overall good condition, with dust accumulation, general wear, minor soiling and scattered losses to beadwork commensurate with age and use. Loose stitching to beadwork at most edges. Some fringing drops lacking beads, some retained. Scattered minor holes to lining, likely insect grazing.

136 Each in overall good condition with dust accumulation and wear commensurate with age and use. Apache bag with few scattered areas of bead loss and loose stitching, primarily near top opening, with a few losses to fringing. Scattered creasing, small stains and soiling to the hide leather of each, with a couple of breaks to lacings. Sioux purse with inked inscription verso: Sioux Purse / [tipi motif].

137 Each in overall good condition with dust accumulation and wear commensurate with age and use. Scattered wear, breaks, and losses to quill wraps and feathers of fringe dangles. Scattered creasing, small stains and soiling to the leather. Horse tails slightly disheveled.

138 Overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material.

139 Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. Two sticker ghosts to verso. The underside of one foot with applied numbered label. Two localized areas of gold coloration, possibly inherent to the material. Three pea-sized dark spots to the front.

140 Overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. With cork feet applied to underside 141 Each overall good condition with wear, dust accumulation, and minor scuffs commensurate with age.

142 Each overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. Each with felt feet.

143 Each overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. Each with glued numbered tag to underside.

145 Each overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. Both with felt feet to underside. The larger with scattered small chips to the feet. The smaller with small chips to the tail.

146 Each overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. Two with felt feet applied underside. Beaver figure with scattered abrasions to bottom edge.

147 Each overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. Each with various applied stickers and glued numbers to undersides.

148 Each in overall good condition with dust accumulation, light wear and faint scratches and scuffs commensurate with age and wear. Issac and Ruth figures with minor chip to one foot. Most with felt pads to base. A few with label residue.

149 Overall good condition with dust accumulation, scattered scuffs, scratches, nicks, shrinkage cracks, and indentations commensurate with age. Overall scattered scuffs and rubbed wear to paint and small cracks and imperfections inherent to wood.

Raven’s head with larger open fracture to top, 13” L approximately. Sculpture appears to be carved from one piece of wood, with chisel marks and larger shrinkage cracks verso. Wings attach with metal screws.

150 Overall good condition with dust accumulation, scattered scuffs, scratches, nicks, shrinkage cracks, and indentations commensurate with age. Overall scattered scuffs, minor cracks, and rubbed wear to paint and small cracks and imperfections inherent to wood. With settled soiling in places, likely from outside exposure. Each piece of the sculpture appears to be carved from one piece of wood, with chisel marks and larger shrinkage cracks verso.

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

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

153 Overall good condition with dust accumulation and wear commensurate with age. Scattered scratches, scuffs and imperfections inherent to wood. A few shrinkage cracks to wood. A few scattered surface marks.

154 Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. Pea-sized chipped abrasion to upper corner.

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

156 Overall good condition. Very pale time staining. With deckled edges.

Framed under glass: 29.75” H x 35.75” W x 2.25” D 157 Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age.

158 Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age.

More concentrated scratches to legs. One with 1.5” diameter stain to left side of ladder back. Leather in good condition with scattered scuffs, scratches, and a few stains. The L. & J.G. chairs possibly refinished and with reupholstered seats. Each with later added reinforcements to the seat undersides. The solo chair with a tear to the leather seat, staining, cracking, and tears to the underside.

159 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include but not limited to: a few scattered minor spots; and scattered small holes, primarily to one side, likely from moth grazing.

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

Issues include, but not limited to: a few loose stitches to sides; and a few scattered small spots/marks.

Condition Reports

144 Each overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. Each with glued numbered label to underside.

The flounder with previous retailer’s sticker to underside and one with sticker ghost.

387

161 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few areas of soiling to center of one side.

162 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. With narrow stitched fabric sleeve to one side with wood dowel.

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

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

165 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: even fading to side A; scattered minor staining/soiling to both sides; loose stitching to two corners, and scattered areas of small holes overall from likely moth grazing.

166 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered small spots and surface soiling, and areas of possible color variation in black dye.

Condition Reports

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

388

168 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few scattered areas of dye transfer; a few scattered minor breaks and small areas of loose weave to selvages; scattered small holes and areas of minor moth grazing; and a couple of areas of possible woven repair near one end.

169 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 red dye transfer; uneven fading to blue/ green wool; scattered areas of light soiling to both sides; a small area of loose weave with a few stitch gaps at center; and loose selvage stitching to each corner.

170 Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age. Scattered scuffs and scratches to the wood base.

171 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: slight fading to side A; scattered areas of minor moth grazing to each side.

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

173 Overall good condition. An unobtrusive and faint 1” vertical tear in the lower edge, at center. Pale mat staining to the verso sheet. The sheet is hinged to the backmat with brown tape in two places on the verso of the upper sheet edge.

Framed under glass: 21.75” H x 28.75” W x 2” D 174 Overall good condition. The colors good. Not examined out of the frame.

Framed under glass: 15.25” H x 21” W x 1.25” D 175 Overall good condition with shelf wear, scattered scuffs, scratches, and inherent firing flaws commensurate with age and use. With small flea bite to outer edge of spout and two black nickel sized smudge marks possibly due to fire clouding.

Localized areas of rubbed wear to polychrome designs.

176 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With 6” long crack radiating from rim to bottom and evidence of attendant restoration and touchups. Scattered hairline cracks and small chipped losses to the glaze.

178 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age and use. Evidence of restorations throughout. Scattered fleabite chips to the rim.

179 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The largest with 1” chip to the rim, rubbed degradation to the slip, concentrated primarily to the widest areas of the waist, and some degradation to the lower wash. The medium vessel with penciled mark to underside and rubbed wear and small losses to slip and rim.

180 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Each with sticker ghost to underside.

181 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With a 2” orange patch near the underside possibly from heat and use.

182 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. One with repair to underside. One with 1” crack to the rim. Each with some rubbed wear to the polychrome designs.

183 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. One tile with two small drilled hoes near top. One with photograph applied with clear tape to underside. Two Sadie Adams tiles with penciled marks to underside, one with sticker residue. Each with scattered fleabites.

184 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Scattered crazing to the glaze and localized areas of scratches and scuffs.

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

186 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The Kahe and Tosa each with rubbed wear and scattered small losses to the black painted designs.

187 Visual: Overall good condition. Several specks of grime visible in raking light.

Blacklight: No evidence of restoration.

21” h x 27” W x 1.75” D 188 Visual: Overall good condition. A stray fleck of white pigment near the center of the right edge.

Blacklight: No evidence of restoration.

Frame: 15” H x 17” W x 1.75” D

189 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 16.5” H x 14.5” W x 1.75” D 190 Overall good condition with shelf wear, scattered scuffs, degradation to materials, and inherent firing flaws commensurate with age and possible excavation. With a pea-sized chip to the neck and scattered other small chips. Overall crazing to the glaze and a shallow crack near the base of the handle. Two 1” diameter black stains, one to side, one to underside.

191 Overall fair condition with shelf wear, scattered scuffs, and inherent firing flaws commensurate with age and possible excavation. With a 1.5” long crack radiating from the rim and a 2.5 x 1.75” area near rim of restoration/repair. Four large black fire cloud stains. A pea-sized chipped loss to base and other scattered small losses from age and use.

Condition Reports

177 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age and use. Localized heavier scratching to the interior. Scattered fleabite chips to the rim and one sizable loss to the rim measuring approximately 1 inch in length.

389

192 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Repair to handle at the juncture with the bowl with attendant fading to decorations. Markings to underside in a black ink.

202 Overall good condition with dust accumulation and wear commensurate with age and use. A few scattered areas of minor flaking to imbricated stitches. A minor adhesive repair to terminal. Very slightly out of round at rim.

193 Overall good condition with dust accumulation and wear commensurate with age and use. Very slightly slumped and slightly out-of-round. Rim with a few scattered areas with minor breaks to sticks and stitch losses, just at rim and below, with evidence of previous repair, largest: 1” L.

203 Overall good condition with dust accumulation and wear commensurate with age and use. Out of round and slightly slumped. A couple of minor breaks to rim stitches. Light shelf wear to base.

194 Overall good condition with dust accumulation and wear commensurate with age and use. Very slightly distorted and out-of-round at rim. A few scattered minor flakes to imbrication stitches.

195 Overall good condition with dust accumulation and light wear commensurate with age and use. Lid with 1.5” split across rods at center section, and interior lid lip partially detached.

196 Overall good condition with dust accumulation and wear commensurate with age and use. Minor single stitch break to lid terminal.

197 Overall good condition with dust accumulation and light wear commensurate with age and use. Slightly slumped to one side, with minor distortion to crown.

Condition Reports

198 Overall good condition with dust accumulation and light wear commensurate with age and use. A couple of minor stitch losses to rim terminal. Very slightly out-of-round, with minor distortion to rim.

390

199 Overall good condition with dust accumulation and light wear commensurate with age and use. Two minor stitch losses to rim terminal. Slightly slumped to one side.

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

Scattered flaking to imbrication stitches. Slightly out of round and of irregular shape, with distortion to rim.

201 Overall good condition with dust accumulation and light wear commensurate with age and use. A few scattered minor flakes to imbrication.

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

205 Overall good condition with dust accumulation and wear commensurate with age and use. With attached collector’s tag.

206 Overall good condition with dust accumulation and wear commensurate with age and use. A few single stitch losses and minor breaks to rim. A couple of faint marks to base.

207 Overall good condition with dust accumulation and wear commensurate with age and use. Scattered multiple stitch losses to rim, with possible breaks to rim rods and lower. A few scattered stitch losses to interior.

208 Visual: Overall good condition. Dust accumulation, occasional specks of grime, scattered craquelure, all commensurate with age. Soft stretcher bar creases along the four sides. Creases in the canvas, mostly scattered throughout the center.

Blacklight: A 7” H x 1” W diagonal area of touch-up above the figure riding the horse.

Frame: 36” H x 46” W x 1.75” D

209 Visual: Dust accumulation, grime, and varnish discoloration commensurate with age. Scattered craquelure, some of which is unstable with attendant occasional pinhead-sized (or smaller) paint losses.

Two open tears in the canvas near the upper left corner, one of which is approximately 0.5” curved, and the other is 0.25” L-shaped. Two additional 0.5” horizontal tears in the canvas, both with related patches verso, one in the upper right quadrant, and the other in the lower left quadrant. Stretcher bar creases and occasional frame abrasions along the outermost edges. The wooden stretcher is lacking its keys, and as a result, the canvas is loose and has come untacked in places along the upper wrapped edge.

215 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The smaller bowl with rubbed degradation to the slip and paint. Each with fleabites to rim, the larger with scattered chips to rim. The larger as well with scattered imperfections in the paint.

Blacklight: Scattered touch-ups, the largest approximately quarter-sized in the lower left quadrant.

217 Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. Scattered scuffs and scratches to legs, body, and face. A few small black marks to backside.

210 Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age. Titled by repute. This work has been refinished from its original matt black patina and the granite base has been added in place of the sculpture’s original walnut base.

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

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

213 Overall good condition with dust accumulation, shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. An area of flaked wear to one area of shoulder: 1.25” L. A couple of horizontal scratches/marks to one shoulder area. A few scattered chips to rim. Scattered dark stains to one side. Felt pads to base.

214 Overall good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. A few instances of fire clouding to exterior. The rim with a 1.25” x 0.625” chipped loss. Showing signs of use and subsequent flaking to the rim and scratching to interior.

218 Overall good condition. The silk is mounted to the back mat.

Framed under Plexiglas: 43.625” H x 33.5” W x 0.75” D 219 Overall good condition. Not examined out of the frame.

Framed under Plexiglas: 20.5” H x 21.25” W x 1” D 220 Visual: Overall good condition. Not examined out of the frame.

Blacklight: No evidence of restoration.

Frame: 10.75” H x 12.75” W x 1.25” D 221 Overall good condition. Minor dust accumulation, specks of occasional grime, and craquelure throughout, all commensurate with age.

Blacklight: A small, pinhead-sized area of touchup to the left of the figure’s face, in the upper left quadrant.

Frame: 37.75” H x 27.75” W x 2” D

Condition Reports

Unframed

216 Overall good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. With a 1” chipped loss to the rim and a 5” area along one side of the rim with scattered small chips and rubbed wear. Also with a 0.25” chip to the underside.

391

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

229 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Some soiling to exterior glaze, possibly from moisture.

Framed under Plexiglas: 43.25” H x 50.5” W x 1.25” D

230 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The waist with rubbed wear and scuffing, obscuring some of the decoration. As well, some rubbed wear to the rim with a few small losses to paint.

223 Each overall good condition. Not examined out of the frame.

Each framed under glass; frame of largest 27.5” H x 31.5” W x 1” D 224 Overall good condition. The full sheet with deckled edges. The colors fresh. The sheet is framed floating and hinged to the back mat. Not examined out of the frame.

Framed under Plexiglas: 40.25” H x 48” W x 1.5” D 225 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Heavier scuffing throughout the exterior, including white, blue, black and orangecolored scuffs and scrapes to the glazed surface.

226 Overall good condition with dust accumulation and wear commensurate with age and use. A couple of minor grazing marks at top edge verso.

Condition Reports

227 Visual: Overall good condition. Dust accumulation, specks of grime, and fine craquelure, all commensurate with age. Stretcher bar creases along the upper and lower edges. Unobtrusive and scattered stray flecks of house paint. A pea-sized repaired hole with attendant pigment loss and a related canvas patch, verso.

392

Blacklight: A pea-sized area of touch-up in the upper edge, at left.

Frame: 29.625” H x 25.625” W x 1.75” D 228 Visual: Overall good condition. Pale light staining.

Pea-sized or smaller scattered and unobtrusive foxmarks. Not examined out of the frame.

Blacklight: No evidence of restoration.

Framed under glass: 37.25” H x 29” H x 1.25” D

231 The ladle appears to be partially reconstructed, including re-adhering of pieces, scattered possible fills throughout, and possible retouching/ overpainting.

232 Each overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. The second painted ladle with hairline to ladle bowl verso, 1.5” L. 233 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With a 0.75” long crack in the glaze to one side. As well, a pea-sized flake to the glaze.

Scattered fire clouding. Pinkish paint-like substance to underside.

234 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Pea-sized imperfection to rim. Fire clouding to underside.

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

236 Overall good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. Color variations to glaze overall. A few scattered deeper scratches in places.

Scattered pale patches to glaze overall. Irregular shape to form.

237 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. One minor localized area of scratching near base.

239 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The Gutierrez bowl has a 1” length scratch to the impressed design.

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

Two stones with scattered hairline fractures. Tests for sterling.

241 Each in overall good condition with light scratches and wear commensurate with age and use. Turquoise stones with scattered abrasions and surface-reaching fractures.

242 Each in overall good condition with tarnishing and light scratches commensurate with age. Scattered stones with abrasions and surface reaching fractures.

Scattered minor dents to some silver beads. Zuni-style stone fetish necklace with breaks and losses to a few carved figures. Silver not tested.

243 Overall good condition with dust accumulation and wear commensurate with age and use. Scattered creasing, small stains and light soiling to the leather cords.

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

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

Stones with scattered abrasions.

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

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

With hanging dowel attached by applied cord loops.

250 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; each with slight fluffiness to weave overall.

251 Each overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: the smaller with a small mark near edge of one grey band.

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

Issues include, but not limited to: Each with a few areas of scattered minor moth grazing. The smaller with scattered stains/soiling to each side.

253 Each overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: saddle blanket with slight pilling to weave overall.

254 Each overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: the first with scattered minor staining/soiling to both sides, with an area of darker staining to center, and with scattered small holes and minor areas of possible grazing from moths. The second with fluffiness to weave on one side.

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

255 Each overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: A few with scattered areas of soiling/staining; each with scattered minor areas of possible grazing and small holes from moths; the largest with uneven fading to one side.

247 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered small areas of minor shallow insect grazing, likely moths.

256 Each overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: smallest mat with small area of reweaving/repair.

Condition Reports

238 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. A localized area of minor scuffs to shoulder.

393

257 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: the smaller with fluffiness to wool overall and tightness to one side selvage. The larger with pilling to wool overall from use; a small area of loose weave with attendant break to selvage cord and a few scattered areas of shallow minor moth grazing.

258 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: each with a few scattered areas of loose weave to edges, and the smaller with applied zip faster to one side seam.

259 Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. Felt feet applied to underside of plinth.

260 Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. Felt feet applied to underside of plinth.

261 Overall good condition. Not examined out of the frame.

Framed without glazing: 26.5” H x 26.5” W x 1.25” D 262 Overall good condition. Not examined out of the frame.

Framed without glazing: 10.5” H x 13.5” W x 1” D

Condition Reports

263 Overall good condition. Light staining throughout, with an attendant uneven area of reverse pale staining in the lower left and right quadrants. The smallest and occasional specks of foxing.

394

Framed under glass: 15.5” H x 17.5” W x 1” D 264 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

265 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Mounting putty to underside.

266 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. A few larger areas of scuffing at polychrome band and to a couple of areas below shoulders. No evidence of restorations under blacklight.

267 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With scattered small chips including one pea-sized to rim and another of similar size near the bottom. Scattered areas of rubbed wear to the polychrome designs.

268 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With a 3.5” crack to the underside.

269 Overall good condition with shelf wear, scattered minor scuffs and scratches, and inherent firing flaws commensurate with age. Minor soiling to the white near the base. With previous retailer’s sticker to the underside.

270 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The underside with some degradation and scattered small imperfections in the glaze from rubbed wear.

271 Overall fair to good condition with shelf wear, scattered minor scuffs and scratches, and inherent firing flaws commensurate with age. As well, with allover surface grime and soiling from use.

272 Overall fair to good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With a 2.5” crack radiating from rim to shoulder and a 2” x 3” area of restoration/repair to the waist. Sticker ghost and penciled mark to underside.

273 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Allover soiling and rubbed wear to the finish from age and use.

274 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. One small nick to interior. Concentrated scratches to underside.

276 Overall good condition with dust accumulation, scattered scuffs, scratches, nicks, shrinkage cracks, and indentations commensurate with age.

Polychromed surface with darkening, rubbed wear, and chips. Break and loss to one horn. Multiple breaks and losses to feathers to back of head.

277 Visual: Overall good condition. Slight dust accumulation and grime commensurate with age. A pinhead-sized spot of pigment loss above the mesas in the lower right quadrant. Occasional and stray pinhead-sized spots of dark pigment. Slight rippling to the canvas.

Blacklight: No evidence of restoration.

Frame: 19.25” H x 21.25” W x 1.75” D 278 Dust accumulation, specks of grime, dirt, and varnish discoloration, all commensurate with age. Surface scratches to the pigment scattered throughout, the most prominent area being along the right edge. A pea-sized area of a bug carcass near the center of the lower right quadrant. A 2” diagonal surface scuff near the lower right corner. Blanks in the canvas primarily in the outer edges, most likely in the hand of the artist. The canvas is wrapped around the Masonite along the right edge, verso.

Blacklight: A 1” H x 0.75” W oval touch-up in the darker green pigment of the tree, at center, and a small 0.5” H x 0.75” W area of touch-up near the upper left edge.

Unframed 279 Overall good condition. Occasional specks of grime in the lower left quadrant. Not examined out of the frame.

Framed under glass: 11.25” H x 13.5” W x 1.75” D 280 Visual: Overall good condition.

281 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 15.25” H x 18.5” W x 2” D 282 Visual: Dust accumulation, dirt, specks of grime, varnish discoloration, and minor darkening, all commensurate with age. Craquelure throughout with heavier areas in the upper left and lower right quadrants. Scattered and occasional flecks of pigment loss. Frame abrasion along the extreme edges, and mostly showing along the left and upper extreme edges with attendant flecks of pigment loss.

Blacklight: No evidence of restoration. Certain pigments fluoresce under blacklight in the sky.

Frame: 18.25” H x 23” W x 2” D 283 Overall good condition. The colors good. Not examined out of the frame.

Framed under glass: 19” H x 23” W x 1.5” D 284 Visual: Overall good condition. Dust accumulation, specks of grime, varnish discoloration, and area of fine craquelure, all commensurate with age. A few pinhead-sized stray areas of white pigment in the lower half, at center. A few scattered and unobtrusive specks of pigment loss in the upper and lower left quadrants and in the lower right quadrant.

Blacklight: Spots of touchups throughout the center of the image, primarily in the tree foliage.

Frame: 13.5” H x 11.25” W x 1.5” D 285 Visual of each: Overall good condition. Occasional specks of grime commensurate with age. The first with a slight stretcher bar crease along the left edge.

An unobtrusive pea-sized pressure in the lower left quadrant. Flecks of pigment loss near the left edge, at center. The second with scattered flecks of stray white house paint in the upper and lower left quadrants. Two pinpoint-sized holes in the canvas along the lower edge, at left.

Blacklight of each: No evidence of restoration.

Blacklight: No evidence of restoration.

Frame of each: 25.75” H x 21.25” W x 2” D

Frame: 17.5” H x 14.5” W x 1.75” D

286 Overall good condition with dust accumulation and wear commensurate with age and use. Stone with light wear, light scratches and scuffs.

Condition Reports

275 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The underside with three small hairline cracks in the glaze and previous retailer’s mark.

395

287 Overall good condition with dust accumulation, minor scuffs, and wear commensurate with age and use. Pipe head with a few light scratches to bowl.

288 Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. Felt applied to underside.

289 Each in overall good condition with evidence of use and wear commensurate with age. With intrinsic flaws to stones.

290 Each in overall good condition with intrinsic flaws to stones.

291 Overall good condition. Pale mat burn along the extreme edges. Minor creasing at the upper and lower edges. Not examined out of the frame.

Framed under glass: 18.5” H x 16” W x 1.5” D 292 Overall good condition. Very pale light staining.

Occasional handling creases, the largest measuring 6.5” diagonally along the left edge. A 1” H x 0.5” area of staining near the lower left corner.

Approximately two 1” tears towards the center of the right edge. A 1.75” diagonal fold at the lower left corner. Scattered specks of foxing on the verso sheet. Old tape along the verso of the upper edge.

Unframed 293 Overall good condition. Not examined out of the frame.

Condition Reports

Framed under glass: 20.25” H x 22.5” W x 1” D

396

294 Overall good condition. Pale light staining. Not examined out of the frame.

Framed under Plexiglas: 11” H x 13” W x 1.25” D 295 Each in overall good condition with dust accumulation and wear commensurate with age and use. Some with slight fading to one side. Several with scattered light soiling and small stains from use.

Measurements are approximate, vary slightly and do not include fringe.

296 Overall good condition. Oxidation to the bronze, dust accumulation, minor scuffs and scratches, and the figure’s whip is slightly bent, all commensurate with age and wear.

297 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include but not limited to: very slight fading to one side; scattered areas of faint dye transfer to one side; scattered small areas of loose weave to one edge, and one corner with stitched repair.

298 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 a small area of loose weave and minor loss to one corner, and scattered areas of moth damage overall with grazing and small holes. The smaller with faint green dye transfer to center, and a few small areas of minor moth grazing.

299 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The Marie and Santana with 1” abrasion to rim, possibly retouched. The Vigil with 1.5” crack to rim, possibly repaired, and two indentations to underside, possibly inherent in the crafting.

300 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The Santana bowl with allover degradation to glaze or possibly later added finish. Each with scattered fleabites and small losses to glaze.

301 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The Garcia bowl with two small scuffs near the rim. The unmarked bowl with pea-sized flaked chip to glaze at the handle and a 1.5” scuff/smudge to painted band.

302 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. More concentrated rubbed and shelf wear to the dish from age and use.

304 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Allover degradation to glaze. Two pencil marks to one side. Small white mark to underside.

305 Overall good condition with shelf wear, scattered scuffs, and inherent firing flaws commensurate with age. Rubbed wear to the painted decorations. A few scattered pea and rice-sized chips to the glaze near bottom front and a scuff to bottom from shelf wear.

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

307 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. One handle with repair and touch-up paint with scattered small touch-ups to other areas. The bottom with a 3.5” long crack.

308 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With previous retailer’s sticker to underside.

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

310 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. One with sticker residue to underside and a 1” scuff to shoulder.

311 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The oldest canteen with fire clouding, some degradation to material, and 2” crack to bottom.

312 Each overall good condition with dust accumulation, shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. The first with minor chip to inside of one hand, and with repair to one handle of small pot. Pot is loose in figure’s hands. The second with wear and loss to feathers.

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

314 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The Talashif with scattered rubbed wear to the paint and previous retailer’s penciled price to underside.

315 Overall good condition with shelf wear, scattered minor scuffs and scratches, and inherent firing flaws commensurate with age. With scattered hairline cracks to underside and rubbed wear to the slip painted decorations. A few pin-sized chips to the glaze at the underside and one near the rim. With previous dealer’s pricing in graphite to underside.

316 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Largest seed pot with 2” scratch to bottom and rice-sized chip to the rim.

317 Each overall good condition with shelf wear, scattered minor scuffs and scratches, and inherent firing flaws commensurate with age. Each with rubbed wear to the decorations and previous retailer’s stickers and graphic marks to the undersides.

318 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The Maricopa vase with paint and slip loss, with scattered chips to rims from age. The Yucca vase with fire clouding and uneven glaze. The Norris with flaked loss to slip at the handle.

319 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Each with scattered small flakes to the glaze, rubbed wear to decorations, and fleabites to rims. The signed bowl with some fire clouding to underside.

Condition Reports

303 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. One with some degradation to the glaze, concentrated at the rims and handles.

Four with stickers applied to underside.

397

320 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Pen holder with a few scattered small chips. The pitcher with some rubbed wear to the paint and an errant 2” painted mark to the waist.

321 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Each with fleabites to rim and scattered rubbed losses to the polychrome designs.

322 Each overall good condition with shelf wear, scattered scuffs, and inherent firing flaws commensurate with age. The Carl with 0.5” chip to rim and 2” crack radiating from rim. One bowl with fire clouding to underside. Each with varying degrees of rubbed wear to the painted decorations.

323 Each overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Basket-shaped vessel has several chips to the body. Hopi hummingbird vessel also has serval ships to the body and rim.

Largest vessel has paint loss to the rim. No evidence of repairs or restorations under blacklight for each.

324 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. One bowl with 2.5” crack radiating from the rim, rubbed wear to interior, and some soiling and hardened substance to interior. The tall bowl with smudge to side.

Condition Reports

325 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The water jug with scattered pin-sized losses to the slip glaze. One seed pot with scattered minor scratches to underside.

398

326 Each overall good condition with dust accumulation and light wear commensurate with age and use. Kiva tableau with one loose figure, retained.

329 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The large jar with moderate flaked losses to the red paint. One bowl with peasized chip to rim and 2” long scratch to waist. One bowl with pea-sized chip and 1” crack to rim. The last bowl with fleabites to rim.

330 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Small scuff to front of blackware owl. Lowden owl with localized minor rubbed wear to the brown paint.

331 Each in overall good condition with dust accumulation and wear commensurate with age and use. Washoe with fading to motifs overall and a couple of stitch losses to exterior. Paper label remnants to interior base.

332 Each overall good condition with dust accumulation and wear commensurate with age and use. Fading to exposed sides of polychrome pieces. Larger wicker plaque with minor distortion to shape, and smaller with a break to rim sticks, 4” L. 333 Overall good to fair condition with dust accumulation and wear commensurate with age and use. Most with fading to colors overall. Burden basket with perished leather, including losses to fringe and tin dangles, some retained.

334 Each overall good condition with dust accumulation, light scuffs, scratches and wear commensurate with age and use. The Tarbell pot with a small chip to rim, 0.5” . The basket with a few losses to pine cone elements and fading to green stitching.

335 Overall good condition with dust accumulation and wear commensurate with age and use. Encrusted with pitch residue overall, darker to bowl and base and pale to shoulders.

327 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Sticker ghost to underside.

336 Each in overall good condition with dust accumulation and wear commensurate with age and use. Miniature bowl with slight fading to interior.

Each with original collector’s tag.

328 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Each with a few scattered scratches, the second with a deeper small nick to neck.

337 Each in overall good condition with shelf wear and rubbed wear to painted surfaces commensurate with age. Unsigned small katsina with missing mouth.

Branches with abrasions and natural breaks to ends.

339 Overall good condition with dust accumulation, shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. The first with a small chip to edge of blanket, and with a detached small figure, with chipped loss to one edge. The second with rubbed wear to white slip.

340 Each overall good condition with scuffs and scratches commensurate with age. The stones with typical, natural eye-visible inclusions, surface-reaching fractures, and abrasions. A few with tiny chips to points. A few with adhesive/glue residue to base.

Several with ink marks to base. Largest orange stone bound wolf with likely repaired fracture across body near back legs.

341 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The largest bowl with 2.5” long crack radiating from rim. The largest ashtray with small indentation to underside. Smaller bowl with a few hairline cracks to waist. Each with scattered fleabites to rim.

342 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Paint loss to one of the redware wedding vases with one small chip to spot rim. Scattered small losses to paint of bowls as well.

343 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The teapot with some mild fire clouding. The bowl with a few scattered cracks to the glaze. The jar with a 0.5” chip to the rim and a 4” x 1.5” area of degradation and restoration/repair to bottom of waist and underside.

344 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The cup with 1.25” surfacereaching crack to rim near handle. The bowl with two 1” cracks to rim. One small handled basket with crack near handle juncture, another with two peasized chipped losses to the paint. The pitcher with scattered staining from use. A few pieces with fire clouding.

345 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Each with varying degrees of soiling, fire clouding, and flaked losses to paint.

One with 1” repaired chip to rim. One with varnished stable crack to underside. One with blueberry and pea-sized chips to rim, the rest with scattered fleabites.

346 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The Mary James with 4.5” long crack to the waist. The bowl with uneven varnish and applied seal/sticker to underside. The vase with a pea-sized chip to rim and sticker applied to underside. Each with scattered fleabites to base and rim.

347 Each overall good condition with shelf wear, scattered scuffs, scratches, and inherent firing flaws commensurate with age. The zigzag bowl with more aging and rubbed wear all-over. The scallop-rimmed bowl with 1.5” dia. chipped loss to underside. Two with previous retailer’s sticker to underside. As well, markings may not be maker-related, possibly previous retailer’s notes.

348 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Soiling to interior of smaller redware indented bowl.

349 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Localized areas of fire clouding to waist of largest olla. The other three with rubbed wear and scattered minor flaked losses to paint and slip.

350 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. A few with rubbed wear to polychrome paint and rim.

Condition Reports

338 Overall good condition with dust accumulation, shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. One Tesuque figure with repaired fracture to one arm and loss to thumb, and a loose, possibly later pot. The smokeblackened figure with heavier wear, scratches, an older repaired break to one arm, and a few minor chips. The Herrera figure with partial hairline to one arm. The second blackware figure with minor loss to one hand tip.

399

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

352 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Each with sticker residue to undersides.

353 Each overall fair to good condition with shelf wear, scattered scuffs, and inherent firing flaws commensurate with age. Each piece with varying degrees of rubbed or scattered flaked losses to paint or slip. Largest bowl with 1” crack to underside. The wedding vase with scattered cracks to the glaze. The largest pitcher with two large cracks running from rim to rim through the waist with a few attendant cracks and possible restoration. Smallest dish with 1” crack to rim. One dish and larger pitcher with fire clouding to undersides.

354 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Two pitchers, a vase, and a basket with scattered flaked losses to the slip and paint. One basket with fire clouding to underside.

Condition Reports

355 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Each ashtray with scattered fleabites to rim and rubbed wear to polychrome accents and interior designs. The bowl with soiling to interior from use. One with stain to underside. The frog with previous retailer’s sticker to underside.

400

356 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. More concentrated rubbed wear to the paint of small indented canteen and pottery disc.

401

John Moran Auctioneers, Inc SPECIALISTS

President, Auctioneer Jeffrey J. Moran Head of Sale, Vice President, Silver, Western, and American Indian Art Specialist Maranda Moran Senior Vice President, Director Trusts & Estates

Morgana Blackwelder, ISA AM

Director, Fine Art Jenny Wilson Senior Specialist, Furniture & Decorative Arts `` Angela Past Associate Specialist, Fine Art Bobby Cullen

Ian Anderson Associate Specialist, Fine Art

Associate Specialist, Fine Art Eire Hoke

Post-War & Contemporary Design Specialist Department Administrator, Fine Art

Department Administrator, Furniture & Decorative Arts Silver, Western and American Indian Cataloguer

Matthew Grayson

Lori Kassabian Alek Ellis Sally Andrew

Cataloguer, Fine Art Anne Spink Cataloguer, Fine Art Madison Ari Cataloguer, Fine Art Clark Silva Cataloguer, Furniture & Decorative Arts Grant Stevens Director, Jewelry & Watches Tom Burstein Peggy Gottlieb Senior Specialist, Jewelry & Watches Department Administrator, Jewelry & Watches Nikita Mehta Regional Representative, Arizona Deborah Davis

CLIENT SERVICES

Office Manager

Mario Esquivel Client Services Ella Fountain Finance Administrator

Jamie Holthauser Client Services Bryan Ortega

OPERATIONS

Vice President, Business Director, Auctioneer Stephen Swan Finance & Human Resources Director

Maha Darwish Consignment Coordinator

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

MARKETING

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

PHOTOGRAPHY

Photographer Keith Berson Photographer Madison Torres Photographer Matthew Mizerowski Photography Assistant Jacob Baer

TRUSTS & ESTATES

Director, Appraisals Mariam Whitten, ISA AM Administrator, Appraisals Shannon Dailey Administrator, Trusts & Estates Melissa Brownell

FOUNDERS

Founder John H. Moran (1942-2017) Co-Founder Madeleine Moran

This catalogue is meant merely as a guide.

The Auctioneers do not warrant the accuracy, genuineness, authenticity, description, weight, count or measure of any of the lots specified herein.

BUYER’S PREMIUMS: BUYER’S PREMIUM is calculated at 27% on the first $1,000,000 of the hammer price, plus 21% on any amount between $1,000,001 - $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check or wire transfer.

Credit card payments will be subject to an additional 3.5% acceptance fee.

This fee is not more than the cost of accepting these cards.

Buyers outside of the United States must submit payment via wire transfer.

Credit cards are not an accepted form of payment for buyers outside of the United States.

BIDDING INCREMENTS:

$100 - $475 @ $25 increments $500 - $950 @ $50 increments $1,000 - $1,900 @ $100 increments $2,000 - $4,750 @ $250 increments $5,000 - $9,500 @ $500 increments $10,000 - $19,000 @ $1,000 increments $20,000 - $47,500 @ $2,500 increments $50,000 - $95,000 @ $5,000 increments $100,000 - $190,000 @ $10,000 increments $200,000 - $480,000 @ $20,000 increments $500,000 & above @ $50,000 increments, or at Auctioneer's discretion.

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Conditions of Sale AUCTION HOUSE AS AGENT Except as otherwise stated, John Moran Auctioneers Moran's) acts as agent for the seller. The contract for the sale of the property is therefore made between the seller and the buyer.

BEFORE THE AUCTION (a) Public Preview: All property is available for inspection by public preview during the day of auction. In many cases, particular lots can be examined in advance by private appointment. 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's 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 below. Condition reports are offered as a courtesy and are typically published in Moran's catalogue or can be made available upon request. The absence of a condition report does not imply than an item is free from defects or restoration, nor does a reference to particular defects imply the absence of others.

AT THE AUCTION (a) Admission: The auction is open to the public, though Moran's reserves the right to refuse admission or participation to anyone at any time. The auctioneer may be recorded (visually, aurally or otherwise) and all participants consent to such recording. (b) Buyer Registration: Prospective buyers must register with Moran's before bidding. Moran's may require identification and financial references in advance of buyer eligibility. Registered bidders accept personal liability to pay the purchase price, including the buyer's premium plus all applicable charges, unless Moran's agrees in advance that the bidder is acting as agent on behalf of an identified third party acceptable to Moran's. In such case, Moran's will look to the third party for payment. (c) Bidding Guidelines: Bidding, whether in person, by agent, absentee bid, telephone, or internet, constitutes a bidder's acceptance of these conditions. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer retains the absolute right to reject any bid, to withdraw, pass or divide any lots, to combine multiple lots, to advance the bidding at his or her absolute discretion and (in the case of error or dispute, whether during or after the sale) to determine the successful bidder, to continue the bidding, cancel the sale or to re-offer and sell the lot in question. Under no circumstances are the consignors' or agents acting on their behalf, permitted to bid on their consignment. In the event of any dispute after the auction Moran's sale record shall be conclusive. (d) Absentee, Telephone and Internet Bidding: Moran's offers absentee, telephone and internet bidding as a convenience to clients and does not accept liability for errors or failures to execute such bids. Absentee and telephone bids must be recognized by Moran's prior to auction day. When identical absentee bids are submitted that become the highest bids at the auction, the bid first received by Moran's shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure. (e) Reserves: Unless indicated 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's 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 backwards at his discretion or deem the lot unsold if a bid is not recognized.

AFTER THE AUCTION (a) 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 Bidsquare 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 3.5% acceptance fee. This fee is not more than the cost of accepting these cards. Buyers outside the United States must submit payment via wire transfer. Credit card payments made directly to Moran 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 lot is undertaken

by Moran's solely as a convenience to customers. Moran's is not liable for damage to property, regardless of cause, in connection with this courtesy service (c) Storage: Following the auction, uncollected lots shall be relocated to and stored in Moran's warehouse. Moran's 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's 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. (d) Shipping: Buyers are responsible for arranging their own shipping estimates and deliveries. Moran's in our discretion and as a courtesy to buyers, can arrange to have purchased lots packed, insured and forwarded by a third-party shipper at the request, expense and risk of the buyer. Moran's assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers, even if recommended by Moran's. Nor does Moran's assume any responsibility for any damage to picture frames or to the glass therein. In circumstances where Moran's arranges for such third-party services, Moran's may apply an administration charge of 15% of that service fee. (e) All Sales Final: Notwithstanding other terms mentioned herein, refunds shall be given at Moran's sole discretion. Refunds requested on the grounds of authenticity must be made within 10 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, 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 above 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's in the same condition as when sold. Moran's 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's 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 Moran's nor the consignor or our 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 or invoice, any supplementary material, or statements by any Moran's employee shall be deemed such a warranty or representation or an 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) Regulated Species: Lots with a "◊" symbol in the printed or digital catalog, or noted within the condition report of a lot, may contain regulated plant or animal materials and could be subject to certain import or export restrictions. It is the buyer’s responsibility to investigate any such restrictions and obtain any required import or export permits / licenses. The inability to obtain any such document(s) is not grounds for requesting a refund nor does it negate the buyer from making full payment for their purchase. (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's for this auction is and shall remain at all times the property of Moran's. Moran's 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 conditions, Moran's 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 we deem necessary or appropriate. If Moran's 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's in our sole discretion, deems appropriate. Moran's shall have the benefit of all rights of a secured party under the Uniform Commercial Code adopted in the State of California. (c) Severability: Should any of these conditions be deemed unenforceable, invalid or illegal in any court having jurisdiction, that part shall be discounted 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. (d) Jurisdiction: The rights and obligations of the parties with respect to these conditions and the conduct of the auction shall be governed and interpreted by the laws of the State of California. By bidding, whether in person or by agent, by absentee bid, telephone, internet or other means, the buyer shall be deemed to have consented to the exclusive jurisdiction of the courts of the state of California or, if applicable, the federal courts sitting in this state. Further, the buyer agrees that the venue for any action arising out of the failure to abide by these conditions, or any conduct related to or arising out of the auction, shall be the Los Angeles Superior Court, North East Branch located at 600 Olive Street, Burbank, California.

SINCE 1969

AUCTIONEERS & APPRAISERS

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