Santa Fe Art Auction 2021 by Art Gallery Publication

SIGNATURE LIVE SALE NOVEMBER 5–6, 2021 SANTA FE, NEW MEXICO

November 5-6, 2021

Front Cover: Lot 325: Gerard Curtis Delano (1890–1972) Sunlight and Shadow Frontispiece A: Lot 390: Edmond DeLavy (1916–1989) Night Lights at New Mexico State Fair Frontispiece B: Lot 44: Thomas Hart Benton (1889–1975) Sorghum Mill, 1969 Back Cover: Lot 301: Emil Bisttram (1895–1976) Hopi Snake Dancer, 1933

Live Auction Friday and Saturday, November 5-6, 2021 932 Railfan Road, Santa Fe, NM 87505 Session I | (Lots 1-119) Friday, November 5 3:00 PM MST Session II | (Lots 120 – 219) Saturday, November 6 10:00 AM MST Session II | (Lots 220 – 437) Saturday, November 6 1:30 PM MST Opening Reception Friday, November 4 5:00 – 7:00 PM General Previews November 1 – November 6, 2021 10 AM– 5 PM MST and by appointment Online Bidding santafeartauction.com invaluable.com bidsquare.com liveauctioneers.com

Telephone and Absentee bidding arrangements must be made no later than Session I: 5 PM MST on November 4, 2021 Session II: 5 PM MST on November 5, 2021 Telephone bidders are encouraged to leave absentee bids in the case of technical difficulties. Please direct all inquiries to 505.954.5858 Register online at santafeartauction.com

SESSION I

Session I | (Lots 1-119) Friday, November 5 3:00 PM MST

1 BARBARA LATHAM (1896–1989) Hollyhock oil on panel 4 ½ x 7 ½ in. (11.43 x 19.05 cm.) signed lower right: LATHAM inscribed verso: Hollyhock Provenance: Gallery A, Taos, New Mexico Private Collection, New Mexico Exhibited: Museum of Fine Arts, Santa Fe, New Mexico, Independent Spirits: Western Painters of the American West, 1890-1945, June 15 - September 23, 1996 $800 – $1,200

2 Portfolio to Benefit the Museum of Indian Arts and Culture, 1990 Portfolio of five limited edition lithographs by John Fincher, James Havard, Tom Palmore, Paul Pletka, and Bill Shepherd. Sheet (each): 30 x 21 ¾ in. (76.20 x 55.25 cm.) Printed by Stephen Britko Published by Naravisa Press, Santa Fe, 1990 Limited Edition, No. 14 of 65 numbered copies. Each print hand-signed and numbered. Provenance: Private Collection, Texas $800 – $1,200

SANTA FE ART AUCTION

3 JOHN THOMPSON WILLING (Canadian, 1860–1934) Group of Ten Illustrations from ‘The Old Santa Fe Trail’ ink on paper Sheet, each (approximately): 6 x 10 in. (15.24 x 25.40 cm.) Group of ten original pen and ink illustrations from Coloney Henry Inman’s ‘The Old Santa Fe Trail: the Story of a Great Highway,’ published by The MacMillan Company, 1897. Includes the following original initial and tail piece illustrations: Ruins of Church at Pecos in 1846, Valley of San Jose and Bridge of the Rio Pecos, With the Caravan, George Simpson, Squaw Unharnessing Team, The Old Bells of Santa Fe, Pat Sherman, Henry Booth, The Solitary Man’s Peak, Ruins of Hermit Cave Provenance: Kennedy Galleries, Inc., New York, New York Private Collection, Montana $3,000 – $5,000

4 The Charcoal Drawings of Nicolai Fechin Gerald P. Peters, Santa Fe, 1978 Fine portfolio of 15 monochrome reproductions from original drawings by Fechin on 100% tan rag paper. Sheet, each: 20 x 16 in. (50.80 x 40.64 cm.) Portfolio: 20 1/2 x 16 3/8 x 5/8 in. (52.07 x 41.59 x 1.59 cm.) This is #58 of 300 numbered copies, deluxe edition, signed by Fechin’s daughter, Eya. Hardcover portfolio, closed with 3 brown cloth ties. Also included: one color plate, “Corn Dancer”. Essay by Julien Ryner. Provenance: Private Collection, Montana $500 – $1,000

SANTA FE ART AUCTION

5 GENE KLOSS (1903–1996) Corn Dance Maiden, 1973

6 GENE KLOSS (1903–1996) Indian Infusion, 1967

etching, drypoint, Artist’s Proof (edition of 50) 5 ¾ x 4 ¼ in. (14.61 x 10.80 cm.) signed lower right: Gene Kloss editioned and titled lower left: AP Corn Dance Maiden

intaglio, edition 64 of 75 17 ⅞ x 13 in. (45.40 x 33.02 cm.) signed lower right: Gene KLoss N.A. editioned and titled lower left: 64/75 Indian Infusion

Provenance: Private Collection, New Mexico

Provenance: Private Collection, New Jersey

Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 138, No. 555.

Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 87, No. 508.

$400 – $600

$400 – $800

7 GENE KLOSS (1903–1996) Fiesta Parasol, 1969

8 GENE KLOSS (1903–1996) The Visitor’s Tale, 1971

etching, edition 13 of 75 13 ⅞ x 11 in. (35.24 x 27.94 cm.) signed lower right: Gene Kloss Imp editioned and titled lower left: 13/75 Fiesta Parasol

etching, drypoint, Artist’s Proof (edition of 35) 13 ¾ x 8 ⅞ in. (34.93 x 22.54 cm.) signed lower right: Gene Kloss editioned and titled lower left: Artist’s Proof The Visitor’s Tale

Provenance: Private Collection, New Jersey

Provenance: Private Collection, New York

Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 109, No. 530.

Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 120, No. 538.

$800 – $1,200

SANTA FE ART AUCTION

9 GENE KLOSS (1903–1996) A Morning in April, 1967 etching and drypoint, Artist’s Proof (edition of 50) 11 x 13 ⅞ in. (27.94 x 35.24 cm.) signed lower right: Gene Kloss editioned and titled lower left: Artist’s Proof A Morning in April Provenance: Private Collection, New Mexico Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 91, No. 512. $800 – $1,200

10 GENE KLOSS (1903–1996) Alberto’s Burro, 1975 etching and drypoint, edition 12 of 50 8 ⅞ x 12 in. (22.54 x 30.48 cm.) signed lower right: Gene KLoss N.A. editioned and titled lower left: 12/50 Alberto’s Burro Provenance: Private Collection, New Mexico Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 150, No. 567. $1,000 – $1,500

11 GENE KLOSS (1903–1996) Riders at Sundown, 1953 drypoint and aquatint, Artist’s Proof (edition of 75) 8 1/4 x 11 ¾ in. (20.93 x 29.85 cm.) signed lower right: Gene Kloss editioned and titled lower left: Artist’s Proof Riders at Sundown Provenance: Private Collection, New Mexico Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 22, No. 451. $1,000 – $2,000

SANTA FE ART AUCTION

12 GENE KLOSS (1903–1996) Nostalgia, 1973 drypoint, aquatint, edition 8 of 25 10 ⅞ x 13 ⅞ in. (27.62 x 35.24 cm.) signed lower right: Gene KLoss N.A. editioned and titled lower left: 8/25 Nostalgia Provenance: Private Collection, New Jersey Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 137, No. 554. $2,000 – $3,000

13 GENE KLOSS (1903–1996) Processional - New Mexican Church, 1937 drypoint, soft-ground and roulette, edition of 50 10 ⅞ x 14 in. (27.62 x 35.56 cm.) signed lower right: Gene KLoss imp titled, dated and editioned lower left: Processional - New Mexican Church 1937 Ed 50 Provenance: Private Collection, New Mexico Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. I, p. 177, No. 351. $3,000 – $5,000

14 GENE KLOSS (1903–1996) Eve of the Green Corn Ceremony - Domingo Pueblo, 1934 drypoint, aquatint, edition of 130 13 ⅞ x 10 ¾ in. (35.24 x 27.31 cm.) signed lower right: Gene Kloss titled lower left: Eve of the Green Corn Ceremony Domingo Pueblo The Green Corn Ceremony, also known as Feast Day, is a religious celebration held annually on August 4th to honor Saint Dominic, patron saint of the historic Indian Pueblo. The celebration occurs at Santo Domingo Pueblo in New Mexico. Provenance: Private Collection, New York Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. I, p. 143, No. 306. $4,000 – $6,000

SANTA FE ART AUCTION

15 GENE KLOSS (1903–1996) South House - Taos Pueblo, 1941 etching, edition of 75 5 ⅞ x 8 in. (14.92 x 20.32 cm.) signed lower right: Gene Kloss titled lower left: South House - Taos Pueblo Provenance: Private Collection, New York Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. I, p. 207, No. 380. $2,000 – $3,000

16 GENE KLOSS (1903–1996) Pueblo Firelight Dance, 1952 etching, drypoint, aquatint, edition of 35 of 50 11 ¾ x 16 ⅞ in. (29.85 x 42.86 cm.) signed lower right: Gene KLoss Imp titled and editioned lower left: Pueblo Firelight Dance Ed. 35 Provenance: Private Collection, Colorado Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 17, No. 445. $2,000 – $4,000

17 GENE KLOSS (1903–1996) Return of the Processional, 1967 etching, drypoint and aquatint, edition 25 of 50 12 ⅞ x 18 in. (32.70 x 45.72 cm.) signed lower right: Gene Kloss Imp editioned and titled lower left: 25/50 Return of the Processional Provenance: Private Collection, New Jersey Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 97, No. 518. $1,500 – $2,500

SANTA FE ART AUCTION

18 GENE KLOSS (1903–1996) Southwestern Landscape, 1946

19 GENE KLOSS (1903–1996) Sierra Lake, 1930

drypoint, edition of 15 8 ⅞ x 9 ⅞ in. (22.54 x 25.08 cm.) signed lower right: Gene Kloss titled lower left: Southwestern Landscape

etching, edition of 25 7 ⅞ x 9 ⅞ in. (20 x 25.08 cm.) signed lower right: Gene KLoss

Provenance: Private Collection, New York Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. I, p. 227, No. 406. $1,500 – $2,500

Provenance: Private Collection, New York Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. I, p. 82, No. 164. $1,500 – $2,500

20 GENE KLOSS (1903–1996) Indian Ovens, 1941/1973

21 GENE KLOSS (1903–1996) Morning at the Pueblo, 1975

etching, edition 28 of 75 6 ⅝ x 8 ½ in. (16.83 x 21.59 cm.) Second Edition signed lower right: Gene KLoss N.A. editioned and titled lower left: II Indian Ovens / II #28

etching, Artist’s Proof (edition of 75) 8 ⅞ x 11 ⅞ in. (22.54 x 30.16 cm.) signed lower right: Gene Kloss editioned and titled lower left: Artist’s Proof Morning at the Pueblo

Provenance: Private Collection, New Mexico Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. I, p. 206, No. 379. $1,000 – $2,000

SANTA FE ART AUCTION

Provenance: Private Collection, New York Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 151, No. 568. $1,000 – $2,000

22 GENE KLOSS (1903–1996) Keresan Dancers, 1962 etching, drypoint, Artist’s Proof (edition of 50) 13 ¾ x 10 ¾ in. (34.93 x 27.31 cm.) signed lower right: Gene Kloss editioned and titled lower left: Artist’s Proof Keresan Dancers Provenance: Private Collection, New York Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 67, No. 490. $1,000 – $2,000

23 GENE KLOSS (1903–1996) Deer Dance, 1969 drypoint, etching and aquatint, edition 45 of 75 13 x 17 ⅞ in. (33.02 x 45.40 cm.) signed lower right: Gene KLoss N.A. editioned and titled lower left: 45/75 Deer Dance Provenance: Private Collection, Montana Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 110, No. 531. $800 – $1,200

24 GENE KLOSS (1903–1996) Indian Friendship Dance, 1953 drypoint, edition of 200 8 ¼ x 11 ⅞ in. (20.96 x 30.16 cm.) signed lower right: Gene Kloss Published by the Society of American Etchers (now known as SAGA, or the Society of American Graphic Artists) Provenance: Private Collection, Kansas Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 21, No. 450. $800 – $1,200

SANTA FE ART AUCTION

25 GENE KLOSS (1903–1996) Song of the Sun Turning North - A Winter Solstice Dance at Santo Domingo Pueblo, 1981 etching, drypoint, Artist’s Proof (edition of 35) 12 x 8 in. (30.48 x 20.32 cm.) signed lower right: Gene Kloss editioned and titled lower left: Artist’s Proof Song of the Sun Turning North Provenance: Private Collection, New York Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 190, No. 607. $800 – $1,200

26 GENE KLOSS (1903–1996) Untitled (Indian Dance) charcoal, conte crayon and ink on paper 14 x 18 ¼ in. (35.56 x 46.36 cm.) signed lower right recto: Gene Kloss verso features a conte crayon portrait and two small ink portraits Provenance: Private Collection, New York $1,000 – $2,000

27 LLOYD MOYLAN (1893–1963) Zuni Creation Myth watercolor, gouache and graphite on paper 20 x 27 in. (50.80 x 68.58 cm.) signed lower right: lloyd Moylan titled lower left: Zuni Creation Myth Provenance: Private Collection, Colorado $2,000 – $4,000

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28 DOEL REED (1895–1985) Nude in Repose, 1969 black crayon on paper 12 x 18 in. (30.48 x 45.72 cm.) signed lower right: Doel Reed n.a. / 1969 inscribed verso: Nude in Repose / Black Crayon / 200Provenance: The Artist Private Collection, New Mexico $1,500 – $2,500

29 DOEL REED (1895–1985) Nude in Winter Bouquet, 1972 aquatint, edition 4 of 30 11 ¾ x 17 ¾ in. (29.85 x 45.09 cm.) signed and dated lower right: Doel Reed n.a.- 1972 edtioned lower left: 4/30 Provenance: Private Collection, New Mexico $1,000 – $2,000

30 DOEL REED (1895–1985) Los Cordovas, Taos NM ink and chalk on paper 11 ¾ x 22 ¼ in. (29.85 x 56.52 cm.) signed lower right: Doel Reed, N.A. Provenance: The Artist Private Collection, New York $1,500 – $2,500

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31 EDGAR PAYNE (1883–1947) Down in the Canyon graphite on paper 7 ⅛ x 8 ⅛ in. (18.10 x 20.64 cm.) signed lower right: EDGAR PAYNE Provenance: The Collection of Mr. and Mrs. Jack Mahood Private Collection, Montana Exhibited: C. M. Russell Museum (label verso) $1,500 – $2,500

32 CARL OSCAR BORG (1879–1947) Untitled (Hopi Second Mesa) gouache and graphite on paper 4 ½ x 6 ⅝ in. (11.43 x 16.83 cm.) signed lower left: CARL. OSCAR. BORG. Provenance: Private Collection, New Mexico $1,500 – $2,500

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33 EANGER IRVING COUSE (1866–1936) Untitled (Climbing the Kiva Steps)

34 EANGER IRVING COUSE (1866–1936) Untitled (Making Camp)

35 EANGER IRVING COUSE (1866–1936) Untitled (Double-Sided Drawing Study)

graphite on paper 3 ⅛ x 4 ½ in. (7.94 x 11.43 cm.) verso includes a photocopied letter of attribution from Elizabeth Couse

graphite on paper 4 ⅜ x 5 ⅛ in. (11.11 x 13.02 cm.) verso includes a photocopied letter of attribution from Elizabeth Couse

graphite on paper 4 ¾ x 5 ⅝ in. (12.07 x 14.29 cm.) verso includes a photocopied letter of attribution from Elizabeth Couse

Provenance: Paseo Fine Arts, Tucson, Arizona Private Collection, Colorado

$800 – $1,200

36 EANGER IRVING COUSE (1866–1936) Untitled (Indian Rider)

37 EANGER IRVING COUSE (1866–1936) Untitled (European Village)

38 EANGER IRVING COUSE (1866–1936) Untitled (Countryside)

graphite on paper 3 ⅝ x 5 ⅝ in. (9.21 x 14.29 cm.) verso includes a photocopied letter of attribution from Elizabeth Couse

graphite on paper 2 ⅜ x 3 ¼ in. (6.03 x 8.26 cm.) verso includes a photocopied letter of attribution from Elizabeth Couse

graphite on paper 2 ¼ x 3 ¼ in. (5.72 x 8.26 cm.) verso includes a photocopied letter of attribution from Elizabeth Couse

Provenance: Paseo Fine Arts, Tucson, Arizona Private Collection, Colorado

$800 – $1,200

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39 ANDREW DASBURG (1887–1979) One Room House, 1967

40 ANDREW DASBURG (1887–1979) Untitled (New Mexico Landscape), 1967

41 ANDREW DASBURG (1887–1979) Untitled (New Mexico Landscape), 1972

graphite on paper 17 ¾ x 22 ¾ in. (45.09 x 57.79 cm.) signed lower left: Dasburg – 67 inscription from original backing board affixed to verso: “The one room House”

graphite on paper 17 ¾ x 23 ½ in. (45.09 x 59.69 cm.) signed and dated lower left: Dasburg ‘67

graphite on paper 14 x 20 ½ in. (35.56 x 52.07 cm.) signed and dated lower right: Dasburg ‘72

Provenance: Private Collection, New Mexico

$1,500 – $2,500

Provenance: Private Collection, Tennessee $2,000 – $3,000

42 ANDREW DASBURG (1887–1979) Cross Current, 1965 ink on paper 18 ½ x 23 ¾ in. (46.99 x 60.33 cm.) signed and dated lower left: Dasburg ‘65 Provenance: Collection of Dr. and Mrs. Lewis Overton, Albuquerque, New Mexico Private Collection, New Mexico Exhibited: The Drawings of Andrew Dasburg, The University of New Mexico University Art Museum, 1966 Literature: Robert M. Ellis, The Drawings of Andrew Dasburg, The University Art Museum, 1966, No. 74. illus. p. 36 $1,000 – $1,500

43 ANDREW DASBURG (1887–1979) Arroyo Hondo Paraphrase, 1974 graphite on paper 15 ¼ x 20 in. (38.74 x 50.80 cm.) signed and dated lower left: Dasburg ‘74 Provenance: Private Collection, New Mexico Canfield Gallery, Santa Fe, New Mexico Private Collection, New York $1,500 – $2,500

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44 THOMAS HART BENTON (1889–1975) Sorghum Mill, 1969 lithograph, edition of 250 9 ⅝ x 13 ¾ in. (24.45 x 34.93 cm.) signed in pencil lower right: Benton signed in the stone lower left: Benton Published by Associated American Artists, New York Provenance: Private Collection, Kansas Literature: Creekmore Fath, The Lithographs of Thomas Hart Benton, University of Texas Press, 1990, No. 81. $2,000 – $3,000

45 THOMAS HART BENTON (1889–1975) White Calf, 1945 lithograph, edition of 250 9 ⅞ x 12 ¾ in. (25.08 x 32.39 cm.) signed in pencil lower right: Benton signed in the stone lower left: Benton Published by Associated American Artists, New York Provenance: Heritage Gallery, Los Angeles, California Private Collection, Kansas Literature: Creekmore Fath, The Lithographs of Thomas Hart Benton, University of Texas Press, 1990, No. 67. $1,500 – $2,500

46 GEORGE COPELAND AULT (1891–1948) Untitled (Seaside Docks), 1922 graphite on paper 10 ½ x 17 in. (26.67 x 43.18 cm.) signed and dated lower right: G. C. Ault ‘22. Provenance: Private Collection, New Mexico $3,000 – $5,000

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47 MARSDEN HARTLEY (1877–1943) Pears and Lemons, 1927 graphite on paper 11 ¼ x 14 ¼ in. (28.58 x 36.20 cm.) signed and dated lower right: Marsden Hartley 27 Provenance: Bernard Danenberg Galleries, Inc., New York Private Collection, New Mexico $8,000 – $12,000

48 B. J. O. NORDFELDT (1878–1955) Untitled (Trees and Sunlight) watercolor on paper 12 ½ x 16 ½ in. (31.75 x 41.91 cm.) signed lower right: Nordfeldt Provenance: Private Collection, Montana $2,000 – $3,000

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49 GUSTAVE BAUMANN (German-American, 1881–1971) Plum and Peach Bloom, 1912 color woodcut 19 ¾ x 26 ⅝ in. (50.17 x 67.63 cm.) signed lower right: Gustave [heart-in-hand chop] Baumann titled lower left: Plum and Peach bloom initialed lower right (in image): GB “Plum and Peach Bloom” is one of a group of large color woodcuts done while in Nashville, Brown County, Indiana in 1912. The total edition was fewer than 50 impressions, printed on Japanese paper. This image was exhibited at the 1915 Panama Pacific International Exposition in San Francisco, where Baumann was awarded the gold medal for printmaking. Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, New Mexico Literature: Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 30. $9,000 – $12,000

50 GUSTAVE BAUMANN (German-American, 1881–1971) Processional, 1956 color woodcut, edition 47 of 125 13 x 12 ⅞ in. (33.02 x 32.70 cm.) Third Edition signed and dated lower right: Gustave [heart-in-hand chop] Baumann -56 editioned lower right: III 47 125 titled lower left: PROCESSIONAL Provenance: Private Collection, New Mexico Literature: Baumann Inventory No. 101. Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 136. $10,000 – $15,000

SANTA FE ART AUCTION

51 GUSTAVE BAUMANN (German-American, 1881–1971) Winter Corral, 1954 color woodcut, edition 103 of 125 12 ¾ x 12 ¾ in. (32.39 x 32.39 cm.) Third Edition signed lower right: Gustave [heart-in-hand chop] Baumann editioned and dated lower right: III 103 125 54 titled lower left: WINTER CORRAL Provenance: Private Collection, New Mexico Literature: Baumann Inventory No. 124. Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 160. $8,000 – $12,000

52 GUSTAVE BAUMANN (German-American, 1881–1971) White Desert, 1929 color woodcut, edition 14 of 125 9 ½ x 11 ¼ in. (24.13 x 28.58 cm.) signed lower right: Gustave [heart-in-hand chop] Baumann titled lower left: WHITE DESERT editioned lower right: I - 14 - 125 Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, New Mexico Literature: Baumann Inventory No. 97. Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 131. $8,000 – $10,000

SANTA FE ART AUCTION

53 GUSTAVE BAUMANN (German-American, 1881–1971) Summer Shadows, 1917 color woodcut, edition 40 of 125 9 ⅝ x 11 ¼ in. (24.45 x 28.58 cm.) Second Edition signed lower right: Gustave [heart-in-hand chop] Baumann titled lower left: SUMMER SHADOWS editioned lower right: II 40 125 The locale is Hillside Farm in Wyoming, New York. Baumann spent a portion of the summer of 1917 teaching in Wyoming. Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, New Mexico Literature: Baumann Inventory No. 18. Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 47. $8,000 – $10,000

54 GUSTAVE BAUMANN (German-American, 1881–1971) Woodland Meadows, 1917 color woodcut, edition 88 of 125 9 ⅝ x 11 ¼ in. (24.45 x 28.58 cm.) Second Edition editioned and signed lower right: II 88 125 / Gustave [heart-in-hand chop] Baumann titled lower left: WOODLAND MEADOWS Provenance: Private Collection, New Mexico Literature: Baumann Inventory No. 23. Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 49. $8,000 – $12,000

SANTA FE ART AUCTION

55 GUSTAVE BAUMANN (German-American, 1881–1971) Night of the Fiesta - Taos, 1924 color woodcut, edition 47 of 125 6 x 7 ⅝ in. (15.24 x 19.37 cm.) Second Edition signed lower right: Gustave [heart-in-hand chop] Baumann titled lower left: NIGHT OF THE FIESTA – TAOS editioned lower right: 47 125 Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, New Mexico Literature: Baumann Inventory No. 48. Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 92. $8,000 – $10,000

56 GUSTAVE BAUMANN (German-American, 1881–1971) Rainy Day Promenade, 1917 color woodcut, edition 19 of 125 9 ⅝ x 11 ⅜ in. (24.45 x 28.89 cm.) signed lower right: Gustave [Swanli chop] Baumann titled lower left: Rainy Day Promenade editioned verso on label: 19/125 The time frame places this image in Wyoming, New York where Baumann spent the summer of 1917 teaching. Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, New Mexico Literature: Baumann Inventory No. 22. Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 48. $7,000 – $9,000

SANTA FE ART AUCTION

57 GUSTAVE BAUMANN (German-American, 1881–1971) Taos Patio, 1925 color woodcut, edition 113 of 125 6 x 7 ⅝ in. (15.24 x 19.37 cm.) Second Edition signed lower right: Gustave [heart-in-hand chop] Baumann titled lower left: TAOS PATIO editioned lower right: 113 125 This adobe in Taos was the home of Bert Geer Phillips, one of the original members of the Taos Society of Artists and the first artist to settle in the town. Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, New Mexico Literature: Baumann Inventory No. 36. Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 105. $5,000 – $7,000

58 GUSTAVE BAUMANN (German-American, 1881–1971) Salt Creek, 1919 color woodcut, edition 29 of 100 13 x 11 in. (33.02 x 27.94 cm.) First Edition editioned and signed lower right: No 29/100 / Gustave [heart-in-hand chop] Baumann titled lower left: Salt Creek Provenance: Albert Roullier Art Galleries, Chicago Private Collection, Arizona Literature: Baumann Inventory No. 13. Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 70. $5,000 – $7,000

SANTA FE ART AUCTION

59 GUSTAVE BAUMANN (German-American, 1881–1971) Night Ceremony, 1939/1948

60 GUSTAVE BAUMANN (German-American, 1881–1971) Cordova Plaza, 1943

color woodblock with aluminum leaf, edition 26 of 125 8 ¼ x 8 ¼ in. (20.96 x 20.96 cm.) Third Edition signed lower right: Gustave [heart-in-hand chop] Baumann titled lower left: NIGHT CEREMONY editioned and dated lower right: I 26-125-48

color woodcut, edition of 200 7 ⅝ x 8 in. (19.37 x 20.32 cm.) signed lower right: Gustave Baumann titled lower left: CORDOVA PLAZA

Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, New Mexico Literature: Baumann Inventory No. 119. Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 156. Martin F. Krause, Gustave Baumann: Nearer to Art, Museum of New Mexico Press, 2015, illus. p. 143. $4,000 – $6,000

Published by the Torch Press in Cedar Rapids, Iowa, Cordova Plaza was the 24th Presentation Print for the members of the Woodcut Society. It was distributed in a folder, together with an essay, “Gustave Baumann and His Woodcut, Cordova Plaza,” by George William Eggers. Provenance: Private Collection, New Mexico Literature: Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 165. $1,000 – $2,000

61 GUSTAVE BAUMANN (German-American, 1881–1971) Frijoles Canyon Pictographs, 1939

62 GUSTAVE BAUMANN (German-American, 1881–1971) Untitled (Matthew 7:13), 1948

Book: 8 ⅞ x 7 ¾ x ½ in. (22.54 x 19.69 x 1.27 cm.) Limited edition of 480, published by Writers’ Editions, Inc., Santa Fe, New Mexico, 1939. Forty-eight pages with 25 woodcut illustrations on Bayreuth Antique paper. Text printed in letterpress by Willard Clark. Named one of the Fifty Books of the Year by the American Institute of Graphic Arts when it appeared in 1939.

woodcut 8 x 7 ½ in. (20.32 x 19.05 cm.) signed and dated lower right: GUSTAVE / BAUMANN / 1948 Later printed as “Greeting Card for 1951: Our Pin-up (Interior),” Text: Wide is / the / gate / and broad / is the way / that leadeth / to destruction/ and many be they that / enter thereby / for narrow is the gate and / straightened [sic] the way that / leadeth unto life and few ne / they that find it / Matthew 7-13

Provenance: Private Collection, New Mexico

Literature: Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 348.

Literature: Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 372.2.

$1,500 – $2,500

$1,000 – $2,000

63 KARL BODMER (Swiss-French, 1809–1893) Indian Utensils and Arms, ca. 1839-1843 hand-colored aquatint engraving 15 ½ x 20 in. (39.37 x 50.80 cm.) C. Bodmer blindstamp lower center From “Voyage dans l’intérieur de l’Amérique du Nord, executé pendant les années 1832, 1833 et 1834, par le prince Maximilien de Wied-Neuwied” [Tab. 21] Published in Paris, A. Bertrand; Coblenz, J. Holscher; and London by Ackermann & Co. ca. 183944. Hürlimann after Bodmer Provenance: Private Collection, New Mexico $1,500 – $2,500

64 KARL BODMER (Swiss-French, 1808–1893) Winter Village of the Minatarres, ca. 1832-1844 hand-colored aquatint 10 x 13 in. (25.40 x 33.02 cm.) From “Voyage dans l’intérieur de l’Amérique du Nord, executé pendant les années 1832, 1833 et 1834, par le prince Maximilien de Wied-Neuwied” [Tab. 26] Published in Paris, A. Bertrand; Coblenz, J. Holscher; and London by Ackermann & Co. ca. 1839-44. Provenance: Arader Galleries, Philadelphia, Pennsylvania Private Collection, Texas $3,000 – $5,000

65 KARL BODMER (Swiss-French, 1809–1893) Chief of the Blood-Indians, War-Chief of the Piekann Indians, Koutani Indian hand-colored aquatint engraving 15 ¼ x 19 ¾ in. (38.74 x 50.17 cm.) C. Bodmer blindstamp lower center From “Voyage dans l’intérieur de l’Amérique du Nord, executé pendant les années 1832, 1833 et 1834, par le prince Maximilien de Wied-Neuwied” [Tab. 46] Published in Paris, A. Bertrand; Coblenz, J. Holscher; and London by Ackermann & Co. ca. 1839-44. Hürlimann after Bodmer Provenance: Private Collection, New Mexico $2,000 – $3,000

SANTA FE ART AUCTION

66 JOE BEELER (1931–2006) The Whirlwind (Cheyenne) mixed media on paper 13 ½ x 10 ½ in. (34.29 x 26.67 cm.) signed lower right: JOE BEELER inscribed verso: the / Whirlwind / (Cheyenne) / JOE BEELER Provenance: Private Collection, New Mexico $1,000 – $2,000

67 MORRIS RIPPEL (1930–2009) Red Blanket

68 MORRIS RIPPEL (1930–2009) Blanket - Red, White and Blue

watercolor on paper 21 ½ x 16 in. (54.61 x 40.64 cm.) signed lower right: M RIPPEL © inscribed verso: “RED BLANKET” / WATERCOLOR 21 ½ x 16 / M. RIPPEL

watercolor on paper 21 ⅜ x 16 ¼ in. (54.29 x 41.28 cm.) signed lower right: M. RIPPEL © inscribed verso: “BLANKET - RED, WHITE & BLUE”) / (WATERCOLOR - 21 ½ x 16” / M. RIPPEL -

Provenance: Private Collection, New Mexico

$3,000 – $5,000

SANTA FE ART AUCTION

69 WITHDRAWN

70 FRANCISCO ZÚÑIGA (Mexican, 1912–1998) Untitled (Three Native Figures), 1960 graphite on paper 13 ⅝ x 14 ⅛ in. (34.61 x 35.88 cm.) signed and dated lower left: Zúñiga ‘60 Provenance: Private Collection, New Mexico $2,000 – $3,000

71 FRANCISCO ZÚÑIGA (Mexican, 1912–1998) Mujer con canasto, 1979

72 FRANCISCO ZÚÑIGA (Mexican, 1912–1998) Chamulas Azul, 1981

color lithograph, edition 25 of 125 21 x 26 ¼ in. (53.34 x 66.68 cm.) editioned, signed and dated lower right: 25/125 Zúñiga 1979

color lithograph, edition 39 of 75 21 ¾ x 29 ½ in. (55.25 x 74.93 cm.) edtitioned, signed and dated lower left: 39/75 Zúñiga 1981

Provenance: From the John and Renay Nieto Collection

$600 – $1,200

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73 MADGE TENNENT (1889–1972) Princess Kaiulani

74 JEAN CHARLOT (French-American, 1898–1979) Untitled (Native Mother and Child)

ink on paper 17 ¼ x 11 ½ in. (43.82 x 29.21 cm.) inscribed verso: Princess Kauialani [sic] / medium black wash on russet paper / from an old photograph reproduction / owned by the artist, Madge Tennent / Signature of Artist Madge Tennent

conte crayon on paper 18 ⅛ x 11 ¼ in. (46.04 x 28.58 cm.) signed lower left: Jean / Charlot

Provenance: Private Collection, Hawaii

Provenance: John Henry Felix, Hawaii Private Collection, Hawaii $1,000 – $2,000

$800 – $1,200 Jean Charlot was born in France and studied at the École des Beaux Arts before moving to Mexico in the 1920s. He befriended Diego Rivera and was a founding figure in the Mexican Mural movement, teaching other Mexican muralists the true fresco technique. He settled in Hawaii in 1949, where he continued to teach, write and paint prolifically for the next 30 years. He and renowned Hawaiian figurative artist Madge Tennent were close friends.

75 JEAN CHARLOT (French-American, 1898–1979) Untitled (Native Woman Carrying Basket)

76 JEAN CHARLOT (French-American, 1898–1979) Untitled (Burden Basket Carrier)

conte crayon on paper 13 ⅛ x 9 ⅜ in. (33.34 x 23.81 cm.) signed lower left: Jean / Charlot

conte crayon on paper 13 ¼ x 9 ⅜ in. (33.66 x 23.81 cm.) signed lower left: Jean Charlot

Provenance: John Henry Felix, Hawaii Private Collection, Hawaii

$1,000 – $2,000

SANTA FE ART AUCTION

77 HOWARD COOK (1901–1980) Untitled (Burro) charcoal on paper 7 x 10 in. (17.78 x 25.40 cm.) signed lower center: Howard Cook Provenance: Private Collection, Texas $1,000 – $1,500

78 THADDEUS WELCH (1844–1919) Untitled (Burros and Adobe) watercolor on paper 12 x 18 ½ in. (30.48 x 46.99 cm.) signed lower right: Thad Welch Provenance: Private Collection, Arizona $2,000 – $4,000

SANTA FE ART AUCTION

79 ELBRIDGE AYER BURBANK (1858–1949) Chief Two Moon, 1898 oil on canvas mounted to board 11 ¾ x 9 ⅝ in. (29.85 x 24.45 cm.) signed lower left: E. A. BURBANK titled and dated upper right: CHIEF TWO-MOON / NORTHERN CHEYENNE / 1898 inscribed lower right: LAME DEER Provenance: Private Collection, New Mexico $4,000 – $6,000

80 ELBRIDGE AYER BURBANK (1858–1949) Snake Rock Walpi, ca. 1900 oil on canvas board 4 ½ x 6 ½ in. (11.43 x 16.51 cm.) signed lower right: E. A. BURBANK Provenance: Private Collection, New Mexico $1,000 – $1,500

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81 JOEL PHILLIPS (b. 1960) Tobacco and Sage, 1995 oil on canvas 24 x 36 in. (60.96 x 91.44 cm.) signed lower right: Joel Phillips Provenance: Altermann & Morris Galleries Private Collection, Texas $2,000 – $3,000

82 MYRTLE STEDMAN (1908–2007) Two Portraits - Tesuque oil on board 12 ¼ x 9 ⅜ in. (31.12 x 23.81 cm.) each signed upper right: STEDMAN / Tesuque / N.M. Provenance: Private Collection, New Mexico $1,000 – $2,000

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83 JULIAN ROBLES (b. 1933) Santa Clara Feast Day, 2002 oil on canvas 15 x 8 in. (38.10 x 20.32 cm.) signed, inscribed and dated lower left: julian Robles / TAOS 02 inscribed verso: “SANTA CLARA / FEAST DAY” / OIL / JULIAN ROBLES / TAOS, NM Provenance: Nedra Matteucci Gallery, Santa Fe, New Mexico Private Collection, Texas $1,500 – $2,500

84 JULIAN ROBLES (b. 1933) Martinez Horses, 1973 oil on board 15 x 30 in. (38.10 x 76.20 cm.) signed and dated lower left: julian Robles TAOS 73 stamped and inscribed verso: PAINTINGS AND PORTRAITS BY / JULIAN ROBELS. / Artist holds all / reproduction rights. / TITLE: MARTINEZ HORSES / CATALOG no. 42 DATE 3/73 / TAOS NEW MEXICO Provenance: Private Collection, New Mexico $1,500 – $2,500

85 JULIAN ROBLES (b. 1933) Leader of Rabbit Hunt, 1975 oil on board 12 x 16 in. (30.48 x 40.64 cm.) signed lower left: julian Robles TAOS inscribed verso: LEADER OF RABBIT HUNT. / 75 Provenance: Private Collection, New Mexico $800 – $1,200

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86 VLADAN STIHA (Yugoslavian, 1908–1992) Indian Children

87 PETER HURD (1904–1984) Untitled (Woman of San Patricio, New Mexico)

oil on board 10 x 8 in. (25.40 x 20.32 cm.) signed lower right: V Stiha

ink on paper 12 x 8 ¾ in. (30.48 x 22.23 cm.) signed lower left: Peter Hurd

Provenance: Stiha Studio & Gallery, Santa Fe, New Mexico Private Collection, New Mexico

Provenance: Private Collection, Texas

$800 – $1,200

$600 – $900

88 PETER HURD (1904–1984) After the Shower watercolor on paper 8 ½ x 11 ½ in. (21.59 x 29.21 cm.) signed lower left: Peter Hurd Provenance: Private Collection, Colorado $2,000 – $3,000

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89 RAY VINELLA (1933–2019) Taos Rabbit Hunt, 1973 oil on linen 22 x 28 in. (55.88 x 71.12 cm.) signed lower right: R. Vinella inscribed verso upper stretcher bar: TAOS RABBIT HUNT 1973 Ray Vinella Provenance: Private Collection, New Mexico $1,000 – $2,000

90 HENRY BALINK (1882–1963) Untitled (Nambe Landscape) oil on linen 12 x 14 in. (30.48 x 35.56 cm.) signed lower right: HENRY C BALINK upper stretcher bar inscribed: Wooten Nambe Provenance: Private Collection, New Mexico $1,500 – $2,500

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91 HELMUTH NAUMER (1907–1990) Frijoles Canyon

92 HELMUTH NAUMER (1907–1990) Aspens in the Evening, 1966

pastel on paper 28 x 20 in. (71.12 x 50.80 cm.) Artist’s cipher lower right signed on matte lower right: Helmuth [sic] NAUMER – inscribed verso: Frijoles Canyon

pastel on board 22 x 28 in. (55.88 x 71.12 cm.) signed lower right: NAUMER / [artist’s cipher] inscribed verso: “Aspens in the evening” / Oct 1966. / Artist / Helmuth Naumer / San Sebastian Ranch / Santa Fe, Ne Mex

Provenance: Private Collection, New Mexico

Provenance: Private Collection, Texas

$3,000 – $5,000

$1,500 – $2,500

93 HELMUTH NAUMER (1907–1989) New Mexico Landscape watercolor on paper 16 ⅝ x 21 ⅜ in. (42.23 x 54.29 cm.) signed lower right: Helmuth / NAUMER Provenance: Private Collection, New Mexico $2,000 – $4,000

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94 ERIC GIBBERD (1897–1972) Land of Color, 1971 watercolor on paper 14 ½ x 21 in. (36.83 x 53.34 cm.) inscribed verso: “Land of Color” / Gibberd. 71 Provenance: Private Collection, New Mexico $1,000 – $1,500

95 FREMONT ELLIS (1897–1985) At Amos’ Patio After Galleries watercolor and graphite on paper 3 ⅜ x 5 ⅜ in. (8.57 x 13.65 cm.) signed lower right: FREMONT ELLIS inscribed faintly verso: AT AMOS’ PATIO / AFTER GALLERIES Provenance: Private Collection, New Mexico $1,500 – $3,000

96 TOMMY MACAIONE (1907–1992) Santa Fe Plaza oil on canvas 24 x 36 in. (60.96 x 91.44 cm.) signed lower right: © TOM.S.M. Provenance: Private Collection, Arizona $3,000 – $5,000

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97 BURT PROCTER (1901–1980) Late Afternoon oil on canvas 12 x 16 in. (30.48 x 40.64 cm.) signed lower left: Burt Procter inscribed verso: “LATE AFTERNOON” Provenance: Private Collection, New Mexico $2,000 – $4,000

98 BURT PROCTER (1901–1980) Untitled (Cacti in the Desert) oil on board 11 ¾ x 23 ½ in. (29.85 x 59.69 cm.) signed lower right: Burt Procter Provenance: Private Collection, Texas $2,000 – $4,000

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99 DAVID HALBACH (b. 1931) Cochiti Visitors, 1975 watercolor on paper 13 ¼ x 20 ¼ in. (33.66 x 51.44 cm.) signed and dated lower right: DAVID HALBACH 1975 © Provenance: Private Collection, Colorado Private Collection, New Mexico $2,000 – $4,000

100 DAVID HALBACH (b. 1931) Prairie Barn, 1972 watercolor on paper 6 x 12 in. (15.24 x 30.48 cm.) signed and dated lower left: DAVID HALBACH 1972 © Provenance: Private Collection, New Mexico $1,500 – $2,500

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101 PAUL STRISIK (1918–1998) Taos Pueblo, 1999 oil on masonite 10 x 14 in. (25.40 x 35.56 cm.) signed lower left: P. STRISIK N.A. inscribed verso: “TAOS PUEBLO” 11/99 / 10x14” Provenance: The Artist Whistle Pik Galleries, Fredericksburg, Texas Private Collection, Kansas $1,000 – $2,000

102 ODON HULLENKRAMER (Hungarian, 1888–1978) Conchas City, New Mexico, 1936 oil on canvas mounted to cardboard 10 x 14 in. (25.40 x 35.56 cm.) signed and dated lower right: Odon Hullenkramer 36 inscribed verso: by Odon Hullemkramer / Conchas City / New Mexico / 1936 Provenance: The Artist Gift to Private Collection, Clovis, New Mexico Private Collection, Montana, ca. 1995 $1,500 – $2,500

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103 LAURENCE PHILIP SISSON (1928–2015) Untitled (New Mexico Landscape)

104 LAURENCE SISSON (1928–2015) Chamisa

oil on board 35 x 63 in. (88.90 x 160.02 cm.)

oil on canvas 18 x 24 in. (45.72 x 60.96 cm.) signed lower left: L. Sisson

Provenance: The Artist Private Collection, New Mexico* *All proceeds from the sale of this artwork benefit the Spanish Colonial Arts Society

Provenance: Private Collection, New Mexico $1,500 – $2,500

$1,500 – $2,500

105 LAURENCE PHILIP SISSON (1928–2015) Untitled (Southwestern Landscape)

106 LAURENCE PHILIP SISSON (1928–2015) Untitled (New England Winter in the Park), 1955

oil on board 36 x 48 in. (91.44 x 121.92 cm.)

oil on board 24 x 36 in. (60.96 x 91.44 cm.) signed and dated lower right: Laurence Sisson ‘55

Provenance: The Artist Private Collection, New Mexico* *All proceeds from the sale of this artwork benefit the Spanish Colonial Arts Society $1,500 – $2,500

SANTA FE ART AUCTION

Provenance: The Artist Private Collection, New Mexico* *All proceeds from the sale of this artwork benefit the Spanish Colonial Arts Society $1,000 – $2,000

107 ROBERT MACDONALD GRAHAM (1919–2003) A Winter Memory, 1985 acrylic on canvas 14 x 21 in. (35.56 x 53.34 cm.) signed lower left: © GRAHAM inscribed verso: “A WINTER MEMORY” / BINNEY & SMITH ACRYLIC / © COPYRIGHT 1985 / ROBERT / MACDONALD / GRAHAM Provenance: Private Collection, New Mexico $1,500 – $2,500

108 LOUIS RIBAK (1902–1979) Gloucester, 1941 watercolor on paper 11 ¼ x 20 ⅛ in. (28.58 x 51.12 cm.) signed, dated and titled lower left: Louis Ribak / ‘41 / Gloucester Provenance: Private Collection, New Mexico Exhibited: The Pennsylvania Academy of the Fine Arts and the Philadelphia Water Color Club, Thirty-Ninth Annual Water Color and Print Exhibition, November 2 - December 7, 1941 $600 – $1,200

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109 WIL TIMPE (b. 1920) Roman Trading Post, 1983 oil on canvas on masonite 20 x 24 in. (50.80 x 60.96 cm.) signed and dated lower left: W.TiMPE – ‘83 © inscribed verso: ROMAN TRADING POST / T-39 #69 Provenance: Goldfield Galleries, Los Angeles, California Private Collection, California Private Collection, Alberta, Canada $800 – $1,200

110 ALBERT HANDELL (b. 1937) Untitled (At the Market) pastel on paper 15 ⅝ x 21 ¾ in. (39.69 x 55.25 cm.) signed lower left: HANDELL Provenance: Private Collection, Montana $800 – $1,200

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111 JERRY JORDAN (b. 1944) Untitled (Columbian Hotel) oil on board 19 ⅝ x 23 ½ in. (49.85 x 59.69 cm.) signed lower right: Jerry Jordan / T.a.o.s. Provenance: Private Collection, Texas $2,000 – $4,000

112 JERRY JORDAN (b. 1944) Shadows on the Water oil on canvas 16 x 20 in. (40.64 x 50.80 cm.) signed lower right: .Jerry Jordan / T.a.o.s. inscribed verso: 16 x 20 / SHADOWS ON THE WATER Provenance: Private Collection, Texas $1,000 – $3,000

113 LAURENCE PHILIP SISSON (1928–2015) Untitled (Costal Landscape) oil on masonite 40 x 50 in. (101.60 x 127 cm.) Provenance: The Artist Private Collection, New Mexico* *All proceeds from the sale of this artwork benefit the Spanish Colonial Arts Society $1,500 – $2,500

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114 ALBERT SCHMIDT (1885–1957) Pink Peonies and Rabbit Figure

115 WITHDRAWN

oil on canvas 20 x 24 in. (50.80 x 60.96 cm.) Provenance: The Estate of Albert Schmidt A Private Family Foundation* *All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need. $1,500 – $3,000

116 JOAKIM ERICSSON (Swedish, b. 1972) Still Life with Fish, 2010

117 WILLIAM RAKOCY (1924–2015) Fruit, Skull and Palette, 2003

oil on board 12 x 16 in. (30.48 x 40.64 cm.) signed and dated lower right: Joakim Ericsson 10

acrylic on masonite 36 x 24 in. (91.44 x 60.96 cm.) signed and dated lower right: Bill Rakocy / 2003 inscribed verso: BILL RAKOCY / June 2003 © / A HAL MARCUS PRODUCTION

Provenance: Private Collection, New Mexico $800 – $1,200

Provenance: Hal Marcus Gallery Private Collection, Montana $600 – $800

SANTA FE ART AUCTION

118 WILLIAM RAKOCY (1924–2015) A Day In Old Mesilla, 2003 acrylic on masonite 24 x 36 in. (60.96 x 91.44 cm.) signed and dated lower left: BILL RAKOCY / JUNE 2003 inscribed verso: (greata American west & Mexican Series) / BILL RAKOCY / June 2003 / July 2009 / EL PASO TX / “A DAY IN OLD Mesilla” / (EL PASO TEXAS / STUDIO) Provenance: Private Collection, Montana $600 – $800

119 PAWEL KONTNY (1923–2002) Pueblo Scene mixed media on board 19 x 23 in. (48.26 x 58.42 cm.) signed lower right: Kontny Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, Wyoming $400 – $600

SANTA FE ART AUCTION

SESSION II

Session II | (Lots 120 – 219) Saturday, November 6 10:00 AM MST

120 LINCOLN FOX (b. 1942) Untitled (Cowgirl), 1987 ceramic, edition 5 of 75 with base: 7 ¾ x 4 x 3 ¼ in. (19.69 x 10.16 x 8.26 cm.) inscribed on side: LINCOLN FOX inscribed verso: © 1987 / 5-75 Provenance: Studio W Gallery, Ruidoso, New Mexico Private Collection, Montana $300 – $500

121 DAVE MCGARY (1958–2013) Eye of the Storm, 1992 polychrome bronze, edition 56 of 75 with base: 15 ⅜ x 10 ½ x 7 in. (39.05 x 26.67 x 17.78 cm.) inscribed near base: DAVE McGARY / 1992 / 56/75 Provenance: McGary Studios Private Collection, New Mexico $800 – $1,200

122 REBECCA TOBEY (b. 1948) Group of Two Bronze Figures polychrome bronze, editions 93 of 150 and 9 of 100 largest: 4 ¾ x 4 ⅞ x 1 ⅛ in. (12.07 x 12.38 x 2.86 cm.) inscribed underside: Tobey / 92/150 inscribed underside: Tobey / 5/26/08 / 9/100 Provenance: From the John and Renay Nieto Collection $700 – $900

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123 TED DEGRAZIA (1909–1982) Junipero Serra Walking, 1968 bronze, edition 86 of 200 with base: 13 ½ x 4 ¼ x 4 ½ in. (34.29 x 10.80 x 11.43 cm.) inscribed verso near base: Fy. Junipeo Serra / De Grazia / © 68 / [foundry mark] 86/200 Provenance: Private Collection, New Mexico* *All proceeds from the sale of this artwork benefit the Spanish Colonial Arts Society $600 – $900

124 RICHARD MACDONALD (b. 1946) Regina Luminaire, 1989 bronze, edition 7 of 30 without base: 42 x 24 x 12 ½ in. (106.68 x 60.96 x 31.75 cm.) inscribed near base: R. MacDonald ‘89 7/30 Regina Luminare is the balance, the counterpoint to Orpheo, from MacDonald’s masterwork Cinema Architectonica. MacDonald’s vision of Regina Luminaire is a feminine heroic figure that is exquisite in form and richly metaphoric. “Queen of Light” she carries the art of hope and the triangle of perfection. Regina’s power and presence is seen in the union of earth, sea and sky. Her being is emerging from the earth, wings show their ability to command the air and the waves show her dominion over the seas. The draping and integration of the angular architectural forms and feminine lines is powerful and emotive. Provenance: Private Collection, New Mexico $12,000 – $18,000

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125 STAR LIANA YORK (b. 1952) In Full Bloom, 1999

126 ENOCH KELLY HANEY (Seminole/Muscogee Creek, b. 1940) Standing His Ground, 1999

polychrome bronze, edition 20 of 35 with base: 29 x 21 x 22 in. (73.66 x 53.34 x 55.88 cm.) inscribed near base: SL York 20/35

bronze, edition 21 of 35 with base: 18 ¾ x 13 ½ x 10 ½ in. (47.63 x 34.29 x 26.67 cm.) inscribed on base: ENOCH KELLY HANEY © 99 21/35

Provenance: Private Collection, Kansas

Provenance: Private Collection, Oklahoma

$3,000 – $5,000

$1,000 – $2,000

127 DAN GARRETT (b. 1949) Shoshone, 1990

128 KEN PAYNE (1938–2012) Wintertime of the Buffalo, 1990

bronze, edition 30 of 50 with base: 10 x 9 x 9 ¼ in. (25.40 x 22.86 x 23.50 cm.) inscribed near base: DAN GARRETT / 90 © 30/50

polychrome bronze, edition 26 of 45 with base: 12 ½ x 12 ½ x 8 ½ in. (31.75 x 31.75 x 21.59 cm.) inscribed rear base: © 90 / KEN PAYNE / 26/45

Provenance: Private Collection, New Mexico

$1,000 – $2,000

$2,000 – $3,000

129 DAVE POWELL (b. 1954) Buffalo Family, 1986 bronze, edition 3 of 40 Male Buffalo: 8 ½ x 10 ½ x 4 ¾ in. (21.59 x 26.67 x 12.07 cm.) Female Buffalo: 8 x 10 ½ x 4 ¾ in. (20.32 x 26.67 x 12.07 cm.) Baby Buffalo: 4 x 5 ⅜ x 4 ¼ in. (10.16 x 13.65 x 10.80 cm.) (all dimensions with base) each inscribed: DAVE POWELL © 86 3/40 [artists cipher] Provenance: Private Collection, New Mexico $1,500 – $2,500

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130 GIB SINGLETON (1936–2014) Wildcatters at Spindletop, 1998 bronze, edition 18 of 25 with base: 30 ½ x 19 x 14 ¼ in. (77.47 x 48.26 x 36.20 cm.) inscribed near base: 18/25 / Wildcatters / AT / SPINDLETOP / Singleton / 1998 Provenance: Private Collection, New Mexico $4,000 – $6,000

131 GIB SINGLETON (1936–2014) Santa Fe Trail, 2001 bronze, edition 18 of 25 with base: 26 x 66 x 38 in. (66.04 x 167.64 x 96.52 cm.) inscribed near base: Singleton 2001 18/25 Provenance: Private Collection, New Mexico $20,000 – $30,000

132 GIB SINGLETON (1936–2014) Bareback Rider, 1995 bronze, edition 3 of 25 with base: 27 ¼ x 11 ¼ x 18 ¼ in. (69.22 x 28.58 x 46.36 cm.) inscribed verso: Singleton / 3/25 1995 Provenance: Private Collection, New Mexico $6,000 – $9,000

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133 AFTER FREDERIC REMINGTON (1861–1909) The Broncho Buster, ca. 1999 silver, edition 14 of 100 31 x 29 x 17 in. (78.74 x 73.66 x 43.18 cm.) 1,458 troy ounces (100 lbs) of .999 fine silver Silversmiths Group USA and Eagle Publishing, Maiden Foundry 1999 Cast from original Remington bronze Includes original Bill of Sale and Certificate of Authenticity Provenance: Silversmiths Group USA, LLC Private Collection, Kansas $30,000 – $40,000

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134 JAMES EARLE FRASER (1876–1953) End of the Trail, modeled 1915, cast 1967 bronze 34 ½ x 9 ½ x 28 in. (87.63 x 24.13 x 71.12 cm.) inscribed near base: J. E. FRASER © SU 21* The original plasters for these sculptures (see also Lots 138, 139, and 140) were bequeathed to Syracuse University by the estate of Laura Gardin Fraser, the widow of James Earle Fraser. Her Estate authorized limited castings to be made from these original plasters. James Earle Fraser worked as an assistant to Augustus Saint-Gaudens on the Sherman Monument (1892–1903), for the Grand Army Plaza in New York. His sculptural entries in major early twentieth century expositions, such as the 1904 Louisiana Purchase Exposition in St. Louis, the 1915 Panama-Pacific Exposition in San Francisco, and the 1939 New York World’s Fair, earned him medals, as well as public and critical acclaim. The design of the Indian head and buffalo nickel for the United States Treasury in 1912, the figure of Theodore Roosevelt on horseback for the entry to the American Museum of Natural History, and numerous other public sculptures, including the Department of the Treasury, the Commerce Building, the National Archives, and the Supreme Court, in Washington D.C., are among the sculptor’s most notable public commissions. The sculptor was also one of the organizers of and contributors to the famous, avant-garde International Exhibition of Modern Art, known as the Armory Show, of 1913. Fraser’s most acclaimed sculpture neither evokes his European academic training, nor the influence of the East Coast cities where he worked; End of the Trail is a romanticized and nostalgic image of the vanishing West. It is a powerful yet poetic work that is resoundingly clear in its sympathy to the subject matter. While in Paris he had worked on the theme (the plaster is now lost) and the work was awarded a gold medal in 1910. By the end of 1913, he had cemented his vision of “an Indian on a horse” and the work was accepted for the Pan Pacific exhibition which opened in February 1915 in San Francisco. End of the Trail was awarded the gold medal as the outstanding sculptural work at the fair. This monumental plaster, which measures eighteen feet high, (National Cowboy Hall of Fame, Oklahoma City) was subsequently cast for sites in public parks, in Wisconsin and California. This image was so popular that the artist issued reductions in various sizes and all were cast at the Roman Bronze works foundry. Fraser at his death bequeathed all of his models and archives to the Syracuse University and they were permitted by the Estate to cast posthumous bronzes from the artist’s original plasters. Comparative Literature: Dean Krakel, End of the Trail: The Odyssey of a Statue, University of Oklahoma Press, Norman, Oklahoma, 1973. Martin H. Bush, James Earle Fraser: American Sculptor, Kennedy Galleries, Inc., New York, 1969. Alfred T. Colette and Donald M. Lantzy (exhibition catalogue essay), James Earle Fraser: The American Heritage in Sculpture, The Thomas Gilcrease Institute of American History and Art, January 12-April 21, 1985. $10,000 – $15,000

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135 SIOUX Pair of Beaded Possible Bags, ca. 1860-1870 Each: 14 ½ x 20 in. (36.83 x 50.80 cm.) A pair of matching possible bags with lazy-beaded decorative recto panels in which three green/red triangle-diamond-triangle motifs alternate with floating navy crosses on a blue ground. The sides are accented with pink horse hair stuffed tin cones. Provenance: John W. Painter Collection Private Collection, Arizona Literature: John W. Painter, A Window on the Past, Early Native American Dress from The John Painter Collection, Cincinnati Art Museum and Orange Frazer Press, 2002, No. 135. $12,000 – $15,000

136 MARIA AND ADAM MARTINEZ (San Ildefonso, 1887–1980) (San Ildefonso, 1903–2000) Blackware Jar with Feather and Butterfly Designs

136A MARIA AND ADAM MARTINEZ (San Ildefonso, 1887–1980) (San Ildefonso, 1903–2000) Blackware Plate with Feather Designs

fired clay height 7 ¼ x diameter 7 ¼ in. (18.42 x 18.42 cm.) inscribed underside: Maria / + / Adam

fired clay height 1 ⅝ x diameter 11 in. (4.13 x 27.94 cm.) inscribed underside: Maria and Adam

Provenance: Maria Martinez The Collection of Sam and Marguerite Chernoff By descent to Tania and Wayne Bobrick

$12,000 – $18,000

$8,000 – $12,000

The Chernoffs owned Wright’s Indian Trading Post in Albuquerque, New Mexico, which has been in continual business since 1907. They were close friends and traded often with Maria Martinez and her family. These rare items with Maria’s son Adam were specifically requested in order to fill out their ample collection of Maria’s work. Their daughter Tania Bobrick recalls, “I have pictures of Maria with my family and have wonderful memories of the times she and Adam and Santana and her daughter came to our house.”

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137 ALLAN HOUSER (Chiricahua Apache, 1914–1994) Pueblo Woman, 1983 black Tennessee marble 28 x 9 ½ x 7 in. (71.12 x 24.13 x 17.78 cm.) inscribed: ALLAN HOUSER / © 83 Provenance: Marlene & Grant Wilkins Collection, Colorado Exhibited: Smithsonian Museum of the American Indian, Washington, D.C., Native Modernism: The Art of George Morrison and Alan Houser, September 21, 2004 - November 6, 2005 $20,000 – $30,000

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138 JAMES EARLE FRASER (1876–1953) White Eagle, modeled 1919, cast 1967 bronze 14 ½ x 9 x 11 in. (36.83 x 22.86 x 27.94 cm.) inscribed near base: #5 J.E. FRASER / © S. U. inscribed at base: Modern Art Fdry N.Y. Comparative Literature: Dean Krakel, End of the Trail: The Odyssey of a Statue, University of Oklahoma Press, Norman, Oklahoma, 1973. Martin H. Bush, James Earle Fraser: American Sculptor, Kennedy Galleries, Inc., New York, 1969. Alfred T. Colette and Donald M. Lantzy (exhibition catalogue essay), James Earle Fraser: The American Heritage in Sculpture, The Thomas Gilcrease Institute of American History and Art, January 12-April 21, 1985. $3,000 – $5,000

139 JAMES EARLE FRASER (1876–1953) Two Moons, modeled ca. 1919, cast 1967 bronze 13 x 6 ½ x 7 ½ in. (33.02 x 16.51 x 19.05 cm.) inscribed verso: J. E. FRASER / © S. U. #7 inscribed at base: Modern Art Fdry N.Y. Comparative Literature: Dean Krakel, End of the Trail: The Odyssey of a Statue, University of Oklahoma Press, Norman, Oklahoma, 1973. Martin H. Bush, James Earle Fraser: American Sculptor, Kennedy Galleries, Inc., New York, 1969. Alfred T. Colette and Donald M. Lantzy (exhibition catalogue essay), James Earle Fraser: The American Heritage in Sculpture, The Thomas Gilcrease Institute of American History and Art, January 12-April 21, 1985. $3,000 – $5,000

140 JAMES EARLE FRASER (1876–1953) End of the Trail, modeled 1915, cast 1967 bronze 12 ¾ x 12 x 4 in. (32.39 x 30.48 x 10.16 cm.) inscribed on base: FRASER / SYRACUSE UNIVERSITY #11 inscribed on base: [foundry mark] 1982 Comparative Literature: Dean Krakel, End of the Trail: The Odyssey of a Statue, University of Oklahoma Press, Norman, Oklahoma, 1973. Martin H. Bush, James Earle Fraser: American Sculptor, Kennedy Galleries, Inc., New York, 1969. Alfred T. Colette and Donald M. Lantzy (exhibition catalogue essay), James Earle Fraser: The American Heritage in Sculpture, The Thomas Gilcrease Institute of American History and Art, January 12-April 21, 1985. $1,200 – $1,800

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141 ORELAND JOE SR. (Diné [Navajo], b. 1958) Untitled (Native Warrior) carved alabaster 16 x 8 x 6 in. (40.64 x 20.32 x 15.24 cm.) inscribed near base: O C JOE © Provenance: Private Collection, Arizona $2,000 – $4,000

142 BARVO WALKER (b. 1932) First American Rug Makers bronze, edition 3 of 30 22 ½ x 19 x 13 in. (57.15 x 48.26 x 33.02 cm.) inscribed near base: BARVO / © 3/30 Provenance: Private Collection, Texas $2,000 – $3,000

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143 PATROCINO BARELA (1908–1964) Untitled (Two Figures Praying) carved wood 16 ⅜ x 3 ⅛ x 2 ½ in. (41.59 x 7.94 x 6.35 cm.) inscribed underside: PAT. BAr Provenance: Private Collection, New Mexico $4,000 – $6,000

144 PATROCINO BARELA (1908–1964) Untitled (Intertwined Figures) carved wood 23 x 6 ½ x 4 ½ in. (58.42 x 16.51 x 11.43 cm.) inscribed underside: PAT. BAR. Provenance: Private Collection, New Mexico $3,000 – $4,000

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145 ARMOND LARA (b. 1939) Gauguin, 2006

146 ARMOND LARA (b. 1939) Untitled

marionette: carved wood, papier-mâché, pigment, string, beads 40 x 16 ½ x 20 ½ in. (101.60 x 41.91 x 52.07 cm.) signed and dated on underside of both feet: A Lara / ‘06’

mixed media collage on paper 27 ½ x 22 in. (69.85 x 55.88 cm.) signed lower right: a Lara

Provenance: Private Collection, New Mexico

Provenance: From the John and Renay Nieto Collection

$6,000 – $9,000

$1,500 – $2,500

148 HOPI Ogre Kachina Doll, ca. 1900

149 WILSON TAWAQUAPTEWA (Hopi-Tewa, Oraibi, 1871–1960) Hummingbird Kachina Doll, ca. 1930

10 x 6 ½ x 2 ¾ in. (25.40 x 16.51 x 6.99 cm.) carved cottonwood, natural pigments featuring painted snake eye designs

carved cottonwood, natural pigments 7 ¼ x 3 x 2 in. (18.42 x 7.62 x 5.08 cm.)

Provenance: Private Collection, New Mexico $6,000 – $9,000

Provenance: Private Collection, New Mexico $2,000 – $3,000

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Prior to the 1930’s and the rise of the tourist trade, Navajo jewelry was made for adornment. A sign of pride and a status statement both within and outside the community. It’s this specific point of interest that has inspired the Foothills California studio to pair antique Native American belt buckles with period vintage belts that preserve the originality and integrity of each piece. Artisans carefully select, match, and restore each component, from aged leather to silver and stonework. Quickly approaching thirty years in the vintage/antique business their creations have captured the attention of the world’s finest retailers, showrooms, private collectors and enthusiasts.

151 FOOTHILLS, CALIFORNIA Vintage Leather Belt and Diné [Navajo] Coin Silver Belt Buckle, ca. 1920-1930 Belt: 38 in. (96.52 cm.) Buckle: 3 ⅝ x 3 1/16 in. (9.21 x 7.78 cm.) Hand cut and forged, scalloped edge with hand stamped design with repousse work. Rare triangle cut natural turquoise stones. 188 grams/6.6 oz $2,200 – $2,800

152 FOOTHILLS, CALIFORNIA Vintage Leather Belt and Diné [Navajo] Coin Silver Belt Buckle, ca. 1920 Belt: 36 in. (91.44 cm.) Buckle: 3 x 2 ⅞ in. (7.62 x 7.30 cm.) Coin silver, hand cut and forged. Extraordinary hand stamp chisel and repousse work. Two Kingman turquoise cabochons. 130 grams/4.6 oz $2,000 – $2,800

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153 FOOTHILLS, CALIFORNIA Vintage Leather Belt and Diné [Navajo] Coin Silver Belt Buckle, ca. 1920 Belt: 38 in. (96.52 cm.) Buckle 3 ⅝ x 2 9/16 in. (9.21 x 6.51 cm.) Hand-forged, hand-stamped with repousse work. Hand forged pin and belt stay. Four natural turquoise cabochons. 150 grams/5.3 oz $2,000 – $2,800

154 FOOTHILLS, CALIFORNIA Vintage Leather Belt and Diné [Navajo] Coin Silver Belt Buckle, ca. 1930 Belt: 34 in. (86.36 cm.) Buckle: 3 ½ x 2 ⅝ in. (8.89 x 6.67 cm.) Scalloped edges with fine hand chiseled and stamped design. Hand forged pin and belt stay. 128 grams/4.5 oz $1,500 – $2,000

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These coquera would typically have been used to store coca leaves, which were chewed in Peru before the arrival of the Spaniards and continued to be consumed in colonial times. They could also be used to store yerba maté infusions, preserves and sweets.

155 BOLIVIA Silver Coquera Vessel, Late 19th Century

156 BOLIVIA Silver Coquera Vessel, Late 19th Century

11 ¼ x 12 ¼ x 9 ¾ in. (28.58 x 31.12 x 24.77 cm.) 2232 grams/78.7 oz

11 x 15 x 10 ¾ in. (27.94 x 38.10 x 27.31 cm.) 2442 grams/86.1 oz

Provenance: The Collection of Holler and Saunders

$4,000 – $6,000

157 BOLIVIA Silver Coquera Vessel, Late 19th Century

158 BOLIVIA Silver Coquera Vessel, Late 19th Century

10 x 12 ⅜ x 10 ¼ in. (25.40 x 31.43 x 26.04 cm.) 1788 grams/63.1 oz

11 ¾ x 13 ¾ x 10 in. (29.85 x 34.93 x 25.40 cm.) 2628 grams/92.7 oz

Provenance: The Collection of Holler and Saunders

$4,000 – $6,000

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159 SPANISH COLONIAL, PERU Panaderia Table, Early 18th Century 32 ¾ x 45 x 58 ¾ in. (83.19 x 114.30 x 149.23 cm.) Possibly an altar table, but more likely a panaderia table fashioned out of hand hewn Montezuma Cypress timbers, or Sabino - the perfect height to stand in the kitchen and roll dough for bread. With its cross-hatch notched and linen fold carving, it has that notorious combination of styles predominant in many Colonial pieces. Provenance: The Collection of Holler and Saunders $18,000 – $24,000

160 SPANISH COLONIAL, PERU Andean Region Carved Wood Center Table, 18th Century 33 ½ x 50 ¾ x 50 ¾ in. (85.09 x 128.91 x 128.91 cm.) A beautifully hand-carved Aliso wood table. The round table top folds up to reveal a secret compartment. One drawer on side. Provenance: The Collection of Holler and Saunders $9,000 – $12,000

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161 SPANISH COLONIAL, PERU Collection of Talavera Vessels, 18th – 19th Century Largest: 16 ¾ x 11 x 11 in. (42.55 x 27.94 x 27.94 cm.) A grouping of thirteen Peruvian glazed and fired clay Talavera vessels, featuring designs and colors influenced by the Chinese trade routes of the day. Provenance: The Collection of Holler and Saunders $4,000 – $6,000

162 SPANISH COLONIAL, MEXICO Chiapas Altar Table, 18th Century 31 ¾ x 60 x 35 ½ in. (80.65 x 152.40 x 90.17 cm.) A hand-carved tropical mahogany wood altar table, with drawer, featuring lathe-turned legs and scalloped frontispiece. Provenance: The Collection of Holler and Saunders $5,000 – $8,000

Between 1585 and 1820 giant Spanish Galleons laden with silver, gold, furniture, decorative and religious art and artisans left once a year from Acapulco Bay on a several months long westerly voyage for Manila Bay, where a “trade fair” would take place attracting merchants from all over Asia. Chinese junks, ships from the Portuguese and Dutch colonies in Indonesia and Malaysia, boats from Japan and as far away as India would all anchor in Manila Bay to exchange and purchase goods. This marketplace, the largest of its kind in the world at the time, would generate an excitement not only in the purchasing of exotic and luxurious goods, but also in the exchange of political, cultural, ethno-religious and stylistic ideas. After a robust month or two of trade and preparations for a long return voyage, the galleons would depart for Acapulco Bay taking a much more Northerly route until making landfall just North of San Francisco and following the coast of California south with the constant threat of pirate attack, mutiny and starvation at the helm. After unloading some of the precious cargo along the way that was not on the official manifest and considered contraband, the galleon would finally arrive and anchor in Acapulco Bay where there was held another several month long “trade fair”. Merchants would arrive from Peru, the Caribbean, Spain and Portugal to exchange and purchase goods. Mexican merchants sent coveted luxurious items overland into the populated center of Mexico’s altiplano. Peru sent a shipment home, and the European merchants sent the previously unknown and exotic luxuries overland to Veracruz and then through the Caribbean colonies on to Europe by sea. This Acapulco-Manila trade created an economic revival in Europe and served to stimulate the economies of the Americas as well as those of Asia perpetuating the first globalization of the world that lasted for nearly 250 years. It is considered the longest running consecutive trade route in the history of mankind and generated an exciting exchange of novel ideas, customs, and a mutual influence in the design of furniture, decorative art and religious iconology.

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163 SPANISH COLONIAL, PERU Andean Region Banco Bench, 18th Century 50 ½ x 67 ½ x 23 in. (128.27 x 171.45 x 58.42 cm.) This bench is an elegant Colonial interpretation of the Queen Anne Style, fashioned out of hand hewn Aliso wood. Gold leaf, gesso, and pigment detailing throughout. Provenance: The Collection of Holler and Saunders $8,000 – $12,000

164 SPANISH COLONIAL, PERU Pair of Wood Armchairs, Late 18th Century

165 SPANISH COLONIAL, MEXICO Blandones Candlestick, 18th Century

Each: 48 x 24 ¾ x 25 in. (121.92 x 62.87 x 63.50 cm.) A pair of hand-carved, gilt and painted wood armchairs, featuring sacred hearts on back boards.

73 x 22 x 22 in. (185.42 x 55.88 x 55.88 cm.) A hand-carved wood candlestick, with elaborately painted polychrome designs and traces of gold leaf.

Provenance: The Collection of Holler and Saunders

$6,000 – $9,000

$2,500 – $3,500

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166 SPANISH COLONIAL, PERU Oversized Chomba Storage Jar, ca. 1800-1850

167 YELLOWSTONE TRADITIONS Custom Wood Secretary Desk, ca. 2000

42 ½ x 27 ½ x 25 ½ in. (107.95 x 69.85 x 64.77 cm.) These jars were used for grain storage and buried in the ground. Because of the dry climate at high altitudes in the Andes, the early 19th-century glaze is preserved almost perfectly.

48 ¾ x 73 x 25 ¾ in. (123.83 x 185.42 x 65.41 cm.) A secretary desk, hand-crafted from recycled long-needle sugar pine, with hand-forged hardware, leather and hand-painted 24 Karat gold gilt on interior drawers. Custom made for Hacienda Maria, an Arizona estate, and featured in Ralph Kylloe’s “The Rustic Cabin.”

Provenance: The Collection of Holler and Saunders $5,000 – $8,000

Wood Craftsman: Todd Gardenier Iron Craftsman: Judy Baker Detailing and Painting: Jennifer Besson Provenance: The Collection of Bob and Elizabeth Esperit, Tucson, Arizona The Collection of Holler and Saunders Literature: Ralph Kylloe, The Rustic Cabin: Design Architecture, Gibbs Smith: Layton, Utah, 2003, illus. p. 132. $12,000 – $16,000

168 SPANISH COLONIAL, MEXICO Carved Cedar Chest, 18th Century 38 ½ x 25 ½ x 46 ¾ in. (97.79 x 64.77 x 118.75 cm.) A hand-carved cedar round-top wood trunk, with original hand-forged hardware, and dovetail construction. Legs at base not attached. Provenance: The Collection of Holler and Saunders $2,000 – $4,000

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169 SPANISH COLONIAL Pair of Carved Wood Musicians, 18th Century 51 x 27 ½ x 14 ¼ in. (129.54 x 69.85 x 36.20 cm.) A pair of hand-carved wood musician sculptures, used for displaying and holding musical instruments. Provenance: The Collection of Holler and Saunders $7,000 – $10,000

170 SPANISH COLONIAL, MEXICO Carved Wood Cross with Gold and Silver Gilt, 18th Century

171 SPANISH COLONIAL, MEXICO Sold Wood Gilt Cross, 18th Century

72 ¾ x 60 ¾ x 3 ½ in. (184.79 x 154.31 x 8.89 cm.) A hand-carved wood cross, featuring thorn and grape vine detailing, having gold and silver leaf gilt.

56 x 35 x 2 ½ in. (142.24 x 88.90 x 6.35 cm.) A hand-carved wood cross, made of a single piece of wood, having gold and silver leaf gilt.

Provenance: The Collection of Holler and Saunders

$4,500 – $6,500

$2,000 – $4,000

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172 NICOLAS OTERO (b. 1981) A Labor of Reverence - The Stations of the Cross, 2009 A collaborative project, together with: Christine Montoya (tinwork), Jimmy Trujillo (straw inlay crosses), and Julia R. Gomez (colcha textiles) hand-adzed wood, gesso, natural pigments, tin, wood, straw, cotton embroidery Retablo (each): 15 x 12 in. (38.10 x 30.48 cm.) Panel One inscribed verso: A Labor of Reverence / Commissioned by the David P. Smolarek Family / In Loving Memory of Lorraine Joan Smolarek / 1933-2005 / July 24th 2009 / Nicolas R Otero Provenance: The Smolarek Trust Collection $40,000 – $60,000

After seven years of planning and production, the fifteen Alabados Stations of the Cross is the stunning result of a collaboration between four iconic contemporary Santeros that are masters in their field. This original “Way of the Cross” takes place in the Southwest desert where the drama unfolds amid cacti and desert foliage. Nicolas Otero painstakingly painted the large wooden retablos with the goal of linking the traditional Passion Story to the spiritual heartbeat of the Penitentes by incorporating ancient Alabados (hymns) into the designs of each Station. The appropriate Spanish verse of the hymn is unobtrusively woven into each design, with the English translation written on the back. Jimmy Trujillo handmade each of the fifteen straw-inlay wooden crosses with a different design, alternating between geometric and floral motifs. It was important to satisfy the tradition that each Station have a wooden cross attached to it, to represent the “True Cross”. Christine Montoya Carey expertly crafted a unique tin frame for each Station with a rosary encircling the retablo. The rosary center is a large bamboo coral bead representing the Blood of Christ, and the straw inlay cross forms the crucifix of the rosary. The artist fashioned a unique miniature tableau on each frame to represent the spiritual importance of that step in the Passion Play. The fourth and last collaborator of this major masterwork is Julia Gomez with her contribution of colcha numbers on hand woven sabanilla (altar cloth). Placed within a cutout window of each tin frame, the numbers guide you along each step of this spiritual pilgrimage to experience the Passion of Christ. Blessed by Bishop Wall of Gallup when he visited Santa Fe, this Alabados Via Cruz would be appropriate at your home, in a private capilla, within a local oratorio or a glorious church setting.

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CHRISTOPHER CARDOZO

(February 27, 1948 — February 21, 2021)

Christopher Cardozo was the world’s leading authority on Edward Curtis. Author of nine books, and curator of over 100 exhibitions in 42 countries and 6 continents, Chris was devoted to the promotion, exhibition, publication and study of the photographer’s life work, bringing the legacy Curtis created, in collaboration with some 10,000 Native Americans, to contemporary audiences. Cardozo first discovered the work of Edward Curtis in 1973 after a friend saw Cardozo’s own sepia-toned photographs of indigenous people taken during an extended period in Mexico. He took photos in somber, sepia tones. He made friends. He was held at gunpoint. He knew that the experience was changing his life. Heading home to St. Paul, Minnesota, he stopped in Albuquerque, where he first encountered some of Curtis’ prints and experienced a “shock of recognition.” As his sister, Julie, now tells it, “Our dad had given him a credit card for emergencies, but Chris went to Boulder and bought a Curtis photogravure with the card. ‘This is an emergency,’ he said. And that was it. That was how he discovered Curtis.” Cardozo returned to his hometown of St. Paul and voraciously consumed everything he could find about Curtis’ life and work. He then began speaking with dealers, traveling to auctions and learning and buying as many of the photographs as he could find. After a brief stint with a gallery in Minneapolis, Cardozo headed to Aspen, Colorado and opened a gallery there in the late 1980s. The gallery remained for about ten years until Chris decided to return home to Minnesota and continue collecting and selling Curtis material. In a 2018 interview with the Minneapolis Star Tribune, Cardozo said “I was led to this. This is my soul’s purpose. Why I ended up on Earth at this particular time was to make this work available to people.” Cardozo also served as a consultant/curator for many private Curtis collections as well as public institutions, including the J. Pierpont Morgan Library. In the 1970s Curtis’ work was rediscovered by the photographic and fine art community, in large part due to the efforts of Cardozo. In the same interview with the Star Tribune, he stated, “I believe I was instrumental in changing the conversation about Curtis. He’d been thought of as an ethnographer…But I got people to see his work as the artistic achievement that it was. The platinum prints, the gold tones, the cyanotypes…they leave me speechless at times.” Cardozo is the author of nine monographs on Edward Curtis and has created and curated one-person Curtis exhibitions that have been seen in nearly one hundred venues in over forty countries, and on every continent, but Antarctica. Having collected Curtis’s artwork for decades, Cardozo created the world’s largest and most broad-ranging Curtis collection. This personal collection has been exhibited in major museums internationally and was the subject of his widely heralded monograph on Curtis: Sacred Legacy; Edward S. Curtis and The North American Indian, and a new monograph on his personal collection titled Edward S. Curtis: One Hundred Masterworks, in which Cardozo said “Curtis’ work changed the way our nation viewed Native Americans and generated a broad-ranging dialogue for greater compassion, understanding, and inclusion. For more than a century, his images have moved and inspired diverse audiences, transcending economic, cultural, social, educational, and national boundaries. He accomplished this at a time when Native Americans were commonly viewed with disdain or hatred and some individuals were still actively advocating for the extinction of all Native peoples on the North American continent.”

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orotone on glass (goldtone) 11 x 14 in. (27.94 x 35.56 cm.) signed in negative lower left: Curtis © verso: Remnant of original “Out of the Darkness” studio sticker / Original studio price sticker negative date: 1904, print date: ca. 1904 This image was taken in Tesakod Canon, a small branch of Canon de Chelly. Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection, 2005 Literature: The North American Indian (1907-1930), Portfolio 1, Plate 37. Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, p. 191. $7,000 – $10,000

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CHRISTOPHER CARDOZO COLLECTION: EDWARD CURTIS

173 EDWARD S. CURTIS (1868–1952) Out of the Darkness - Navaho, ca. 1904

CHRISTOPHER CARDOZO COLLECTION: EDWARD CURTIS

174 EDWARD S. CURTIS (1868–1952) Homeward - Puget Sound, ca. 1898 orotone on glass (goldtone) 11 x 14 in. (27.94 x 35.56 cm.) signed in negative lower left: Curtis © negative date: 1898, print date: ca. 1898 This image was one of Curtis’ very earliest Native American photographs and also one of his earliest awardwinning images. Photographed in Puget Sound, this massive canoe was made from a single dugout tree trunk. Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection, 1998 Literature: The North American Indian (1907-1930), Portfolio 9, Plate 318. Native Family, Bulfinch/Callaway Editions, 1996, p. 80-81. Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, Title Page, 172. Exhibited: Sacred Legacy: Edward S. Curtis and the North American Indian (176 print exhibit), 2000 $6,000 – $9,000

175 EDWARD S. CURTIS (1868–1952) The Piki Maker - Hopi, ca. 1906 orotone on glass (goldtone) 14 x 11 in. (35.56 x 27.94 cm.) signed in negative lower left: Curtis © negative date: 1906, print date: ca. 1906 Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Women’s Collection, 2009 Literature: The North American Indian (1907-1930), Portfolio 12, Plate 432. The North American Indian (1907-1930), Portfolio 1, Plate #1. Native Nations, Bulfinch Press, 1993, p. 117. Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, p. 86. Edward S. Curtis: The Women, Bulfinch Press, 2005, p. 9, 88. Edward S. Curtis One Hundred Masterworks, Delmonico Books/ Prestel Publishing, 2015, p. 89. $6,000 – $9,000

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176 EDWARD S. CURTIS (1868–1952) The Maid of Dreams, ca. 1909 orotone on glass (goldtone) 14 x 11 in. (35.56 x 27.94 cm.) signed in negative lower right: Curtisin negative lower left: R8-09 (partially retouched) verso: Original “The Maid of Dreams” narrative sticker / “Curtis HOME OF THE INDIANS” studio sticker negative date: 1909, print date: ca. 1909 Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection, 2001 Literature: Marah Ellis Ryan, The Flute of the Gods, Frederick A. Stokes, New York, 1909, p. 130.

177 EDWARD S. CURTIS (1868–1952) Vash Gon - Jicarilla, ca. 1904 orotone on glass (goldtone) 10 x 5 in. (25.40 x 12.70 cm.) signed in negative lower left: Curtis © negative date: 1904, print date: ca. 1904 Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection, 2016 Literature: The North American Indian (1907-1930), Portfolio 1, Plate 20.Native Nations, Bulfinch Press, 1993, p. 76. Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, p. 113. Edward S. Curtis: The Great Warriors, Bulfinch Press, 2004, Plate 19. Edward S. Curtis One Hundred Masterworks, Delmonico Books/Prestel Publishing, 2015, p. 118, 167. $4,000 – $6,000

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CHRISTOPHER CARDOZO COLLECTION: EDWARD CURTIS

$7,000 – $10,000

CHRISTOPHER CARDOZO COLLECTION: EDWARD CURTIS

178 EDWARD S. CURTIS (1868–1952) Tapa “Antelope Water” - Taos [Ah Pao], 1905

179 EDWARD S. CURTIS (1868–1952) Yan Tsire (“Willow Bird”) - San Ildefonso, 1905

large platinum print 16 3/8 x 12 1/4 in. (41.59 x 31.12 cm.) signed lower right: Curtis copyright blind stamp lower left: COPYRIGHTED 1905 in negative lower left: 334-05 negative date: 1905, print date: 1905

large platinum print 15 11/16 x 11 7/16 in. (39.85 x 29.05 cm.) signed lower right: Curtis copyright blind stamp lower left: COPYRIGHTED 1905 BY E.S. CURTIS negative date: 1905, print date: 1905

This is an excellent example of this stunning portrait, printed in the platinum process and presented on a large double mount. This iconic Curtis photograph was originally published as a small format photogravure (approximately 7” x 5” image size) in The North American Indian. It is estimated that only five or six of these large format platinum prints exist. It has always been very highly sought after as a platinum print, on a par with the portraits of “Chief Joseph” and “A Walpi Man”. This is an extremely beautiful version of this photograph: open, luminous, subtle and warm toned.

Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection, 1999

Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection, 2005 Literature: The North American Indian (1907-1930), Volume 16, Facing Page 44. Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, p. 115. Edward S. Curtis One Hundred Masterworks, Delmonico Books/ Prestel Publishing, 2015, p. 85. $8,000 – $12,000

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Literature: The North American Indian (1907-1930), Volume 17, Facing Page 130. Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, p. 111. Edward S. Curtis One Hundred Masterworks, Delmonico Books/ Prestel Publishing, 2015, p. 82. Exhibited: Sacred Legacy: Edward S. Curtis and the North American Indian (176 print exhibit), 2000 Edward S. Curtis: 100 Masterworks, 2016 Edward Curtis: Beauty, Heart and Spirit (64 print exhibit), Schumacher Gallery, Columbus, OH, 2017; Trout Museum of Art, Appleton, WI, 2018 $8,000 – $10,000

181 EDWARD S. CURTIS (1868–1952) Lummi Type, 1899

large platinum print 15 1/2 x 11 5/16 in. (39.37 x 28.73 cm.) signed lower right: Curtis copyright blind stamp lower left (pointed ends): COPYRIGHTED 1904 (partial) negative date: 1904, print date: 1904

large platinum print 15 7/8 x 11 15/16 in. (40.32 x 30.32 cm.) signed lower right: Curtis copyright blind stamp lower left: COPYRIGHTED 1899 BY E.S. CURTIS in negative lower left: 5-99 / CURTIS COPYRIGHT 1899 5 negative date: 1899, print date: 1899

Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection, 2003 Literature: The North American Indian (1907-1930), Volume 16, Facing Page 206. Edward S. Curtis One Hundred Masterworks, Delmonico Books/Prestel Publishing, 2015, p. 21. $8,000 – $10,000

Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection, 2017 Literature: The North American Indian (1907-1930), Portfolio 9, Plate 320. Native Nations, Bulfinch Press, 1993, p. 111. Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, p. 164. Edward S. Curtis: The Women, Bulfinch Press, 2005, p. 13. Edward S. Curtis One Hundred Masterworks, Delmonico Books/Prestel Publishing, 2015, p. 131. $8,000 – $10,000

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CHRISTOPHER CARDOZO COLLECTION: EDWARD CURTIS

180 EDWARD S. CURTIS (1868–1952) An Acoma Man (Variant), 1904

CHRISTOPHER CARDOZO COLLECTION: EDWARD CURTIS

182 EDWARD S. CURTIS (1868–1952) The Vanishing Race - Navaho, 1904 large platinum print 12 x 16 in. (30.48 x 40.64 cm.) copyright blind stamp lower left: COPYRIGHTED 1904 BY E.S. CURTIS in negative lower left: 301-04 negative date: 1904, print date: 1904, Navajo, Southwest “The Vanishing Race” was Curtis’ signature piece. It was the visual metaphor for the core conceptual underpinning of Curtis’ entire thirtyyear project i.e., that Native Americans, as a culture at least, were vanishing. It became Curtis’ over-arching goal to create a record of them and their world before they disappeared forever. Curtis searched for an image to embody this idea for nearly four years before creating “The Vanishing Race”. A century ago, it was by far and away Curtis’ most popular single image. Today it still remains a highly sought-after classic. Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection, 2008 Literature: The North American Indian (1907-1930), Portfolio 1, Plate 1.Native Nations, Bulfinch Press publisher, 1993, p. 123. Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, p. 188. Edward S. Curtis: The Great Warriors, Bulfinch Press, 2004, p. 7. Edward S. Curtis One Hundred Masterworks, Delmonico Books/ Prestel Publishing, 2015, p. 91, 166. $6,000 – $8,000

183 EDWARD S. CURTIS (1868–1952) Evening on the Sand Dunes - Hopi, 1906 large platinum print 14 11/16 x 20 11/16 in. (37.31 x 52.55 cm.) copyright blind stamp lower left: Evening on the Sand Dunes – Hopi in negative lower left: 432-06 negative date: 1906, print date: 1906 Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection, 2004 $3,000 – $5,000

184 EDWARD S. CURTIS (1868–1952) The Piki Maker - Hopi, 1906 large platinum print 16 3/8 x 12 1/2 in. (41.59 x 31.75 cm.) signed lower right: Curtis copyright blind stamp lower left: COPYRIGHTED 1906 BY E.S. CURTIS in negative lower left: 430-06 negative date: 1906, print date: 1906 Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection, 2000 Literature: The North American Indian (1907-1930), Portfolio 12, Plate 432. The North American Indian (1907-1930), Portfolio 1, Plate #1.Native Nations, Bulfinch Press Publisher, 1993, p. 117. Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, p. 86. Edward S. Curtis: The Women, Bulfinch Press, 2005, p. 9, 88. Edward S. Curtis One Hundred Masterworks, Delmonico Books/Prestel Publishing, 2015, p. 89. $3,000 – $5,000

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185 EDWARD S. CURTIS (1868–1952) Lummi Woman (Crop Variant), 1899 large platinum print 15 3/8 x 8 5/8 in. (39.05 x 21.91 cm.) signed lower right: Curtis copyright blind stamp lower left (pointed ends): COPYRIGHTED 1899 BY E.S. CURTIS (partial) in negative lower left: CURTIS COPYRIGHT 1899 23 negative date: 1899, print date: 1899 Provenance: Edward S. Curtis Studio, Seattle Beth Curtis Magnuson Collection Iris Forrest Collection Four Winds Gallery The Christopher G. Cardozo 100th Anniversary Collection, 2005 Literature: The North American Indian (1907-1930), Portfolio 9, Plate 321. Edward S. Curtis One Hundred Masterworks, Delmonico Books/Prestel Publishing, 2015, p. 97 Exhibited: Edward S. Curtis: 100 Masterworks, 2016 $1,500 – $2,500

large platinum print 15 7/8 x 11 13/16 in. (40.32 x 30 cm.) copyright blind stamp lower left: COPYRIGHTED 1907 BY E.S. CURTIS in negative lower left: 473-07 negative date: 1907, print date: 1907 Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection, 2013 Literature: The North American Indian (1907-1930), Portfolio 2, Plate 73. $1,500 – $2,500

187 EDWARD S. CURTIS (1868–1952) Untitled (Si-Wa-Sata-Wa - Zuni), 1900 large platinum print 13 1/8 x 10 in. (33.34 x 25.40 cm.) copyright blind stamp lower left (pointed ends): COPYRIGHTED 1900 BY E.S. CURTIS in negative lower left: 139-00 negative date: 1900, print date: 1900 Although not published in The North American Indian, an example of this image can be found the the Library of Congress archive of Curtis prints. In general, examples of untitled/unpublished images in the platinum process are exceedingly rare. Provenance: Edward S. Curtis Studio, Seattle Beth Curtis Magnuson Collection Iris Forrest Collection Four Winds Gallery The Christopher G. Cardozo 100th Anniversary Collection, 2005 $4,000 – $6,000

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CHRISTOPHER CARDOZO COLLECTION: EDWARD CURTIS

186 EDWARD S. CURTIS (1868–1952) Pachilawa - Walapai Chief, 1907

CHRISTOPHER CARDOZO COLLECTION: EDWARD CURTIS

188 EDWARD S. CURTIS (1868–1952) Untitled (Hopi Snake Priest)

189 EDWARD S. CURTIS (1868–1952) The Piki Maker - Hopi

toned silver gelatin border print 7 9/16 x 5 1/2 in. (19.21 x 13.97 cm.) signed lower right: Curtis lower left: ©

toned silver gelatin border print 7 13/16 x 5 3/4 in. (19.84 x 14.61 cm.) copyright blind stamp lower left: © E.S. CURTIS SEATTLE

Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Hopi Collection, 1999 Literature: Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, p. 106. Exhibited: Sacred Legacy: Edward S. Curtis and the North American Indian (176 print exhibit), 2000 $5,000 – $7,000

190 EDWARD S. CURTIS (1868–1952) The Vanishing Race - Navaho toned silver gelatin border print 5 5/8 x 7 1/2 in. (14.29 x 19.05 cm.) signed lower right: Curtis copyright blind stamp lower left: © E.S. CURTIS SEATTLE Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection, 1996 Literature: The North American Indian (1907-1930), Portfolio 1, Plate 1. Native Nations, Bulfinch Press publisher, 1993, p. 123. Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster publisher, 2000, p. 188. Edward S. Curtis: The Great Warriors, Bulfinch Press publisher, 2004, p. 7. Edward S. Curtis One Hundred Masterworks, Delmonico Books/Prestel Publishing, 2015, p. 91, 166. $6,000 – $8,000

Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection, 1997 Literature: The North American Indian (1907-1930), Portfolio 12, Plate 432. The North American Indian (1907-1930), Portfolio 1, Plate #1. Native Nations, Bulfinch Press, 1993, p. 117. Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster publisher, 2000, p. 86. Edward S. Curtis: The Women, Bulfinch Press, 2005, p. 9, 88. Edward S. Curtis One Hundred Masterworks, Delmonico Books/ Prestel Publishing, 2015, p. 89. $2,500 – $4,500

191 EDWARD S. CURTIS (1868–1952) The Storm (Before the Storm) - Apache toned silver gelatin border print 5 9/16 x 7 1/2 in. (14.13 x 19.05 cm.) signed lower right: Curtis copyright blind stamp: © E.S. CURTIS SEATTLE Photographed in the high mountains just before the breaking of a rain storm, this image is notable primarily because of the ground level vantage from which the photograph was taken, and is unusual in the ‘border’ presentation shown here. Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection, 1997 Literature: The North American Indian (1907-1930), Portfolio 1, Plate 9. Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, p. 122-123. $4,000 – $6,000

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193 EDWARD S. CURTIS (1868–1952) The Salmon Stream (Variant)

toned silver gelatin border print 7 9/16 x 5 1/2 in. (19.21 x 13.97 cm.) signed lower right: Curtis L.A. ©

toned silver gelatin border print 7 9/16 x 5 9/16 in. (19.21 x 14.13 cm.) signed lower right: Curtis L.A. ©

Provenance: Edward S. Curtis Studio, Seattle Beth Curtis Magnuson Collection Private Collection(s) Iris Forrest Collection Four Winds Gallery The Christopher G. Cardozo Collection, 2005 $1,200 – $1,500

194 EDWARD S. CURTIS (1868–1952) Watching for Salmon - Hupa (Variant) toned silver gelatin border print 7 5/8 x 5 9/16 in. (19.37 x 14.13 cm.) signed lower right: Curtis L.A. © Provenance: Edward S. Curtis Studio, Seattle Beth Curtis Magnuson Collection Private Collection(s) Iris Forrest Collection Four Winds Gallery The Christopher G. Cardozo Collection, 2005 $1,000 – $2,000

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CHRISTOPHER CARDOZO COLLECTION: EDWARD CURTIS

192 EDWARD S. CURTIS (1868–1952) Speaking Salmon - Hupa (Variant)

CHRISTOPHER CARDOZO COLLECTION: EDWARD CURTIS

195 EDWARD S. CURTIS (1868–1952) Homeward - Puget Sound, 1898 platinum print 5 3/4 x 7 5/8 in. (14.61 x 19.37 cm.) signed lower right: Curtis in negative lower left: 51 A (partial) / urtis 51 A - yrighted 1898 mount verso lower left: studio copyright sticker negative date: 1898 Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo 100th Anniversary Collection, 1999 Literature: The North American Indian (1907-1930), Portfolio 9, Plate 318. Native Family, Bulfinch/Callaway Editions, 1996, p. 80-81. Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, Title page, 172. Exhibited: Sacred Legacy: Edward S. Curtis and the North American Indian (95 print exhibit), 2000 $4,000 – $5,000

196 EDWARD S. CURTIS (1868–1952) An Oasis in the Badlands - Sioux, 1905 platinum print 5 13/16 x 7 13/16 in. (14.76 x 19.84 cm.) copyright blind stamp lower left: COPYRIGHTED 1905 BY E.S. CURTIS in negative lower left: X1450-05 negative date: 1905, print date: 1905 In the vast South Dakota Badlands, a warrior sits on a white stallion as it drinks from a small pool. The man wears an eagle feather war bonnet, a fringed and beaded war shirt, and beaded leggings and moccasins. A carbine rifle is slung on the saddle, and the horse wears eagle feathers in its mane. The subject is Red Hawk, a 91-year-old Dakota Sioux sub-chief who fought in 20 battles against the United States Army, including the Battle of the Little Bighorn. Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection, 2000 Literature: The North American Indian (1907-1930), Portfolio 3, Plate 80. Chiefs & Warriors, Bulfinch/Callaway Editions, 1996, p. 31. Edward S. Curtis: The Great Warriors, Bulfinch Press, 2004, Plate 100, back jacket. Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, p. 54. Edward S. Curtis One Hundred Masterworks, Delmonico Books/Prestel Publishing, 2015, p. 14. $4,000 – $6,000

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197 EDWARD S. CURTIS (1868–1952) Hopi Water Girls, 1906

Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Hopi Collection, 2005 $3,000 – $5,000

198 EDWARD S. CURTIS (1868–1952) Evening at the Well - Hopi, 1906 platinum print 5 7/8 x 7 5/8 in. (14.92 x 19.37 cm.) copyright blind stamp lower left: COPYRIGHTED 1906 BY E.S. CURTIS in negative lower left: X1976 – 06 mount verso lower left: studio copyright sticker negative date: 1906, print date: 1906 Provenance: Edward S. Curtis Studio,Seattle Private Collection(s) The Christopher G. Cardozo Women’s Collection, 2005 $2,000 – $4,000

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CHRISTOPHER CARDOZO COLLECTION: EDWARD CURTIS

platinum print 5 13/16 x 7 13/16 in. (14.76 x 19.84 cm.) signed lower right: Curtis copyright blind stamp lower left: COPYRIGHTED 1906 BY E.S. CURTIS studio blind stamp on mount lower left: THE CURTIS STUDIO SEATTLE in negative lower left: X2008 – 06 on mount lower left: Hopi Water Girls negative date: 1906, print date: 1906

CHRISTOPHER CARDOZO COLLECTION: EDWARD CURTIS

199 EDWARD S. CURTIS (1868–1952) Last Home of Chief Joseph - Nez Perce, 1905 platinum print 5 7/8 x 7 13/16 in. (14.92 x 19.84 cm.) signed lower right: Curtis copyright blind stamp lower left: COPYRIGHTED 1905 BY E.S. CURTIS studio blind stamp on mount lower left: THE CURTIS STUDIO SEATTLE in negative lower left: X1868 – 05 mount verso lower left: studio copyright sticker verso: Last Home of Chief Joseph negative date: 1905, print date: 1905 The Last Home of Joseph, as illustrated in Volume VIII, and shown here in platinum. This print exhibits a full tonal range and has all of the hallmarks of an exhibition quality print made by the Curtis Studio, including a strong signature, a blind-stamp and negative information at the lower left, and a studio blind-stamp on the original mount.For four months in 1877, Chief Joseph and about 700 Nez Perce, including women and children, made a grueling 1,600-mile trek toward freedom in Canada, fighting a series of battles and skirmishes with the United States Cavalry along the way. After his surrender, Joseph worked the rest of his life to attempt to return his people to their homelands in the Wallowa Valley in Oregon. Curtis called Joseph “one of the greatest men that has ever lived.” Provenance: Edward S. Curtis Studio, Seattle Beth Curtis Magnuson Collection Iris Forrest Collection Four Winds Gallery The Christopher G. Cardozo 100th Anniversary Collection, 2005 Literature: The North American Indian (1907-1930), Volume 8, Facing Page 38. $2,000 – $3,000

200 EDWARD S. CURTIS (1868–1952) The Blanket Weaver - Navaho, 1904 platinum print 6 x 7 7/8 in. (15.24 x 20 cm.) signed lower right: Curtis copyright blind stamp lower left (pointed ends): COPYRIGHTED 1904 BY E.S. CURTIS in negative lower left: X1048 – 04 negative date: 1904, print date: 1904 Navaho blanket-weaving is an ancient art form still practiced today. “In the winter months,” Curtis wrote, “the looms are set up in the hogans [dome-shaped, earthen houses], but during the summer they are erected outdoors under an improvised shelter, or, as in this case, beneath a tree. The simplicity of the loom and its product are here clearly shown, pictured in the early morning light under a large cottonwood.” Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Women’s Collection, 2006 Literature: The North American Indian (1907-1930), Portfolio 1, Plate 34. Native Nations, Bulfinch Press, 1993, p. 71. Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, p. 15. Edward S. Curtis: The Women, Bulfinch Press, 2005, p. 42. Edward S. Curtis One Hundred Masterworks, Delmonico Books/Prestel Publishing, 2015, p. 123. $2,000 – $3,000

201 EDWARD S. CURTIS (1868–1952) The Apache Reaper, 1906 platinum print 6 x 7 3/4 in. (15.24 x 19.69 cm.) signed lower right: Curtis copyright blind stamp lower left: COPYRIGHTED 1906 BY E.S. CURTIS in negative lower left: X1883-06 studio blind stamp on mount lower left: THE CURTIS STUDIO SEATTLE verso: The Reaper – Apache negative date: 1906, print date: 1906 Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection, 2001 Literature: The North American Indian (1907-1930), Portfolio 1, Plate 8. Edward S. Curtis: The Women, Bulfinch Press, 2005, p. 17. $1,500 – $2,500

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203 EDWARD S. CURTIS (1868–1952) Red Plume - Piegan (Variant)

cyanotype 8 1/16 x 5 5/8 in. (20.48 x 14.29 cm.) verso: Yu-i-kub, Shohomish / x3469 / 742

cyanotype 7 3/4 x 5 3/4 in. (19.69 x 14.61 cm.) on verso: Piegan

Provenance: Edward S. Curtis Private Collection(s) The Christopher G. Cardozo Collection, 1999

A profile view of Red Plume is the frontispiece, featured image, in Volume VI. Curtis wrote that when Red Plume was a boy, about 1850, the Piegan Sun Dance camp formed a circle fully a mile in diameter, with the lodges placed close together, many deep, and children as well as horses frequently became lost in the maze of lodges.

Literature: The North American Indian (1907-1930), Portfolio 9, Plate 303. Native Family, Bulfinch/Callaway Editions, 1996, p. 89. Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, p. 178. $3,000 – $4,000

Provenance: Edward S. Curtis Private Collection(s) The Christopher G. Cardozo Collection, 1999 Literature: Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, p. 187. $1,500 – $2,500

204 EDWARD S. CURTIS (1868–1952) Wishham Female Type cyanotype 7 3/4 x 5 13/16 in. (19.69 x 14.76 cm.) verso: Wishham Female Type - Front View / Small / x3069 Provenance: Edward S. Curtis Private Collection(s) The Christopher G. Cardozo Women’s Collection, 2009 Literature: The North American Indian (1907-1930), Volume 8, Facing Page 106. Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, p. 153. Edward S. Curtis: The Women, Bulfinch Press, 2005, p. 59. $600 – $1,200

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CHRISTOPHER CARDOZO COLLECTION: EDWARD CURTIS

202 EDWARD S. CURTIS (1868–1952) Quilcene Boy

CHRISTOPHER CARDOZO COLLECTION: EDWARD CURTIS

205 EDWARD S. CURTIS (1868–1952) Untitled (Raven-Ma - Kwakiutl (Qágyuhl)), ca. 1914 silver gelatin 6 x 7 3/4 in. (15.24 x 19.69 cm.) negative date: ca. 1914, print date: ca. 1914 A dramatic portrait of a Qágyuhl man wearing a richly detailed mask. Beautifully printed, and on double-weight paper, this print may have been created by the Curtis studio for exhibition or sale. Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection, 1998 Literature: Hidden Faces, Bulfinch/Callaway Editions, 1996, p. 36. Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, p. 168. Edward S. Curtis One Hundred Masterworks, Delmonico Books/ Prestel Publishing, 2015, p. 50. Exhibited: Sacred Legacy: Edward S. Curtis and the North American Indian (176 print exhibit), 2000 Edward S. Curtis: 100 Masterworks, 2016 Edward Curtis: Beauty, Heart and Spirit (64 print exhibit), Schumacher Gallery, Columbus, OH, 2017; Trout Museum of Art, Appleton, WI, 2018

206 EDWARD S. CURTIS (1868–1952) Untitled (Northwest Coast Man with Bird Headwear), ca. 1914 silver gelatin 7 7/8 x 5 3/4 in. (20 x 14.61 cm.) negative date: ca. 1914, print date: ca. 1914, Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection, 1998 Exhibited: Sacred Legacy: Edward S. Curtis and the North American Indian (176 print exhibit), 2000 $1,000 – $2,000

$2,000 – $3,000

207 EDWARD S. CURTIS (1868–1952) Boarding the Canoe, 1910 toned silver gelatin 7 7/8 x 5 7/8 in. (20 x 14.92 cm.) in negative lower left: X3358 – 10 negative date: 1910, print date: 1910 Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Women’s Collection, 2005 Literature: The North American Indian (1907-1930), Portfolio 11, Plate 371. $300 – $500

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209 EDWARD S. CURTIS (1868–1952) Wall-Painting for Summer Shiwanna Ceremony (Proof Print)

hand colored silver gelatin 8 1/8 x 6 3/16 in. (20.64 x 15.72 cm.) in negative lower left: X3273 – 10 negative date: 1910

hand colored hand drawn proof 7 1/8 x 6 1/4 in. (18.10 x 15.88 cm.) upper left: Vol. 16 N.A.I., Color plate lower margin: Wall-painting for the Summer Shiwanna Ceremony - Santo Domingo

Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Women’s Collection, 1999 Literature: The North American Indian (1907-1930), Volume 8, Facing Page 92. $300 – $500

This is the original, hand-drawn, hand-colored rendering that was used to create the copper photogravure plate for this illustration, which is found in Volume XVI. All of the unique ticks and strokes in this rendering are also found in the photogravure, which was also handcolored. For the collector, this is an extraordinary example of the proof print precursor to a hand-colored print in the published volumes. Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection, 2013 Literature: The North American Indian (1907-1930), Volume 16, Facing Page 154. $200 – $400

210 EDWARD S. CURTIS (1868–1952) Makah Basketry, 1911 hand colored photogravure 5 7/16 x 7 7/16 in. (13.81 x 18.89 cm.) signed in plate lower center: E.S. Curtis in plate lower center margin: From Copyright Photograph 1911 by E.S. Curtis lower left margin: Makah Basketry Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Women’s Collection, 2005 $200 – $400

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CHRISTOPHER CARDOZO COLLECTION: EDWARD CURTIS

208 EDWARD S. CURTIS (1868–1952) Wishham Beadwork, 1910

CHRISTOPHER CARDOZO COLLECTION: EDWARD CURTIS

211 EDWARD S. CURTIS (1868–1952) Pulíini and Köyáme - Walpi (Crop Variant), 1900 toned silver gelatin 4 1/4 x 6 1/8 in. (10.80 x 15.56 cm.) verso: No. 5 negative date: 1900, print date: 1900 Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Women’s Collection, 2000 Literature: The North American Indian (1907-1930), Volume 12, Facing Page 74. Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, p. 98. Edward S. Curtis: The Women, Bulfinch Press, 2005, p. 24. $1,000 – $2,000

212 EDWARD S. CURTIS (1868–1952) A Tewa Girl, 1906 toned silver gelatin 5 13/16 x 6 1/8 in. (14.76 x 15.56 cm.) verso: (a) Tewa Girl (173) (X-5027) – 1906 negative date: 1906, print date: 1906 Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Women’s Collection, 2000 Literature: The North American Indian (1907-1930), Portfolio 12, Plate 402. $1,000 – $2,000

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213 EDWARD S. CURTIS (1868–1952) Hopi Bridal Costume, 1900 silver gelatin 7 5/8 x 4 5/8 in. (19.37 x 11.75 cm.) verso: Hopi Bridal Costue (61) / X-1572-‘00 X-667 / The Moki Bride – Quang negative date: 1900, print date: 1900 Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Women’s Collection, 2001 Literature: The North American Indian (1907-1930), Volume 12, Facing page 40. Native Family, Bulfinch/Callaway Editions, 1996, p. 49. Exhibited: Sacred Legacy: Edward S. Curtis and the North American Indian (64 print exhibit), 2004, Schumacher Gallery, Columbus, OH Sacred Legacy: Edward S. Curtis and the North American Indian (64 print exhibit), 2009, Crossman Gallery, Whitewater, WI (Curtis’ birthplace)

214 EDWARD S. CURTIS (1868–1952) The Piki Maker - Hopi hand colored silver gelatin 13 7/8 x 10 15/16 in. (35.24 x 27.78 cm.) signed in negative lower left: Curtis This image was definitely one of Curtis’ favorites, as he printed it in numerous photographic processes. Showing a Hopi woman making Piki, which is a corn based flat bread that is baked in colored sheets of paper-like thinness. This is a relatively unusual hand-colored example on silver gelatin. Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Women’s Collection, 2005 Literature: The North American Indian (1907-1930), Portfolio 12, Plate 432. The North American Indian (1907-1930), Portfolio 1, Plate #1. Native Nations, Bulfinch Press, 1993, p. 117. Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, p. 86. Edward S. Curtis: The Women, Bulfinch Press, 2005, p. 9, 88. Edward S. Curtis One Hundred Masterworks, Delmonico Books/ Prestel Publishing, 2015, p. 89. $3,000 – $4,000

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CHRISTOPHER CARDOZO COLLECTION: EDWARD CURTIS

$600 – $800

CHRISTOPHER CARDOZO COLLECTION: EDWARD CURTIS

215 EDWARD S. CURTIS The North American Indian – Harriman Set No. 308 Volumes I-XX, Alaska Volumes and Ephemera, 1907-1930 The North American Indian being a Series of Volumes Picturing and Describing the Indians of the United States and Alaska. Edited by Fredrick Webb Hodge. Foreword by Theodore Roosevelt. Field Research conducted under the patronage of J. Pierpont Morgan. [Cambridge, Mass.], 1907-1930. 20 volumes: text, Quarto (313 x 239 mm). 1,511 hand-gravure printed illustrations, comprising 1,505 photogravures, including 35 hand-colored plates, 4 maps and 2 diagrams. Over three thousand pages of text and transcriptions of language and music. Hand letterpress printed on hand-made paper. In publisher’s original hand-bound brown half morocco gilt and buckrum, top edges gilt, others uncut, stamp-signed by H. Blackwell. Each volume individually housed in a contemporary, custom, handmade slipcase. Each numbered 308 in ink on the verso of the half-title page. Photogravures on India Proof Paper (‘tissue’) etching stock. Volume 1 signed: Edward S. Curtis 1907. Limited Edition: Number 308 of 500 proposed sets of which only 214 were originally subscribed to, and only 272 sets ultimately produced, this copy on India Proof Paper (“tissue”) tipped-in on Dutch Van Gelder, Volume I, signed by Edward S. Curtis and dated 1907. The exact number of original subscriber sets that were printed on tissue is not known but it is estimated to be fewer than 15. Edward Curtis, J.P. Morgan, E.H. Harriman and the King of England were among the few who received this premium version. The finest and most important obtainable complete set of Volumes of Curtis’ monumental work, The North American Indian. Provenance: Edward H. Harriman Family, Original Subscriber Mary W. Harriman Foundation The Christopher G. Cardozo Collection, 1999 $250,000 – $350,000

*For a full listing of the important ephemera accompanying this lot, please contact us at info@santafeartauction.com or visit the auction online at santafeartauction.com

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The Harriman Collection is unique and unprecedented. The Collection comprises the finest, most important set of Volumes from The North American Indian plus an extremely rare and unique collection of ephemera, books, and original photographs relating to Harriman, Curtis, The North American Indian and/or the Harriman Alaska Expedition. The Collection embodies the essence of Curtis’ thirty-year career and no similar collection exists, nor could it be replicated. The material that complements the volumes adds depth, richness, and context for the Volumes. Included are an extremely rare platinum portrait of Harriman by Curtis, and a vintage Curtis self-portrait from 1899, as well as over thirty rare or unique prints and documents and a complete original three volume set of The Harriman Alaska Expedition in a custom slipcase. For a discerning collector this represents an unparalleled opportunity. The Harriman Volumes The Edward H. Harriman Set of Volumes from The North American Indian is undoubtedly the most important Set of Curtis Volumes that may ever be available for private ownership. The overall condition is excellent, and the provenance is extraordinary. It is printed on the rarest, most expensive, and most desirable paper Curtis offered. Harriman, Curtis, J.P. Morgan, and President Theodore Roosevelt were the key individuals in the realization of the historic North American Indian project. Of those four, this is the only set in private hands and the only one that exists as a stand-alone set of Volumes. For anyone with a connoisseur level interest in Curtis, anthropology, fine books, photography or the west, this is the ne plus ultra. The text volumes are the distilled essence of Curtis’ entire career. They incorporate over 1,500 hand-printed illustrations, selected from over 40,000 negatives. Fully two-thirds of all the photographs in The North American Indian are in the Volumes. The Volumes also

contain thousands of pages of unique and invaluable anthropological information, as well as, extensive transcriptions of native languages and sacred music. The Volumes contain many classic, and “undiscovered” images. Additionally, there are genres of images found nowhere else (i.e. the Navaho Medicine Man series and hand-colored illustrations), as well as, maps, and drawings. Edward H. Harriman and Family Edward Henry Harriman (1848-1909), visionary and the greatest Railroad magnate of his era, rose from humble beginnings to become one of the wealthiest individuals in the world. After dropping out of grade school he enjoyed a meteoric rise on Wall Street before turning his energies to the railroads at age thirty-three. In 1899 he organized and financed the last major scientific expedition of the 19th century: The Harriman Alaskan Expedition. Curtis was selected as the official Expedition photographer. This was a quintessential step in Curtis’ career as he met and worked with many of the greatest scientific luminaries of his day, including George Bird Grinnell. His trip with Grinnell to Montana in 1900, to live with and photograph the Blackfeet and Piegan, was the watershed experience of Curtis’ career and began, in earnest, the project that consumed him for the next thirty years: The North American Indian. Thus, but for his inclusion in Harriman’s Alaska Expedition Curtis may never have envisioned or created The North American Indian. After Harriman’s death, Mary W. Harriman, the sole heir to his fortune became a major philanthropist, instrumental in a wide variety of causes. Upon her death, the Harriman Set of Volumes passed to the Mary W. Harriman Foundation. Over the years the complimentary Portfolios were dispersed. Harriman’s son, Averell, became Ambassador to the Soviet Union and Britain, the Secretary of Commerce, and Governor of New York. The family had a dramatic and positive impact on the world, a legacy which continues today.

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CHRISTOPHER CARDOZO COLLECTION: EDWARD CURTIS

The Collection

CHRISTOPHER CARDOZO COLLECTION: EDWARD CURTIS

216 EDWARD S. CURTIS (1868–1952) The North American Indian - Volume I and Portfolio I, 1907 Featuring the Southwestern tribes of the Apache, Jicarilla and Navaho Portfolio I: 39 photogravures on Japanese Gampi tissue etching stock with original Van Gelder overmats signed in plate below image: E. S. Curtis 23 x 19 in. / prints 18 x 22 in. Volume I: 79 photogravures on Japanese Gampi tissue etching stock including 4 hand-colored prints signed on page xvii: Edward S. Curtis 1907 12 ½ x 9 ½ in. / prints approx. 7 ½ x 5 ½ in. Provenance: Edward S. Curtis Studio William Henry Moore The Moore Memorial Library The Christopher G. Cardozo Collection, 1998 Exhibited: The following prints from this portfolio have been included in national and international exhibitions: Cañon de Chelly, Plate 28 The Blanket Weaver, Plate 34 Sacred Legacy: Edward S. Curtis and the North American Indian (176 print exhibit), 2000 Edward S. Curtis: 100 Masterworks, 2016 The Medicine Man - Hastobîga, Plate 35 Sacred Legacy: Edward S. Curtis and the North American Indian (176 print exhibit), 2000 $45,000 – $65,000 217 EDWARD S. CURTIS (1868–1952) The North American Indian - Volume VI and Portfolio VI, 1911 Featuring the Great Plains tribes of the Piegan, Cheyenne and Arapaho Portfolio VI: 36 photogravures on Japanese Gampi tissue etching stock with original Van Gelder overmats signed in plate below image: E. S. Curtis 23 x 19 in. / prints 18 x 22 in. Volume VI: 76 photogravures on Japanese Gampi tissue etching stock including 1 hand-colored prints 12 ½ x 9 ½ in. / prints approx. 7 ½ x 5 ½ in. Provenance: Edward S. Curtis Studio William Henry Moore The Moore Memorial Library The Christopher G. Cardozo Collection, 1998 Exhibited: The following prints from this portfolio have been included in national and international exhibitions: Two Bear Woman, Plate 190 Travaux, Plate 193 Piegan Encampment, Plate 207 A Piegan Dandy, Plate 208 Waiting in the Forest, Plate 218 Sacred Legacy: Edward S. Curtis and the North American Indian (176 print exhibit), 2000 Edward S. Curtis: 100 Masterworks, 2016 Iron Breast, Plate 206 Sacred Legacy: Edward S. Curtis and the North American Indian (176 print exhibit), 2000 The Three Chiefs, Plate 209 Edward S. Curtis: 100 Masterworks, 2016

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$30,000 – $50,000

218 EDWARD S. CURTIS (1868–1952) The North American Indian - Volume X and Portfolio X, 1915 Featuring the Pacific Northwestern tribe of the Kwakiutl

Provenance: Edward S. Curtis Studio William Henry Moore The Moore Memorial Library The Christopher G. Cardozo Collection, 1998 Exhibited: The following prints from this portfolio have been included in national and international exhibitions: A Nakoaktok Chief’s Daughter, Plate 334. Kotsuis and Hohhuq, Plate 336. Kwakiutl House Frame, Plate 343. Sacred Legacy: Edward S. Curtis and the North American Indian (176 print exhibit), 2000 Edward S. Curtis: 100 Masterworks, 2016 $17,500 – $27,500

219 Edward S. Curtis (1868–1952) The North American Indian - Volume XVII, 1926 on Japanese Gampi tissue etching stock Featuring the Southwestern tribes of the Tewa and Zuni 12 ½ x 9 ½ in. (31.75 x 24.13 cm.), Prints: 7 ½ x 5 ½ in. (19.05 x 13.97 cm.) This example is from set #96, which descends from original subscribers William Henry Moore (1847-1923) and his brother James Hobart Moore (1851-1916) to the Moore Memorial Library. The brothers founded the library in their boyhood home of Greene, New York, in 1903, in honor of their mother. The Moore family operated in the same social milieu as the Carnegies and Harrimans, and were friends of J.P. Morgan, the visionary industrialist and collector, who first sponsored Curtis’ comprehensive pictorial chronicle of native life. Provenance: Edward S. Curtis Studio William Henry Moore The Moore Memorial Library The Christopher G. Cardozo Collection, 1998 $5,000 – $7,000

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CHRISTOPHER CARDOZO COLLECTION: EDWARD CURTIS

Portfolio X: 36 photogravures on Japanese Gampi tissue etching stock with original Van Gelder overmats signed in plate below image: E. S. Curtis 23 x 19 in. / prints 18 x 22 in. Volume X: 74 photogravures on Japanese Gampi tissue etching stock including 3 hand-colored prints 12 ½ x 9 ½ in. / prints approx. 7 ½ x 5 ½ in.

SESSION II

Session II | (Lots 220 – 437) Saturday, November 6 1:30 PM MST

220 CATHARINE PHILLIPS FELS (1912–1991) Nuestra Senora de los Dolores Church, Pilar, New Mexico oil on canvas 20 x 35 ¼ in. (50.80 x 89.54 cm.) signed lower right: CATHARINE P Fels inscribed verso: C. P. Fels. CHURCH at PILAR Provenance: Private Collection, California $400 – $800

221 PANSY STOCKTON (1895–1972) Along the Pecos botanical collage on board 11 ⅝ x 8 ⅝ in. (29.53 x 21.91 cm.) signed lower right: PANSY / STOCKTON inscribed verso: SUN-PAINTING / “ALONG THE / PECOS” / -BY- / PANSY STOCKTON / ORIGINATOR / SANTA. FE. N.M. Provenance: Private Collection, Florida $700 – $1,000

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222 DOROTHY BRETT (1883–1976) Study for ‘Buffalo Dance,’ ‘Taos Pueblo,’ ca. 1948 oil on board 17 ⅛ x 11 ⅞ in. (43.50 x 30.16 cm.) inscribed verso: Study / for / Taos / Buffalo / Dance / by / Dorothy / Brett / Taos, N.M. / oil on this board / Collection of / Tony Abeyta / & / Family Provenance: Estate of John Manchester Collection of Tony Abeyta $800 – $1,200

223 ELIZABETH BECKER (b. 1942) Eagle Dance, Taos Pueblo, 1994 watercolor on paper 21 ¾ x 29 ⅜ in. (55.25 x 74.61 cm.) signed and dated lower right: E. M. Becker 94 / TAOS Provenance: Private Collection, New Mexico $1,000 – $2,000

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224 ILA MCAFEE (1897–1995) Untitled (Double-Sided Painting), 1940 oil on board 19 ½ x 23 ½ in. (49.53 x 59.69 cm.) side A signed and dated lower right: Ila McAfee ‘40 side B unsigned Provenance: Private Collection, New Mexico $2,000 – $4,000

225 ILA MCAFEE (1897–1995) Untitled (Taos Riders)

226 ILA MCAFEE (1897–1995) Fall Landscape with Stag

oil on canvas board 7 ⅜ x 8 ⅜ in. (18.73 x 21.27 cm.) signed lower right: Ila McAfee inscribed lower left: Taos N.M.

watercolor on paper 16 ½ x 22 ¾ in. (41.91 x 57.79 cm.) signed lower right: Ila McAfee

Provenance: Private Collection, New Mexico $1,000 – $2,000

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Provenance: Private Collection, New Mexico $1,500 – $2,500

227 BEULAH STEVENSON (1897–1965) Abiquiu, 1930 watercolor and ink on paper 8 x 10 in. (20.32 x 25.40 cm.) signed and dated lower left: Beulah Stevenson - August 1930 titled lower right: Abiquiu Provenance: Robert Copeland & Frank Croft Vintage American Art, Santa Fe, New Mexico Private Collection, New York $2,000 – $4,000

228 BEULAH STEVENSON (1897–1965) Mexican Morning, 1930 watercolor and ink on paper 7 ¼ x 9 ¼ in. (18.42 x 23.50 cm.) signed and dated lower right: Beulah Stevenson. July 1930 titled lower left: Mexican Morning Provenance: Robert Copeland & Frank Croft Vintage American Art, Santa Fe, New Mexico Private Collection, New York $2,000 – $4,000

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229 E. BOYD (1903–1974) South of La Luz, Cloudy Day, 1935 watercolor on paper 15 ¾ x 22 ¼ in. (40.01 x 56.52 cm.) signed lower right: E Boyd inscribed verso: South of La Luz, Cloudy Day / 1935 Provenance: Private Collection, New Mexico Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, New Mexico $6,000 – $9,000

230 MARGUERITE ZORACH (1887–1968) Untitled (Tree in Landscape) watercolor on board 14 x 11 in. (35.56 x 27.94 cm.) signed lower right: M. ZORACH Provenance: Private Collection, New Mexico $5,000 – $7,000

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231 GENE KLOSS (1903–1996) Spirit World watercolor on paper 26 ¼ x 18 in. (66.68 x 45.72 cm.) signed lower left: Gene Kloss A.N.A. inscribed verso: Gene Kloss / “Spirit World” / watercolor / $150.00 Provenance: Gallery A, Taos, New Mexico Private Collection, New Mexico $4,000 – $6,000

232 ANNA KATHARINE SKEELE (1896–1963) Jo of Taos oil on canvas 30 x 24 in. (76.20 x 60.96 cm.) signed upper left and lower right: AK SKEELE inscribed verso upper stretcher bar: “Jo of Taos” / by A. Katharine Skeele inscribed verso canvas: A. K. Skeele / 225 Moore Pl. / Monrovia / Calif. Provenance: Zaplin Lampert Gallery, Santa Fe, New Mexico Collection of Tony Abeyta $8,000 – $12,000

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233 BARBARA LATHAM (1896–1989) Indian Women oil on board 15 x 8 ½ in. (38.10 x 21.59 cm.) signed lower right: LATHAM inscribed verso: Indian Women Provenance: Gallery A, Taos, New Mexico Private Collection, New Mexico $6,000 – $9,000

234 BARBARA LATHAM (1896–1989) Fall Landscape oil on board 20 ½ x 35 in. (52.07 x 88.90 cm.) signed lower right: LATHAM Provenance: The Collection of Robert Habenstein The Collection of Ada Preston Private Collection, Arizona $4,000 – $8,000

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235 ANNA KEENER (1895–1982) Untitled (New Mexico Landscape) oil on canvas 21 ½ x 19 ¾ in. (54.61 x 50.17 cm.) signed lower right: ANNA KEENER inscribed upper stretcher bar verso: Keener Provenance: Private Collection, New Mexico $4,000 – $6,000

236 ANNA KEENER (1895–1982) Adobe Horno, 1943 oil on masonite 12 x 16 in. (30.48 x 40.64 cm.) signed and dated lower right: Anna E. Keener 1943 inscribed verso: “Adobe” / Anna E. Keener / (Mrs. Anna Keener Wilton) / 104 South Charles Street / Portales, New Mexico Provenance: Private Collection, New Mexico $3,000 – $5,000

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237 EDNA BRADLEY STEVENSON (b. 1887) Ranchos Church from Talpa, New Mexico oil on canvas 17 ½ x 19 ½ in. (44.45 x 49.53 cm.) signed lower right: EDNA B. STEVENSON inscribed verso: Ranchos Church / from / Talpa, N. Mex. Provenance: Private Collection, New Mexico $3,000 – $5,000

238 HELEN GREENE BLUMENSCHEIN (1909–1989) Taos Panorama, 1963 oil on masonite 19 ½ x 61 ¾ in. (49.53 x 156.85 cm.) initialed and dated lower right: HGB / 1963 signed and dated lower left: HELEN GREENE BLUMENSCHEIN / 1963 Provenance: Private Collection, New Mexico $4,000 – $6,000

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239 JOELLYN DUESBERRY (1944–2016) Above Red Creek, Winter, 1996

240 JOELLYN DUESBERRY (1944–2014) Pasture in Autumn Near Velvarde, 1986

oil on linen 60 x 50 in. (152.40 x 127 cm.) initialed and dated lower right: JTD 3-96 inscribed verso: Joellyn Duesberry / Above Red Creek, Winter / February-March, 1996

oil on linen 28 x 22 in. (71.12 x 55.88 cm.) signed and dated lower right: JTD 10·86 titled and dated verso: PASTURE IN AUTUMN NEAR VELVARDE / OCTOBER ‘86

Provenance: Robischon Gallery Private Collection, New Mexico A Private Family Foundation*

Provenance: Private Collection, New York $2,000 – $4,000

*All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need. $3,000 – $5,000

241 LOUISA MCELWAIN (1953–2013) El Cerro del Rito - Winter, 1988 oil on canvas 14 x 24 in. (35.56 x 60.96 cm.) signed lower right: McELWAIN inscribed verso: “EL CERRO D’EL RITO - WINTER” Louisa McELWAIN 1988 14” x 24” Provenance: Private Collection, New Mexico $7,000 – $10,000

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242 ALYCE FRANK (b. 1932) Bridge Near Sahuarita, Arizona

243 ALYCE FRANK (b. 1932) Abiquiu Cliffs, 1983

oil on canvas 36 x 36 in. (91.44 x 91.44 cm.) signed lower left: Alyce Frank inscribed verso: #712 / the Bridge / Near / Suaharito [sic] AZ. / Alyce Frank

oil on canvas 30 x 40 in. (76.20 x 101.60 cm.) signed lower right: Alyce inscribed verso: #72 1983 / Abiquiqui [sic] Cliffs / by Alyce Frank

Provenance: Private Collection, New Mexico $6,000 – $9,000

244 ALYCE FRANK (b. 1932) Upper Falls at Yosemite

245 ALYCE FRANK (b. 1932) Snow in June Above the Ski Valley

oil on linen 30 x 40 in. (76.20 x 101.60 cm.) signed lower left: Alyce Frank inscribed verso: #796 / the Upper Falls / at Yosemite / Yosemite / #10 / Alyce Frank

oil on linen 36 x 36 in. (91.44 x 91.44 cm.) signed lower left: Alyce Frank inscribed verso: #852 / Snow in June / Above / the / Ski Valley / Alyce Frank

Provenance: Collection of Alyce Frank

$6,000 – $8,000

$3,000 – $5,000

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246 ALYCE FRANK (b. 1932) Canyon de Chelly oil on canvas 30 x 40 in. (76.20 x 101.60 cm.) signed lower right: Alyce Frank inscribed verso: #928 / Canyon de Chelly / Alyce Frank Provenance: Collection of Alyce Frank $3,000 – $5,000

247 ALYCE FRANK (b. 1932) Snow Scene at Bear Paw Apple Ranch oil on linen 30 x 36 in. (76.20 x 91.44 cm.) signed lower left: Alyce Frank inscribed verso: #459 / Snow Scene at / Bear Paw Apple Ranch / Alyce Frank Provenance: Private Collection, New Mexico $5,000 – $7,000

248 ALYCE FRANK (b. 1932) Snowfields, 1984 oil on linen 20 x 24 in. (50.80 x 60.96 cm.) signed lower right: Alyce inscribed verso: #84 1984 / SNOWFields / by Alyce Frank Provenance: Collection of Alyce Frank $3,000 – $5,000

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249 ALYCE FRANK (b. 1932) Two Portraits Debra oil on linen 19 ¾ x 15 ¾ in. (50.17 x 40.01 cm.) signed lower right: Alyce Frank Russian Peasant oil on linen 18 x 14 ⅛ in. (45.72 x 35.88 cm.) initialed lower left: AF inscribed verso: P108 / Russian / Peasant / Alyce / Frank Provenance: Private Collection, New Mexico $800 – $1,200

250 FRAN LARSEN (b. 1937) Untitled (New Mexico Landscape) watercolor on board 19 ¼ x 43 ¼ in. (48.90 x 109.86 cm.) signed lower right: LARSEN Provenance: Private Collection, Florida $2,000 – $4,000

251 FRAN LARSEN (b. 1937) A Sanctuary for Isabel watercolor on board in hand-carved and painted polychrome frame 19 ½ x 29 ½ in. (49.53 x 74.93 cm.) signed lower right: LARSEN Provenance: Private Collection, California $1,000 – $2,000

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252 FRAN LARSEN (b. 1937) Offering From the Pueblo, 1990 watercolor on board in hand-carved and painted polychrome frame 35 ½ x 47 ½ in. (90.17 x 120.65 cm.) signed lower right: LARSEN artist’s label verso: OFFERING FROM THE PUEBLO / 9010018 / 44x56 / © FRAN LARSEN 1990 Provenance: Private Collection, California $1,000 – $2,000

253 MARY SILVERWOOD (1932–2011) Untitled (New Mexico Landscape) pastel on paper 21 ¼ x 29.10 in. (53.98 x 73.91 cm.) signed lower right: Silverwood Provenance: Private Collection, New Mexico $1,500 – $2,500

254 DOROTHY MORANG (1906–1994) Untitled (Abstraction) pastel on paper 9 ⅛ x 11 ¾ in. (23.18 x 29.85 cm.) Provenance: Private Collection, New Mexico $800 – $1,200

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BEATRICE MANDELMAN ESTATE

“How does one relate to this vast, vast emptiness of the landscape? One can only feel very humble. How does one dare to take that experience and put it into expression? That’s the real mystery of it”. — Beatrice Mandelman

255 BEATRICE MANDELMAN (1912–1998) New York No. 109, ca. 1995 acrylic on canvas 40 x 60 in. (101.60 x 152.40 cm.) signed lower right: Mandelman Provenance: The Artist The Estate of Beatrice Mandelman 203 Fine Art, Taos, New Mexico $9,000 – $13,000

Beatrice Mandelman’s contributions to Modernism are incalculable, not only in application of her own unique and prolific vision, but in her dispersal of the movement’s ideas and relevance outside of the vanguard contexts of New York City in the 1940s and 50s. ‘Bea’ was a dedicated fine artist from an early age. At just twelve she enrolled in classes at the nearby Newark School of Fine and Industrial Art, embarking on serious formal artistic training that would last nearly two decades. After continued studies at Rutgers University, she enrolled at the Art Students League where she worked under such luminary professors as John Sloan. It was here in New York City where she met her future husband Louis Ribak, and became associated with the confluence of preeminent abstract expressionist artists including Jackson Pollock, Stuart Davis and Willem De Kooning. Their collective workshops and lively exchanges blossomed into the 1950’s America-style painting that took the art world by force and would define Modern Art as we know it today. Beatrice devoted herself to pushing the boundaries of non-representational painting for the rest of her life, applying her talent first to the bustling metropolis and then to the expansive landscape of Northern New Mexico. At the encouragement of John Sloan, Beatrice first travelled to Santa Fe in 1941, and just three years later she and Louis would move permanently to Taos. Coming off major shows at the Museum of Modern Art, the Art Institute of Chicago and the National Gallery of Art, she decided to escape the political and physical confines of the city and exhibition circuit for the freedoms of the high desert, where she could focus on her work in a beautiful mountain setting. Bringing a taste of the progressive to the established and sophisticated art colony, Bea and Louis became the center of a tight-knit group including the likes of Agnes Martin, Emil Bisttram, Andrew Dasburg and Edward Corbett who would become known as the ‘Taos Moderns’. From New York to New Mexico, Bea befriended and influenced many artists including Alice Neel, Arshile Gorky, and Dorothy Brett, and remains remarkably undervalued in comparison. Her friend Louise Nevelson warned her that an artist couldn’t afford to leave Manhattan. For Beatrice, despite being removed from the center of the Modern art world, this period resulted in her most mature work of profound introspection, and demonstrates the movement’s universality in its application to bridge different cultures and time periods.

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acrylic on canvas 39 ¼ x 31 ½ in. (99.70 x 80.01 cm.) signed upper right: Mandelman Provenance: The Artist The Estate of Beatrice Mandelman 203 Fine Art, Taos, New Mexico $6,000 – $9,000

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BEATRICE MANDELMAN ESTATE

256 BEATRICE MANDELMAN (1912–1998) Sun Series B-19, ca. 1970

BEATRICE MANDELMAN ESTATE

257 BEATRICE MANDELMAN (1912–1998) Indian Theme, ca. 1980 acrylic on canvas 36 x 24 in. (91.44 x 60.96 cm.) signed lower right: Mandelman Provenance: The Artist The Estate of Beatrice Mandelman 203 Fine Art, Taos, New Mexico $7,000 – $9,000

258 BEATRICE MANDELMAN (1912–1998) Rift Series #26, 1964 acrylic on canvas 24 x 18 in. (60.96 x 45.72 cm.) signed lower right: Mandelman inscribed verso upper stretcher bar: 80-R27 1964 Provenance: The Artist The Estate of Beatrice Mandelman 203 Fine Art, Taos, New Mexico $2,000 – $4,000

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259 JANET LIPPINCOTT (1918–2007) Untitled, 1981 acrylic on canvas 84 x 30 in. (213.36 x 76.20 cm.) signed lower right: Lippincott inscribed verso: Lippincott / 1981 / 30 x 84 Provenance: Private Collection, New Mexico $8,000 – $12,000

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260 ROSETA SANTIAGO (b. 1946) Hopi Legend, 2020 oil on canvas 48 x 48 in. (121.92 x 121.92 cm.) signed lower left: SANTIAGO inscribed verso: HOPI LEGEND 48X48” OIL ROSETA SANTIAGO SANTA FE 2020 Provenance: The Artist $10,000 – $15,000

261 AGNES SIMS (1910–1990) Singing Rider in the Canyon, 1946 gouache on board 15 x 11 ½ in. (38.10 x 29.21 cm.) signed lower right: Ag Provenance: The Collection of the Alfred A. King Family, Texas King Ranch Private Collection, Texas $3,000 – $5,000

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Peter Miller, born Henrietta Myers, was an American painter who was well known in New York art circles in the mid20th century. She exhibited at the legendary Julien Levy gallery, where she showed along with leading surrealists and modernists of the day such as Max Ernst, Joseph Cornell, Marcel Duchamp, Frida Kahlo and Arshile Gorky. However, a retrospective at the Peyton Wright gallery earlier this fall — accompanied by a new monograph from Francis Naumann celebrating Miller’s life and work — was titled “Forgotten Woman of American Modernism.” This was likely due mainly to her gender and the fact that her financial independence afforded her the luxury of not having to sell paintings to survive. Nevertheless, she is finally getting the recognition she so deserves. Married to the sculptor C. Earle Miller, the couple traveled to New Mexico in the 1930s, and bought property near the Otowi Bridge where they became friendly with many of the inhabitants of the San Ildefonso pueblo nearby. Miller was strongly influenced by the Spanish painter Joan Miro but her affinity for the symbols and indigenous culture of the Southwest is clearly synthesized in her work. When Miller passed away in 1996, she gave the land to the neighboring pueblo.

262 PETER MILLER [HENRIETTA MYERS] (1913–1996) November oil on canvas 17 ¾ x 23 ¾ in. (45.09 x 60.33 cm.) stamped and inscribed verso: The Estate of / Peter Miller / No 202012 Provenance: Private Collection, Pennsylvania $2,000 – $4,000

263 PETER MILLER [HENRIETTA MYERS] (1913–1996) Untitled (Animals of the Earth) oil on canvas 21 ¾ x 35 ¾ in. (55.25 x 90.81 cm.) stamped and inscribed verso: The Estate of / Peter Miller / No 202097 Provenance: Private Collection, Pennsylvania $2,000 – $4,000

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LOLOMA COLLECTION

264 CHARLES LOLOMA (Hopi, 1921–1992) Untitled (Abstract Pipe Bags) ink on paper 11 ¾ x 5 ½ in. (29.85 x 13.97 cm.) signed lower right: loloma Provenance: The Artist The Loloma Collection, New Mexico $3,000 – $5,000

Acknowledged as a pioneer among American Indian artists, Charles Loloma was a man of irrepressible creative energy. Although he is best known for his jewelry, he explored many other media, including painting, murals, printmaking, pottery, and bronze castings. Throughout his career he sought to create beauty for its own sake and sought to direct others to view beauty in all things. N. Scott Momaday wrote, “Charles Loloma was a Hopi man. The sacred landscape of his life and death is the ancient world of Hopi; … He was the definition of the word, Native.” When Loloma shifted his attention to working in jewelry in the 1950s, his experiments with form, material and color literally revolutionized the public concept of Indian jewelry. He was unfettered by strict traditional approach and developed a unique concept of design that combines elements of his Hopi background with a less tangible, contemporary sense of aesthetics. He traveled and exhibited all over the United States, most famously in Europe, where he thrilled the Parisian fashion and design world of the early 60s, as well as Japan, Korea, and Egypt. He was intimate with the most highly identified Native artists: Fritz Scholder, Allan Houser, and a very young Kevin Red Star among them. This special selection of artworks that remained in his personal collection with his wife Georgia, are a glimpse into the vision and passion of the early heady days, the artworks and artists who both created them and inspired Charles Loloma.

264A CHARLES LOLOMA (Hopi, 1921–1991) Topaz, Turquoise and Pearl Gold Ring, ca. 1985 Lost wax cast gold ring with topaz, Morenci turquoise and Baroque South Sea Pearl ring size: 6 ½ height: 1 ½ in. topaz: 25 x 20.5 x 11 mm turquoise: 18.9 x 12.1 x 3.2 mm pearl: 13.2 x 11 x 10.2 mm weight: 36 grams overall Provenance: The Loloma Collection, New Mexico $18,000 – $24,000

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oil on canvas 71 ¾ x 49 ½ in. (182.25 x 125.73 cm.) signed lower left: Scholder inscribed verso upper stretcher bar: FRITZ SCHOLDER LOVE STREAM 1962 Provenance: The Artist The Loloma Collection, New Mexico $40,000 – $60,000

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LOLOMA COLLECTION

265 FRITZ SCHOLDER (Luiseño, 1937–2005) Love Stream, 1962

LOLOMA COLLECTION

266 FRITZ SCHOLDER (Luiseño, 1937–2005) Untitled (Abstraction) oil on linen 50 ⅛ x 36 ⅛ in. (127.32 x 91.76 cm.) signed lower left: Scholder Provenance: The Artist The Loloma Collection, New Mexico $20,000 – $40,000

267 FRITZ SCHOLDER (Luiseño, 1937–2005) Portrait of Mr. Yellow, 1984 oil on canvas 40 x 30 in. (101.60 x 76.20 cm.) signed lower left: Scholder inscribed verso: -Portrait of Mr. Yellow- 1984 Provenance: The Artist Elaine Horwitch Gallery, Santa Fe, New Mexico The Loloma Collection, New Mexico $25,000 – $35,000

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268 KEVIN RED STAR (Crow, b. 1943) Plains Indian Dress, Abstract, ca. 1960-1965 mixed media on canvas 44 x 63 in. (111.76 x 160.02 cm.) signed indistinctly lower right: Red Star Provenance: The Artist The Loloma Collection, New Mexico $15,000 – $20,000

119

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LOLOMA COLLECTION 269 SUSAN HERTEL (1930–1992) Two Horses, Three Dogs in the Snow oil on canvas 49 ½ x 108 ¼ in. (125.73 x 274.96 cm.) signed lower right: Susan Hertel Provenance: The Artist The Loloma Collection, New Mexico $20,000 – $30,000

270 EMMI WHITEHORSE (Diné [Navajo], b. 1956) Rinçon Marquez at Night, 1987 mixed media on paper mounted to canvas 32 x 48 in. (81.28 x 121.92 cm.) signed lower right: III inscribed verso: #606 “Rinçon Marquez at Night” Mar. 1987 Emmi Whitehorse Provenance: The Artist The Loloma Collection, New Mexico $4,000 – $8,000

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271 EMMI WHITEHORSE (Diné [Navajo], b. 1956) Untitled (Red and Ultramarine)

272 EMMI WHITEHORSE (Diné [Navajo], b. 1956) Untitled (Dark Blue)

pastel on paper 28 x 21 ¼ in. (71.12 x 53.98 cm.) signed lower right: III

pastel on paper 24 ¾ x 19 ⅛ in. (62.87 x 48.58 cm.) signed lower right: III

Provenance: Private Collection, New Mexico

$1,500 – $2,500

273 JAUNE QUICK-TO-SEE SMITH (French-Cree, Shoshone, and Salish, b. 1940) Four Directions, 1995 photolithograph, linocut, and collage, edition 73 of 200 30 ⅛ x 44 ⅜ in. (76.52 x 112.71 cm.) signed lower right: Q t S Smith editioned lower left: 73/200 Printed by Lawrence Lithography Workshop, Kansas City, Missouri Published by Greenpeace USA, Washington D.C. Provenance: Private Collection, California $4,000 – $6,000

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274 PABLITA VELARDE [TSE TSAN] (Santa Clara, 1918–2006) Untitled (Navajo Riders at Dusk) gouache on paper 18 ¼ x 29 ½ in. (46.36 x 74.93 cm.) signed lower left: PAblitA VElARdE Provenance: Private Collection, New Mexico $12,000 – $18,000

275 PABLITA VELARDE [TSE TSAN] (Santa Clara, 1918–2006) Untitled (Ceremonial Dance)

276 PABLITA VELARDE [TSE TSAN] (Santa Clara, 1918–2006) Mimbres Turtles, ca. 1960

earth minerals on board 23 ⅜ x 11 ⅜ in. (59.37 x 28.89 cm.) signed lower right: PAblitA VElARdE

earth minerals on board 14 x 20 in. (35.56 x 50.80 cm.) signed lower right: PAblitA VElARdE inscribed verso: Membres Turtles

Provenance: Private Collection, New Mexico $2,000 – $4,000

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Provenance: Private Collection, New Mexico $1,500 – $2,500

277 VELOY VIGIL (1931–1997) Braided Ribbon oil on canvas 47 x 60 in. (119.38 x 152.40 cm.) signed lower center: VVigil inscribed on upper stretcher bar: 1921-T BRAIDED RIBBON Provenance: Private Collection, California $6,000 – $9,000

278 VELOY VIGIL (1931–1997) Path On High Mesa, 1985 oil on canvas 60 x 48 in. (152.40 x 121.92 cm.) signed lower right: V. Vigil inscribed verso: RING OF BLUE “Path on High Mesa” / Veloy Vigil / Dec. 9th 1985 / (TAOS NM.) Provenance: Private Collection, Texas $3,500 – $5,000

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279 KEVIN RED STAR (Crow, b. 1943) Untitled (Chief’s Portrait), 1965

280 KEVIN RED STAR (Crow, b. 1943) Untitled (Crow Portrait), 1976

gouache on paper 17 ½ x 23 ½ in. (44.45 x 59.69 cm.) signed lower right: Kevin Red Star 1965

gouache on paper 17 ¼ x 23 ¼ in. (43.82 x 59.06 cm.) signed and dated upper right: Kevin Red Star 1976

Provenance: Private Collection, Texas

$3,000 – $5,000

$2,000 – $4,000

281 DAN NAMINGHA (Hopi-Tewa, b. 1950) Reservation Storm acrylic on canvas 55 ¼ x 50 ⅛ x 1 ⅜ in. (140.34 x 127.32 x 3.49 cm.) signed lower right: Namingha inscribed verso: ReseRvAtion / StORM Provenance: Private Collection, California $6,000 – $8,000

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282 DAVID BRADLEY (Chippewa, b. 1954) Ojibwa Lore, 1999 mixed media on board 30 x 24 in. (76.20 x 60.96 cm.) titled, signed and dated lower right: “Ojibwa Lore” DAVID BRADLEY © 99 inscribed verso: “Ojibwa Lore” / © 99 David Bradley / P.O. Box 5692 / Santa Fe, NM 87502 / Reminder - / whoever buys this / painting please call or / write me so I can put / you on my painting list. / DB Provenance: Private Collection, New Mexico $6,000 – $9,000

283 DAVID BRADLEY (Chippewa, b. 1954) Call of the Wild, 1981 acrylic on canvas 30 x 24 in. (76.20 x 60.96 cm.) signed and dated middle left: DAVID R. / BRADLEY / © ‘81 Provenance: Whitney Gallery, Santa Fe, New Mexico Private Collection, Texas $4,000 – $8,000

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284 T. C. CANNON (Kiowa, 1946–1978) Two Guns Arikara

285 T.C. CANNON (Kiowa, 1946–1978) Tosca, A Remembered Muse

color woodblock, edition 144 of 200 18 ⅞ x 15 ¼ in. (47.94 x 38.74 cm.) stamped signature lower right: T C Cannon editioned and signed by Walter Cannon (the artist’s father) lower left: 144/200 Walter Cannon

color woodblock, edition 21 of 200 19 ¼ x 15 ⅝ in. (48.90 x 39.69 cm.) stamped signature lower right: T C Cannon editioned and signed by Walter Cannon (the artist’s father) lower left: 1/200 Walter Cannon

From the Memorial Woodcut Suite, created in partnership with master Japanese woodcutter Maeda and printer Uchikawa

Provenance: Private Collection, New Mexico

$4,000 – $6,000

NIETO COLLECTION

$4,000 – $6,000

286 JOHN NIETO (1936–2018) Matachines Dancer pastel on paper 19 x 25 in. (48.26 x 63.50 cm.) signed lower right: nieto Provenance: From the John and Renay Nieto Collection $10,000 – $15,000

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287 JOHN NIETO (1936–2018) Zuni Woman Making Pottery, 1994 acrylic on canvas 72 x 60 in. (182.88 x 152.40 cm.) signed lower right: nieto inscribed verso upper stretcher bar: “ZUNI WOMAN MAKING POTTERY” © nieto 1994

Renay Nieto recalled, “They had a good eye for the best art, and deliberately wanted to buy one of everything. Their collection was just exceptional.” Duane and Jody were tragically killed in a plane accident in 2003. Provenance: The Artist The Collection of Jody and Duane Shrontz $20,000 – $30,000

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NIETO COLLECTION

Well-known philanthropists Duane and Jody Shrontz first met John Nieto at the John Cacciola Gallery in Soho, New York where he had solo exhibitions from 1983-1996. They reportedly ‘fell head over heels’ for John’s work, bought their very first painting at this show, and went out for dinner that night. It was the beginning of a strong, lifelong friendship between John and his wife Renay with Duane and Jody. The four of them loved working together to support community projects and found ways to both showcase Nieto’s work and raise money for meaningful organizations and nonprofits. They all had a strong commitment to provide opportunities and education for underserved and underrepresented people.

NIETO COLLECTION 288 JOHN NIETO (1936–2018) Navajo Madonna, 1989

289 JOHN NIETO (1936–2018) Southwest Madonna

acrylic on canvas 60 x 48 in. (152.40 x 121.92 cm.) signed lower left: nieto inscribed verso upper stretcher bar: “NAVAJO MADONNA” © nieto 1989

graphite on paper 10 ¾ x 7 ¾ in. (27.31 x 19.69 cm.) signed lower right: nieto titled lower right: “Southwest Madonna”

Provenance: The Artist The Collection of Jody and Duane Shrontz

$20,000 – $30,000

$800 – $1,200

290 JOHN NIETO (1936–2018) Buffalo Medicine, 1991 acrylic on canvas 30 x 40 in. (76.20 x 101.60 cm.) signed lower left: nieto inscribed verso upper stretcher bar: “BUFFALO MEDICINE” © nieto 1991 Provenance: The Artist The Collection of Jody and Duane Shrontz $15,000 – $25,000

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291 JOHN NIETO (1936–2018) Rabbit II, 1992 acrylic on canvas 16 x 20 in. (40.64 x 50.80 cm.) signed lower right: nieto inscribed verso upper stretcher bar: “RABBIT II” © nieto 1992 Provenance: The Artist The Collection of Jody and Duane Shrontz $4,000 – $6,000

292 JOHN NIETO (1936–2018) San Antonio de Padua, 1992 acrylic on canvas 24 x 30 in. (60.96 x 76.20 cm.) signed lower right: nieto inscribed verso upper stretcher bar: “SAN ANTONIO de PADUA” © nieto 1992

$5,000 – $7,000

293 JOHN NIETO (1936–2018) Archer, ca. 1980 stained glass 59 ⅛ x 35 ⅛ in. (150.18 x 89.22 cm.) Provenance: The Artist The Collection of Jody and Duane Shrontz $4,000 – $6,000

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NIETO COLLECTION

Provenance: The Artist The Collection of Jody and Duane Shrontz

NIETO COLLECTION

294 JOHN NIETO (1936–2018) Sword, 1995 acrylic on canvas 30 x 24 in. (76.20 x 60.96 cm.) signed lower right: nieto inscribed verso: “SWORD” OGLALA DAKOTA © Nieto 1995 Provenance: Private Collection, New Mexico $3,000 – $5,000

295 DARREN VIGIL GRAY (Jicarilla Apache/Kiowa Apache, b. 1959) Looking to Find You

296 TONY ABEYTA (Diné [Navajo], b. 1956) Untitled (Stormy Landscape)

oil on paper 17 ¾ x 17 ⅞ in. (45.09 x 45.40 cm.) signed lower left: Darren Vigil Gray

oil on board 8 x 10 in. (20.32 x 25.40 cm.) signed lower right: Tony Abeyta

Provenance: Private Collection, New Mexico

Provenance: The Artist Private Collection, Arizona

$1,000 – $2,000

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$4,000 – $6,000

297 EARL BISS (Crow, 1947-1998) Riding Through an Orange Morning, 1993 oil on canvas 18 ⅝ x 28 ⅝ in. (47.31 x 72.71 cm.) signed upper right: Biss inscribed verso: Riding through an / Orange Morning / Biss © 1993 / oil on canvas / For Bambino #3 / Biss #23 / Thanks / Earl Biss / 1993. Provenance: Private Collection, New Mexico $8,000 – $12,000

298 EARL BISS (Crow, 1947-1998) A Circle in the Trees, 1993 oil on canvas 20 x 16 in. (50.80 x 40.64 cm.) signed upper right: Biss inscribed verso: “A circle in the / Trees” / Biss © / 1993 / oil on canvas / [indecipherable] Provenance: Private Collection, New Mexico $6,000 – $9,000

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299 GEORGE CARLSON (b. 1940) Colors in Movement, 1986 pastel on paper 17 ⅛ x 23 ⅝ in. (43.50 x 60.01 cm.) signed and dated upper right: CARLSON, 86 Provenance: Collection of Edward D. Pierson, Denver, Colorado Private Collection, Colorado Exhibited: Gene Autry Western Heritage Museum, George Carlson: Dignity in Art, January 23 - March 28, 1993 $6,000 – $9,000

300 ANTOINE TZAPOFF (French, b. 1945) Clan Brothers - Nascapi, 1997 acrylic on canvas 20 ½ x 26 ½ in. (52.07 x 67.31 cm.) signed and dated lower right: A. TZAPOFF .97 Provenance: Matthew Chase Gallery, Santa Fe, New Mexico Private Collection, New Mexico $6,000 – $9,000

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301 EMIL BISTTRAM (1895–1976) Hopi Snake Dancer, 1933 gouache on paper 23 x 17 in. (58.42 x 43.18 cm.) signed and dated lower left: Emil Bisttram 33 Provenance: Zaplin Lampert Gallery, Santa Fe, New Mexico Private Collection, Louisiana $12,000 – $18,000

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302 MALCOLM FURLOW (b. 1946) Goyathlay-Geronimo

303 MALCOLM FURLOW (b. 1946) Black Dog

acrylic on canvas 50 ½ x 40 ¼ in. (128.27 x 102.24 cm.) signed lower left: Furlow inscribed verso: #1667 GOYATHLAY-GERONIMO / 40/50 © Furlow

oil on canvas 20 x 24 in. (50.80 x 60.96 cm.) signed upper right: FuRlOW inscribed verso: 20 x 24 / “BLACKDOG” / © Furlow / #1249

Provenance: Private Collection, New Mexico

$6,000 – $9,000

$2,000 – $3,000

304 MALCOLM FURLOW (b. 1946) Apache Chief acrylic on canvas 24 x 24 in. (60.96 x 60.96 cm.) signed lower right: FURlOW inscribed verso: “APACHE CHIEF” / © Furlow Provenance: Private Collection, New Mexico $2,000 – $3,000

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305 PAUL MANN (b. 1955) Eagle Feather, 2014 oil on canvas 20 x 30 in. (50.80 x 76.20 cm.) signed lower right: PAUL MANN inscribed verso: PAUL MANN / 2014 Provenance: Private Collection, Montana $2,000 – $3,000

306 PAUL MANN (b. 1955) Warrior of the Rising Sun, 2014 oil on canvas 18 x 30 in. (45.72 x 76.20 cm.) signed lower right: PAUL MANN inscribed verso: PAUL MANN / 2014 Provenance: Private Collection, Montana $2,000 – $3,000

307 FRANK SCHIVELY (20th Century) Horse Man, 1990 acrylic on canvas 36 x 36 x 1 ½ in. (91.44 x 91.44 x 3.81 cm.) signed and dated lower left: ScHively ‘90 / © titled verso: “HORSE MAN” / 36” / ACRYLIC Provenance: Private Collection, New Mexico $1,000 – $2,000

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308 BRUCE CARLTON NOWLIN (b. 1949) Remember, 2013 oil on board 8 x 19 ¾ in. (20.32 x 50.17 cm.) signed lower right: BC Nowlin inscribed verso: 60.B.9.9x20.2013 / BC / Nowlin / “Remember” Provenance: Private Collection, Washington $3,000 – $5,000

309 MIKE J. DESATNICK (b. 1943) Deer Dance - Children of San Ildefonso, 1981 oil on board 40 x 30 in. (101.60 x 76.20 cm.) signed and dated lower left: M. DESATNICK © ‘81 inscribed verso: “DEER DANCE - CHILDREN OF SAN ILDEFONSO” / 40x30 OIL / Mike J. DESATNICK Provenance: Private Collection, Texas $2,000 – $4,000

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310 WILLIAM AHRENDT (b. 1933) Sacajawea and Pomp, 2020 oil on canvas 60 x 40 in. (152.40 x 101.60 cm.) signed lower left: © / WILLIAM / AHRENDT Provenance: The Artist $25,000 – $35,000

311 GERALD IRA DIAMOND CASSIDY (1869–1934) The Spectators watercolor, gouache and graphite on paper 31 x 17 in. (78.74 x 43.18 cm.) signed lower right: Gerald Cassidy Provenance: Zaplin Lampert Gallery, Santa Fe, New Mexico Private Collection, New Mexico Exhibited: Painters and Sculptors of Southern California Exhibition, 1922 (label affixed to verso) $12,000 – $18,000

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312 OLAF CARL SELTZER (1877–1957) Indian Woman with Travois watercolor on paper 5 ½ x 8 ¾ in. (13.97 x 22.23 cm.) signed lower right: O. C. SELTZER. Provenance: Thomas Nygard, Inc., Bozeman, Montana Private Collection, Texas $8,000 – $12,000

313 WILLIAM MOYERS (1916–2010) Geronimo’s Scouts oil on linen 23 x 28 in. (58.42 x 71.12 cm.) signed lower left: WM MOYERS inscribed verso: -GERONIMO’s SCOUTS Provenance: Private Collection, New Mexico $5,000 – $8,000

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314 JAMES REYNOLDS (1926–2010) Cowboy oil on board 16 x 20 in. (40.64 x 50.80 cm.) signed lower left: James Reynolds [Cowboy Artists of America cipher] Provenance: Private Collection, Texas $10,000 – $15,000

315 LEONARD REEDY (1899–1956) Untitled (Shootout) oil on board 29 ¾ x 39 ¾ in. (75.57 x 100.97 cm.) signed lower left: LEONARD H. REEDY Provenance: Private Collection, Illinois $3,000 – $5,000

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316 FRANK PAUL SAUERWEIN (1871–1910) Indian and Ponies, 1901 oil on board 6 x 9 in. (15.24 x 22.86 cm.) signed and dated lower left: FP. Sauerwein. / 1901 Provenance: Biltmore Galleries, Scottsdale, Arizona Gallery of the Masters, St. Louis, Missouri Private Collection, New Mexico $2,000 – $4,000

317 FRANK PAUL SAUERWEIN (1871–1910) Arroyo Hondo, Southeast of Santa Fe oil on panel 6 x 9 in. (15.24 x 22.86 cm.) signed lower right: FP. Sauerwein Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, New Mexico $2,000 – $4,000

318 ARTHUR SARNOFF (1912/1919–2000) Grand Panorama oil on canvas 24 x 30 in. (60.96 x 76.20 cm.) signed lower right: Arthur Sarnoff inscribed verso: ‘Grand Panorama’ by Arthur Sarnoff 24 x 30 oil on canvas Provenance: Private Collection, Arizona $4,000 – $6,000

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319 RAPHAEL LILLYWHITE (1891–1958) Looking Down to Shiprock oil on canvas 29 ½ x 35 ½ in. (74.93 x 90.17 cm.) signed lower left: Raphael / Lillywhite inscribed verso: Looking Down to Shiprock / Ralph Lillywhite Provenance: Private Collection, New Mexico $8,000 – $12,000

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320 GILBERT DAVIS MUNGER (1837–1903) Mount Tamalpais with a View of San Francisco Bay, CA (A Glimpse of the Pacific), ca. 1870 oil on canvas 24 x 42 in. (60.96 x 106.68 cm.) A second-generation Hudson River School painter, Gilbert Munger grew up in Madison, Connecticut. When he was thirteen, his parents apprenticed him to the engraver William H. Dougal, who worked for the Smithsonian. Munger moved to Washington, DC, in 1850 and remained with Dougal for ten years, mastering the art of engraving and producing plates for publication in government reports. In Washington, Munger encountered a number of painters of the Old West including John Mix Stanley, with whom he became friendly. Inspired by their careers, Munger began to study painting independently in his free time and was soon intent on pursuing a career as an artist. The Civil War delayed his plans: Munger was employed by the Union Army in Washington where he worked on the city’s defenses. In 1866, however, he moved to New York City, established a studio in Manhattan, and began to exhibit at the National Academy of Design that year.Still fascinated by the west, Munger finally traveled there in 1869. He joined Clarence King’s Geological Exploration of the 40th Parallel and visited the Uinta and Wasatch Mountains in Utah and the Cascades in Northern California, Oregon, and Washington. He returned west in 1872 and 1873, visiting Colorado, Idaho, Nevada, and Wyoming, and again in the summer of 1875. Although now traveling independently, Munger was still producing drawings and paintings for King on the promise of having a number of his works reproduced as chromolithographs in Systematic Geology, which was eventually published in 1878 with ten of Munger’s studies. During these years, Munger established San Francisco his home base where, along with Albert Bierstadt and Thomas Hill, he quickly became one of the premier California artists. Munger spent much of the second half of his career abroad. He moved to London in 1877, bringing his western sketchbooks with him. These sketches served as the bases for numerous American scenes created for his new European market and sold with great success. In 1886, Munger moved again, this time to Paris. His time in France had a significant influence on his style as his realistic Hudson River School landscapes gave way to softer, brushier compositions in line with the Barbizon School. These paintings were well received and Munger was widely recognized for his efforts. He was honored with numerous awards, including the Chevalier of the Legion of Honor, and his works were avidly collected by institutions including the Royal Academy and the Luxembourg Gallery. Munger returned to the United States in 1893 but was unable to transfer his European success back to the United States. He settled again in Washington, DC, where he continued to paint, but he died in relative obscurity in 1903. Munger completed the present painting around 1870 during his years spent in San Francisco. It has been suggested that the scene depicts a view from the top of Mt. Tamalpais, a prominent peak in Marin County just north of San Francisco. It is undoubtedly a view north along the Pacific coast taken the San Francisco Bay area. A letter of authenticity from Alfred C. Harrison Jr. accompanies this work. Provenance: Private Collection, New York Literature: Michael D. Schroeder, The Art of Gilbert Munger (The Gilbert Munger Website), Duluth, MN: Tweed Museum of Art, 1999, No. 270. $40,000 – $60,000

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321 FRANK TENNEY JOHNSON (1874–1939) The Pool in the Desert, 1934 oil on panel 16 x 19 ⅞ in. (40.64 x 50.48 cm.) signed and dated lower left: F. Tenney Johnson A.N.A. / 1934 inscribed verso: The Pool in the Desert / painted by / F. Tenney Johnson A.N.A. 1934 Provenance: Private Collection, New Mexico $125,000 – $150,000

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322 THOMAS MORAN (1837–1926) Baby Glacier, 5 Miles Below ‘Big Canyon,’ Stickeen River, Alaska, June 17, 1895 carbon pencil and ink on coquille-surfaced paper 6 ⅝ x 4 ½ in. (16.83 x 11.43 cm.) initialed lower left: TM. A native of England, Thomas Moran immigrated to Philadelphia with his family in 1844. His first artistic training was an an apprentice to a wood engraver. He returned to Europe in the 1860s, visiting his native England, and later in the decade, Italy. In 1871, he accompanied the geologist Ferdinand Hayden on his survey expedition of the Grand Canyon and Yellowstone. During the rest of his life, he traveled extensively, often spending time in the American West and Southwest.This original drawing was one of four illustrations that Moran contributed to a travelogue by W. H. Bell that appeared in the popular periodical Scribner’s in April of 1879. It is reproduced on page 806 of the article. Moran used a carbon pencil, which would not smudge as easily as graphite, and paper with a pebbled texture, to create an instant halftone effect. Bell relayed a traveler’s exploratory account of taking a steamboat up the Stickeen River from Fort Wrangell in Alaska and passing into Glenora in British Columbia, Canada, awed by the magnificent glaciers that dominated the landscape along the way. The passengers on the boat docked at a landing one night and were allowed to disembark the next morning to hike closer for a view of the imposing “ice mountain” or Great Cañon, the largest glacier along the route. Note how small the boat itself appears; Moran’s drawing eloquently captured how dwarfed the passengers must have felt by the towering ice walls that surrounded them. The famed naturalist John Muir visited Alaska for the first time the same year this article appeared, which became the inspiration for his well-known book, “Travels in Alaska.” Provenance: Private Collection, Wyoming Private Collection, Arizona Literature: W. H. Bell, The Stickeen River and Its Glaciers, Scribner’s Monthly 17.6 (April 1879): 805-815, illustrated p. 806. Walt Reed, The Illustrator in America, 1880-1980: A Century of Illustrations. New York: Society of Illustrators, 2001, illustrated p. 23. $10,000 – $15,000

323 GERARD CURTIS DELANO (1890–1972) Arizona Thunderhead oil on canvas 16 ¼ x 18 ¼ in. (41.28 x 46.36 cm.) signed lower right: DElano inscribed verso: ARIZONA THUNDERHEAD / Painted by / GERARD Curtis Delano / 31 E. 18th Ave. / Denver, Colo. Provenance: Collection of Ross McCafferty, Colorado $40,000 – $60,000

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324 GERARD CURTIS DELANO (1890–1972) Lady of the Lonely Land oil on board 24 x 26 in. (60.96 x 66.04 cm.) signed lower right: © DElano Provenance: The Hillin Collection of the Cowboy Artists of America Private Collection, Texas Exhibited: Museum of the Southwest, Midland, Texas, New Western Images: The Hillin Collection of the Cowboy Artists of America, January 12 - February 9, 1983 Cowboy Artists of America Museum, Kerrville, Texas, The Musselman Collection, January 24 - April 12, 1987 $40,000 – $60,000

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325 GERARD CURTIS DELANO (1890–1972) Sunlight and Shadow oil on board 17 ½ x 19 ½ in. (44.45 x 49.53 cm.) signed lower right: © Delano inscribed verso: Sunlight and Shadow / Painted by / Gerard Curtis Delano Provenance: Private Collection, Texas $30,000 – $50,000

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326 GERARD CURTIS DELANO (1890–1972) Doe and Fawn oil on board 9 ½ x 14 ½ in. (24.13 x 36.83 cm.) initialed lower right: D inscribed verso: No 89 / Doe and Fawn Provenance: Private Collection, Colorado $8,000 – $12,000

327 WILL SHUSTER (1893–1969) Vallecito, ca. 1947 oil on pressed board 23 ⅝ x 29 ⅝ in. (60.01 x 75.25 cm.) signed lower right: Will Shuster inscribed verso: by / Will Shuster / SANTA FE - N.M. Museum of New Mexico Exhibitions label verso: Will Shuster / Vallecito / 32 x 38 oil on pressed board Provenance: Private Collection, New Mexico $15,000 – $25,000

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328 CARL VON HASSLER (1887–1969) Untitled (Adobe Homes with Cottonwood Tree) oil on linen 22 x 27 ¾ in. (55.88 x 70.49 cm.) signed lower left: Cl Von Hassler Provenance: Private Collection, New Mexico $8,000 – $10,000

329 SHELDON PARSONS (1866–1943) Cottonwoods Spring oil on board 8 7/8 x 11 5/8 in. (22.54 x 29.53 cm.) signed lower left: Sheldon Parsons Provenance: Santa Fe Collection of Southwestern Art Private Collection, New Mexico $6,000 – $9,000

330 SHELDON PARSONS (1866–1943) Purple Mountains oil on board 16 x 20 in. (40.64 x 50.80 cm.) signed lower right: - SheldoN PARSONS Provenance: Private Collection, New Mexico $6,000 – $9,000

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331 FREMONT ELLIS (1897–1985) Untitled (New Mexico Landscape)

332 FREMONT ELLIS (1897–1985) Hills Near Santa Fe, 1920

oil on board 16 x 20 in. (40.64 x 50.80 cm.) signed lower right: FREMONT F. ELLIS

oil on canvas 16 ¼ x 20 ¼ in. (41.28 x 51.44 cm.) signed and dated lower left: Fremont ELLIS / 1920 inscribed verso: HILLS NEAR SANTA FE

Provenance: Private Collection, Arizona $6,000 – $9,000

Provenance: Private Collection, New Mexico $5,000 – $7,000

333 FREMONT ELLIS (1897–1985) Sunset - Grand Canyon, Arizona

334 FREMONT ELLIS (1897–1965) El Rancho de San Sebastian

pastel on paper 11 x 15 in. (27.94 x 38.10 cm.) signed lower right: FREMONT ELLIS

oil on canvas 7 x 16 in. (17.78 x 40.64 cm.) signed lower right: FREMONT ELLIS inscribed verso upper stretcher bar: FREMONT ELLIS El Rancho de San Sebastian / Coroncito

Provenance: A. E. Little Company, Los Angeles, California Private Collection, Virginia $4,000 – $6,000

Provenance: Private Collection, Texas $2,500 – $5,000

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149

335 JOSEPH FLECK (1892–1977) Untitled (Autumn in New Mexico) oil on board 12 ½ x 20 in. (31.75 x 50.80 cm.) signed lower left: J. FLECK Provenance: Private Collection, Houston, Texas William Reves Fine Art, Houston, Texas Dow Art Galleries, Fort Worth, Texas Private Collection, New Mexico $4,000 – $8,000

336 HAROLD HARRINGTON BETTS (1881–1951) Untitled (Navajo Riders, Oraibi, Arizona), 1906 oil on canvas on board 29 ¾ x 39 ½ in. (75.57 x 100.33 cm.) signed, inscribed and dated lower right: H. H. Betts / Oraibi, Ariz. 1906 Provenance: The Estate of Mary Ellen Dryden, Pittsboro, North Carolina Zaplin Lampert Gallery, Santa Fe, New Mexico Private Collection, New Mexico $6,000 – $9,000

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337 WILSON HURLEY (1924–2008) The Praying Monk, 1970 oil on canvas 31 x 31 in. (78.74 x 78.74 cm.) signed and dated lower left: Wilson Hurley / 1970 titled on frame lower center: The Praying Monk / Camelback Mountain, Arizona Provenance: Private Collection, Colorado Private Collection, New Mexico $8,000 – $12,000

338 CHARLES H. REYNOLDS (1902–1963) Untitled (New Mexico Landscape with Horses and Rider), 1938 oil on canvas board 18 x 24 in. (45.72 x 60.96 cm.) signed and dated lower right: Chas H Reynolds 1938 Provenance: Private Collection, Idaho $4,000 – $6,000

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151

339 PAUL SALISBURY (1903–1973) Untitled (Autumn Landscape)

340 BEN TURNER (1912–1966) Untitled (Aspens by the River)

oil on canvas 28 x 36 in. (71.12 x 91.44 cm.) singed lower right: Paul / Salisbury

oil on canvas 20 ¼ x 30 in. (51.44 x 76.20 cm.) signed lower left: BEN TURNER

Provenance: Private Collection, Arizona

$2,000 – $4,000

341 BEN TURNER (1912–1966) Untitled (Aspen Ridge)

342 CHARLES BERNINGHAUS (1905–1988) Taos Valley

oil on canvas 15 ¾ x 13 ⅛ in. (40.01 x 33.34 cm.) signed lower right: BEN TURNER

oil on canvas 12 x 16 in. (30.48 x 40.64 cm.) signed lower left: CHARLES BERNINGHAUS inscribed verso: Taos Valley

Provenance: Private Collection, Arizona $2,000 – $4,000

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Provenance: Private Collection, Texas $1,500 – $2,500

343 MICHAEL ATKINSON (b. 1946) Mountain Rider oil on panel 39 x 29 in. (99.06 x 73.66 cm.) signed lower right: ATKINSON Provenance: Private Collection, Texas $3,000 – $4,000

344 ROBERT WESLEY AMICK (1879–1969) Untitled (Navajo Grinding Corn) oil on canvas 20 x 40 in. (50.80 x 101.60 cm.) signed lower right: Robert / Wesley / Amick Provenance: Private Collection, Texas $2,500 – $3,500

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153

345 CARL VON HASSLER (1887–1969) Untitled (Pueblo Woman), 1933 oil on canvas 32 x 28 in. (81.28 x 71.12 cm.) signed and dated lower left: Von Hassler 33 Provenance: Private Collection, Pennsylvania $5,000 – $7,000

346 BERT GEER PHILLIPS (1868–1956) Untitled (Indian Woman in Taos) oil on board 9 ⅞ x 7 ⅞ in. (25.08 x 20 cm.) signed lower right: PHillips Provenance: Private Collection, Texas $5,000 – $8,000

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347 BERT GEER PHILLIPS (1868–1956) Old Gate, Taos, ca. 1930 oil on board 14 x 14 in. (35.56 x 35.56 cm.) signed lower right: PHillips Provenance: Nedra Mattucci Galleries, Santa Fe, New Mexico Private Collection, Texas $18,000 – $25,000

348 HENRY BALINK (1882–1963) Zuni Women Grinding Corn oil on board 16 x 20 ¼ in. (40.64 x 51.44 cm.) signed lower left: HENRY C. BALINK inscribed verso: COPYRIGHT AND ALL RIGHTS / OF REPRODUCTION RESERVED / BY MR. & MRS. HENRY BALINK Provenance: Walter Reed Bimson, Phoenix, Arizona Valley National Bank of Arizona Private Collection, Texas Exhibited: Tucson Museum of Art, Tucson, Arizona, Arizona Collects the West, October 16 - December 7, 1983 $8,000 – $10,000

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155

349 WILLIAM PENHALLOW HENDERSON (1877–1943) Nude on Daybed, New Mexico, ca. 1930 oil on board 7 ⅝ x 11 ⅜ in. (19.37 x 28.89 cm.) signed upper left verso: W Henderson Provenance: Aaron Payne Fine Art, Santa Fe, New Mexico Private Collection, New Mexico $10,000 – $15,000

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350 LEON GASPARD (1882–1964) Untitled (San Juan Maiden), 1944 oil on canvas on panel 9 ¾ x 13 in. (24.77 x 33.02 cm.) signed, inscribed and dated lower right: Leon Gaspard / San Juan / 1944 inscribed indistinctly lower left Provenance: Private Collection, New Mexico $40,000 – $60,000

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157

351 WILL SHUSTER (1893–1969) Still Life, 1953 oil on board 20 x 24 in. (50.80 x 60.96 cm.) signed and dated lower left: Will Shuster / 53 inscribed verso: “Still Life” / by / Will Shuster / 53 / SANTA FE - NEW MEXICO Provenance: The Estate of Will Shuster Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, New Mexico Owings-Dewey Fine Art, Santa Fe, New Mexico Private Collection, New Mexico $10,000 – $20,000

352 EMIL BISTTRAM (1895–1976) Indian Summer, 1963 oil on linen 36 x 27 in. (91.44 x 68.58 cm.) signed and dated lower right: BISTTRAM / 63 inscribed verso upper stretcher bar: INDIAN SUMMER Provenance: Private Collection, New Mexico $15,000 – $20,000

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353 EMIL BISTTRAM (1895–1976) Untitled (Flowers on Table with Candle), 1963 oil on masonite panel 32 x 24 in. (81.28 x 60.96 cm.) signed and dated lower right: BISTTRAM / 63 Provenance: Private Collection, New Mexico $8,000 – $12,000

354 JOSEPH HENRY SHARP (1859–1953) Jonquil, Narcissus and California Bowl, ca. 1950 oil on canvas 20 x 24 in. (50.80 x 60.96 cm.) signed lower right: JHSHARP inscribed verso: Jonquil, Narcissus and C/ Calf. Bowl, Chinese brocade table coverProvenance: The Artist, ca. 1950 Estate of Rose and Ben Harrelson Private Collection, Lawrence, Kansas $12,000 – $18,000

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159

355 CLARK HULINGS (1922–2011) Rose, 1999 oil on board 6 x 4 ½ in. (15.24 x 11.43 cm.) signed and dated lower left: Hulings 1999. Provenance: Private Collection, Texas $4,000 – $6,000

356 DOUGLAS ATWILL (b. 1933) Center Garden Poppies, 1998 acrylic on linen 24 x 52 in. (60.96 x 132.08 cm.) inscribed verso: 5.98 24 x 52” CENTER GARDEN POPPIES Acrylic on linen DOUGLAS E. Atwill © 1998 All Rights Reserved Provenance: Private Collection, New Mexico $3,000 – $5,000

357 JOSEPH FLECK (1892–1977) Untitled (Floral Still Life) oil on canvas board 20 x 16 in. (50.80 x 40.64 cm.) signed lower left center: J. A. FLecK Provenance: Private Collection, New Mexico $2,000 – $4,000

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358 ALFRED MORANG (1901–1958) Untitled (Still Life), 1945

359 ALFRED MORANG (1901–1958) Untitled (Abstraction)

oil on canvas 30 x 24 in. (76.20 x 60.96 cm.) inscribed verso: ALDRED / MORANG / 1945

oil on board 14 x 10 in. (35.56 x 25.40 cm.) signed indistinctly lower center

Provenance: Private Collection, Pennsylvania

Provenance: Private Collection, New Mexico

$6,000 – $9,000

$2,000 – $3,000

360 ALFRED MORANG (1901–1958) West End of Town, ca. 1940 oil on board 16 x 20 in. (40.64 x 50.80 cm.) signed lower right: ALFRED MORANG inscribed verso: WEST END OF TOWN / BY Alfred Morang / ca. 1940s Provenance: Private Collection, New Mexico $4,000 – $6,000

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161

361 RANDALL DAVEY (1887–1964) Still Life with Crabs, 1956 oil on panel 22 x 27 ½ in. (55.88 x 69.85 cm.) signed lower right: Randall Davey Provenance: Private Collection, Texas Exhibited: The University of Arizona Museum of Art, Tucson, AZ, Randall Davey Retrospective, September 22–October 14, 1974 Utah Museum of Fine Arts, University of Utah, Randall Davey Retrospective, November 25 - January 6, 1974 $3,000 – $5,000

362 WILLIAM ACHEFF (b. 1947) Apples and Acoma, 1978 oil on linen 12 x 16 in. (30.48 x 40.64 cm.) signed and dated lower right: © Wm. Acheff 1978 inscribed verso: W. Acheff 2-78 “Apples and Acoma” / Wm. Acheff Provenance: Private Collection, New Mexico $6,000 – $8,000

363 WILLIAM ACHEFF (b. 1947) Red Onion, 1978 oil on linen 10 x 14 in. (25.40 x 35.56 cm.) signed and dated lower right: © Wm. Acheff 1978 inscribed verso: “Red Onion” W. Acheff / Wm. Acheff Provenance: Private Collection, New Mexico $3,000 – $5,000

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364 WARD LOCKWOOD (1894–1963) Untitled (Landscape) oil on board 12 x 16 in. (30.48 x 40.64 cm.) signed lower right: LOCKWOOD Provenance: Private Collection, New Mexico $1,000 – $2,000

365 FORREST MOSES (1934–2021) Untitled (New Mexico Landscape) oil on linen 42 x 50 in. (106.68 x 127 cm.) signed lower right: Moses Provenance: Private Collection, Texas $5,000 – $7,000

366 EMIL KOSA JR. (1903–1968) Silver and Gold oil on board 23 ¾ x 35 ¾ in. (60.33 x 90.81 cm.) signed lower left: Emil Kosa Provenance: O’Brien’s Art Emporium, Scottsdale, Arizona Private Collection, Arizona Altermann Galleries, Santa Fe, New Mexico Private Collection, Texas $5,000 – $7,000

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163

367 CARL WOOLSEY (1902–1965) Water’s Edge

368 WILSON HURLEY (1924–2008) River Oaks

oil on canvas 30 x 25 in. (76.20 x 63.50 cm.) signed lower left: C. E. WOOLSEY

oil on linen 36 x 24 in. (91.44 x 60.96 cm.) signed lower left: Wilson Hurley inscribed verso: River Oaks / Wilson Hurley

Provenance: Private Collection, New Mexico $2,000 – $4,000

Provenance: Private Collection, New Mexico $12,000 – $18,000

369 THOMAS DE DECKER (b. 1951) Lilies and Flowers oil on masonite 24 x 30 in. (60.96 x 76.20 cm.) signed lower right: Thomas de Decker inscribed verso: “Lilies and Flowers” by Thomas de Decker Provenance: The Artist Private Collection, Kansas $3,000 – $5,000

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370 CONRAD SCHWIERING (1916–1986) Banners of Spring, ca. 1960 oil on panel 20 x 30 in. (50.80 x 76.20 cm.) signed lower right: Schwiering inscribed verso: Banners / of Spring Provenance: The Estate of Conrad Schwiering Private Collection, Wyoming $8,000 – $12,000

371 CONRAD SCHWIERING (1916–1986) Schofield’s Mill, 1954 oil on panel 12 x 16 in. (30.48 x 40.64 cm.) signed lower left: Schwiering © typed letter affixed to verso: SCHOFIELD’S MILL / A sketch of Schofield’s sawmill located on Tenton / Pass near Wilson, Wyoming / O. Conrad Schwiering Provenance: The Estate of Conrad Schwiering Private Collection, Wyoming $3,000 – $5,000

372 ROBERT WOOD (1889–1979) On Fredericksburg Road, San Antonio, Texas, 1936 oil on canvas 20 x 30 in. (50.80 x 76.20 cm.) signed lower right: Rob E Wood verso includes photocopy of 1971 written correspondence between Mrs. D. D. Boggess and Robert Wood, discussing the title and dating of the painting Provenance: The Collection of Mrs. D. D. Boggess, Houston, Texas Private Collection, Texas $7,000 – $10,000

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165

373 CLYDE ASPEVIG (b. 1951) The Calm of Winter, 2009 oil on linen panel 24 x 30 in. (60.96 x 76.20 cm.) signed and dated lower left: C. Aspevig .09. Provenance: Clyde Aspevig - Juniper Ridge Studios, Bozeman, Montana Legacy Gallery, Scottsdale, Arizona Private Collection, New Mexico $7,000 – $10,000

374 OLEG STAVROWSKY (1927–2020) Snow Glide oil on linen 22 x 54 in. (55.88 x 137.16 cm.) signed lower left: oleg Stavrowsky inscribed verso: “SNOW GLIDE” / OLEG STAVROWSKY / © Provenance: Private Collection, New Mexico $5,000 – $7,000

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375 GORDON SNIDOW (b. 1936) Vince, 1970 oil on canvas 30 x 50 in. (76.20 x 127 cm.) signed and dated lower right: Snidow / 1970 [Cowboy Artist of America cipher] / © “Always gregarious, and what friends called one of those bigger than life characters, Vince Wells was ever ready to pull you close for a hug and when asked how he was doing would often reply “Fantastic but getting better!” He spearheaded a number of successful business ventures and was always active in civic organizations. In 1962 he opened his first Shakey’s Pizza Parlor in Wichita, Kansas. More followed from Ohio to Arizona. In the 60’s and 70s he and his wife, Dee, travelled so frequently to New Mexico, eventually moving there in the 80s, that Santa Fe and Taos came to feel like second homes to their two children. They first admired and then came to be avid collectors of Indian and Western art. But one painting hung most prominently wherever they lived: Gordon Snidow’s “Vince”. Always in the room where family would gather for holidays and guests were entertained, it saw their kids grow to adulthood and watched him and his beloved wife of 57 years grow into old age. With both the painting and him named “Vince” some would mistakenly think it was him at a younger age and when learning it wasn’t joke that if it had been named anything else he never would have been drawn to it. Who knows, perhaps. But for sure their home would never have felt like their home if it wasn’t there. Here’s hoping “Vince” finds another loving home in which to be cherished.” — James Wells, 2021 Provenance: The Artist The Collection of Richard Vincent Wells Private Collection, New Mexico $30,000 – $50,000

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167

376 GARY ERBE (b. 1944) Western Album, 2015 oil on canvas 52 x 69 in. (132.08 x 175.26 cm.) signed and dated lower right: G Erbe 2015 inscribed verso: “WESTERN ALBUM,” 2015/GARY T. ERBE / “Western Album,” / 52” x 69” o/c / Gary T. Erbe Gary T. Erbe, a self-taught painter, was born in 1944 in Union City, New Jersey, where he maintained his studio from 1972 until 2006. Unable to attend art school, he worked as an engraver from 1965 until 1970 to support himself and his family, painting at nights and weekends to develop his skills. In 1967, Erbe discovered trompe l’oeil painting and its masters. Two years later, Erbe conceived a way of painting that would be a contemporary departure from the 19th Century Trompe l’oeil masters by freeing objects from their natural surroundings via the illusion of levitation and through the juxtaposition of objects that have no relationship. Erbe’s work combines flat space forms that are exaggerated and enhanced by shadow, light and color. The result is pure three-dimensional illusion. While there are and will always be elements of Trompe l’oeil in his work, he has less of an interest in fooling the eye in favor of stimulating the mind. In 1970, Erbe coined the term “Levitational Realism” and decided to pursue his art full-time. Since 1970, Erbe has exhibited extensively, with solo exhibitions at museums and galleries throughout the United States, Asia, and Europe. His works are in the permanent collections of numerous public institutions including The Phillips Collection, Philadelphia Museum of Art, Pennsylvania Academy of the Fine Arts, Terra Foundation for American Art, Crystal Bridges Museum of American Art, Colby College Museum of Art, Brandywine River Museum, The Brinton Museum, Montclair Art Museum, The Heckscher Museum of Art, Phoenix Art Museum, The Butler Institute of American Art, and the Reading Public Museum, amongst others. Erbe has garnered many awards and honors over the years including six Gold Medals at The Allied Artists of America Annual Exhibitions, the Medal for Lifetime Achievement in American Art from The Butler Institute of American Art, and the Salmagundi Club Medal of Honor. He also has received the Gold Medal from The National Museum of Sports, the First Prize Award from The National Arts Club, Gold Medal of Honor from Audubon Artists, and First Prize from The Peto Museum, among others. Erbe was honored with a 25-year traveling retrospective in 1995 and a 40-year traveling retrospective in 2010. The Butler Institute of American Art, OH, has published a scholarly book on Erbe’s art and life titled Footprints: The Art and Life of Gary Erbe in conjunction with a 50-year retrospective exhibition which commenced in 2017 and traveled to four venues. Currently, Erbe maintains his studio in Nutley, NJ and actively continues to paint. Provenance: The Artist Exhibited: Gary Erbe: 50 Year Retrospective, The Butler Institute of American Art, Youngstown, Ohio, May 14 - August 6, 2017, The Brinton Museum, Big Horn, Wyoming, September 16 - December 16, 2017, Reading Public Museum, Reading, Pennsylvania, June 3 - September 9, 2018, John F. Peto Studio Museum, Island Heights, New Jersey, September 22 - December 16, 2018 Literature: Louis P. Zona, “Modern Principals,” Footprints: The Art and Life of Gary Erbe, The Butler Institute of American Art, Youngstown, Ohio, 2016, p. 100-101, 228, illustrated no. 4.11. Scott A. Schweigert, Gary Erbe: 50 Year Retrospective, Reading Public Museum, illustrated p. 6-7. $30,000 – $40,000

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377 MICHAEL WORKMAN (b. 1962) Untitled (Sheep Grazing) oil on board 28 x 31 ⅛ in. (71.12 x 79.06 cm.) signed lower right: M. Workman Provenance: Private Collection, New Mexico $6,000 – $9,000

378 MICHAEL STACK (b. 1947) Approaching Kimmerer in Mid September, 2007 oil on canvas 30 x 36 in. (76.20 x 91.44 cm.) signed lower right: MichAEL Stack inscribed verso: Approaching Kimmerer in Mid September © 2007 Provenance: Private Collection, Oklahoma $4,000 – $6,000

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169

379 CURT WALTERS (b. 1950) Evening Reward oil on linen 18 x 14 in. (45.72 x 35.56 cm.) signed lower right: Curt Walters inscribed verso: “EVENING REWARD” Provenance: Altermann & Morris Galleries, 2000 Private Collection $2,000 – $4,000

380 THOMAS DE DECKER (b. 1951) Sunset Reflections, 2021 oil on panel 36 x 36 in. (91.44 x 91.44 cm.) signed lower left: Thomas deDecker inscribed verso: “Sunset Reflections” 2021 / Thomas de Decker Provenance: The Artist $4,000 – $6,000

381 THOMAS DE DECKER (b. 1951) Early Autumn Colors, 2021 oil on panel 39 ½ x 29 ½ in. (100.33 x 74.93 cm.) signed lower right: Thomas deDecker inscribed verso: “Early Autumn Colors” / 2021 / by / Thomas de Decker Provenance: The Artist $4,000 – $6,000

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382 JOHN MODESITT (b. 1955) Almost Home oil on linen 17 ½ x 19 ½ in. (44.45 x 49.53 cm.) signed lower left: Modesitt Provenance: Private Collection, Florida $2,000 – $4,000

383 NATHAN YOUNGBLOOD (1916–2009) Nightfall in Jemez Country watercolor on paper 22 x 30 in. (55.88 x 76.20 cm.) signed lower right: Nat Youngblood Provenance: Dewey Galleries, Ltd., Santa Fe, New Mexico From the Collection of the Allan Houser Foundation $2,000 – $4,000

384 BRUCE CARLTON NOWLIN (b. 1949) Found Here, 2009 oil on canvas 24 x 36 in. (60.96 x 91.44 cm.) signed lower right: BC Nowlin inscribed verso: autumn, 09 / Corrales, / NM / BC / Nowlin / B.10.11.24x36.09 / “FOUND HERE” Provenance: Manitou Gallery, Santa Fe, New Mexico Private Collection, Washington $5,000 – $7,000

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171

385 DAN NAMINGHA (Hopi, b. 1950) Fall Dusk #1, 2013 acrylic on canvas 30 x 48 in. (76.20 x 121.92 cm.) signed lower left: Namingha inscribed verso: © Dan Namingha / ‘13 inscribed verso: “Fall Dusk #1” Provenance: The Artist Niman Gallery, Santa Fe, New Mexico, 2013 Private Collection, New Mexico $5,000 – $7,000

386 BILLY SCHENCK (b. 1947) Evening Hours, 2011 oil on canvas 12 ⅜ x 10 ¼ in. (31.43 x 26.04 cm.) signed and dated lower left: SCHENCK 11 inscribed verso: SCHENCK / JUNE 2011 / EVENING HOURS Provenance: Private Collection, Washington $4,000 – $6,000

387 BILLY SCHENCK (b. 1947) One Butte Left Behind, 2012 oil on canvas 12 x 20 in. (30.48 x 50.80 cm.) signed and dated lower left: SCHENCK 12 inscribed verso: SCHENCK / APRIL 2012 / ONE BUTTE LEFT BEHIND Provenance: Private Collection, Washington $4,000 – $6,000

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388 KIM DOUGLAS WIGGINS (b. 1960) Village of San Jose Landscape - New Mexico, 1992

389 KIM DOUGLAS WIGGINS (b. 1960) The Visitation at Chimayo, 2010

oil on canvas 30 x 40 in. (76.20 x 101.60 cm.) signed and dated lower right: KD Wiggins 92 inscribed verso: K Douglass Wiggins SANTA FE NM

oil on canvas board 14 x 11 in. (35.56 x 27.94 cm.) signed lower left: Kim Wiggins inscribed verso: “The Visitation at Chimayo” / oil, 14 x 11 / 2010 / KIM DOUGLAS WIGGINS / SANTA FE, NM

Provenance: Wiggins Fine Art, Santa Fe, New Mexico, 1992 Private Collection, New Mexico $6,000 – $9,000

Provenance: Manitou Galleries, Santa Fe, New Mexico Private Collection, Washington $2,000 – $4,000

390 EDMOND DELAVY (1916–1989) Night Lights at New Mexico State Fair oil on canvas 28 x 44 in. (71.12 x 111.76 cm.) signed lower left: EDMOND / DELAVY Provenance: Private Collection, New Mexico $4,000 – $6,000

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173

391 PETER ROGERS (1933–2018) Untitled (The Pool), 1993 oil on panel 21 ½ x 24 ⅝ in. (54.61 x 62.55 cm.) initialed and dated lower right: PR 93 From “The Quest” series Provenance: Private Collection, Montana $2,000 – $4,000

392 PEREGRINE HEATHCOTE (English, b. 1973) It Could Be I Don’t Want to Run oil on canvas 84 x 58 in. (213.36 x 147.32 cm.) signed lower left: Peregrine Heathcote The present lot depicts the West Quoddy Head Lighthouse, constructed in 1808 in Quoddy Head State Park, Lubec, Maine. It marks the easternmost point of the contiguous United States. Provenance: Private Collection, New Mexico $8,000 – $12,000

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393 R. KENTON NELSON (b. 1954) Considering the Price, 2000

394 R. KENTON NELSON (b. 1954) Engagement, 1997

oil on canvas 22 ⅞ x 22 ⅞ in. (58.10 x 58.10 cm.) signed lower right (obscured by frame): R. KENTON NELSON

oil on canvas 23 ⅝ x 23 ⅝ in. (60.01 x 60.01 cm.) signed lower left: R. KENTON NELSON

Provenance: Private Collection, New Mexico

Provenance: Eleanor Ettinger Gallery, New York Private Collection, New Mexico

$8,000 – $12,000

395 R. KENTON NELSON (b. 1954) Delivered, 1997 oil on board 35 ¾ x 23 ⅜ in. (90.81 x 59.37 cm.) signed lower right: R. KENTON NELSON Provenance: Private Collection, New Mexico $6,000 – $9,000

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175

396 JOSEPH LORUSSO (b. 1966) Stranger at the Elevator

397 MALCOLM LIEPKE (b. 1953) Artist’s Studio, 1987

oil on board 30 x 30 in. (76.20 x 76.20 cm.) signed upper left: LORUSSO inscribed verso: Stranger at the Elevator 30.30

oil on canvas 20 ⅞ x 24 ¾ in. (53.02 x 62.87 cm.) signed and dated upper right: Liepke 1987

Provenance: Meyer Gallery, Santa Fe, New Mexico Private Collection, New Mexico, 2006 Private Collection, New Mexico, 2017

Provenance: Eleanor Ettinger Gallery, New York Private Collection, New Mexico $3,000 – $5,000

$4,500 – $6,500

398 SARAH LAMB (b. 1971) Salami and Chianti, 2007

399 WILL WILSON (b. 1957) Beveled, 2004

oil on canvas 16 x 21 in. (40.64 x 53.34 cm.) signed and dated lower right: SK Lamb 2007

oil on linen and oil on panel 14 x 12 in. (35.56 x 30.48 cm.) signed lower left: Will Wilson

Provenance: John Pence Gallery, San Francisco, California Private Collection, New Mexico

$3,000 – $5,000

$1,000 – $2,000

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400 CARLOS CARULO (Chilean, b. 1950) Atrium #2, 1985 oil on canvas 59 ¾ x 50 in. (151.77 x 127 cm.) signed lower left: Carulo inscribed verso: “AtRiUM” © CARULO 85 / OiL/CANVAS / 60” X 50” Provenance: A Private Family Foundation* *All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need. $15,000 – $20,000

401 CARLOS CARRULO (Chilean, b. 1950) Exit, 1990 oil on canvas 58 ¼ x 48 ¼ in. (147.96 x 122.56 cm.) signed lower right: Carulo Provenance: A Private Family Foundation* *All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need. $15,000 – $20,000

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177

402 ROY DE FOREST (1930–2007) Untitled, 1994 mixed media on paper 29 ⅝ x 41 ½ in. (75.25 x 105.41 cm.) signed and dated upper center: Roy DE FOREST 94 Provenance: Private Collection, New Mexico $20,000 – $40,000

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403 MORRIS GRAVES (1910–2001) Untitled mixed media on paper 18 ⅞ x 12 ⅜ in. (47.94 x 31.43 cm.) signed lower right: M graves Provenance: Private Collection, New Mexico $7,000 – $9,000

404 EMIL BISTTRAM (1895–1976) Untitled (Abstraction), 1939

405 EMIL BISTTRAM (1895–1976) Untitled (Abstraction), 1941

encaustic on paper 12 x 8 ⅝ in. (30.48 x 20.32 cm.) signed and dated lower center: BISTTRAM 39

encaustic on paper 10 ½ x 7 ½ in. (26.67 x 19.05 cm.) signed and dated lower right: BISTTRAM 41

Provenance: The Artist The Estate of Emil Bisttram Private Collection, Tesuque, New Mexico Private Collection, Santa Fe, New Mexico Aaron Payne Fine Art, Santa Fe, New Mexico Private Collection, New York

Provenance: The Artist The Estate of Emil Bisttram Platt Fine Art, Chicago, Illinois Private Collection, New York $2,000 – $4,000

$2,000 – $4,000

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179

406 GARO ANTREASIAN (1922–2018) Jajeek, 1988 acrylic on canvas 52 x 48 in. (132.08 x 121.92 cm.) inscribed verso: G. ANTREASIAN / TITLE: JAJEEK / ACRYLIC ON CANVAS / 52” x 48” / 1988 Provenance: From the Collection of the Allan Houser Foundation $3,000 – $5,000

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407 JUAN CARLOS DEL VALLE (Mexican, b. 1975) You Are Loved (Remember Me), 2019 oil on canvas 16 x 20 in. (40.64 x 50.80 cm.) inscribed verso: PINTO: JUAN CARLOS DEL VALLE / -MEXICO- / 14-IV-2019 / 40x50cm / “YOU ARE LOVED” / (REMEMBER ME) After traveling to Albuquerque in 2019, Del Valle was captivated by the mysticism of its rusty landscapes and blue skies. When talking to a local woman about the spiritual quality that seems to palpitate within New Mexican geography, history and people, she told him, “You either get it or you don’t”. You Are Loved (Remember Me), is part of a series of paintings the artist developed right after that trip in which he continued to explore in depth the notion of the cyclic journey of life and death, the return to the original source. Provenance: Private Collection, Mexico $4,000 – $6,000

408 JUAN CARLOS DEL VALLE (Mexican, b. 1975) Algodón de Azúcar (Cotton Candy) oil on canvas 20 x 6 in. (50.80 x 15.24 cm.) inscribed verso: PINTO: / JUAN / CARLOS / DEL / VALLE / 50x16 / CM / MEXICO / “ALGODÓN / DE / AZÚCAR As soon as a cotton candy comes in contact with the heat and moisture of the human body, it dissolves; it undergoes an instant and radical transformation. Through his food portraits, Juan Carlos del Valle explores deep questions about human nature and his Cotton Candy suggests a reflection on the sweetness and ephemerality of life itself. Provenance: Private Collection, Mexico $3,000 – $5,000

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181

409 NATHAN OLIVEIRA (1928–2010) The Rocker, 2007

410 MIGUEL MARTINEZ (b. 1951) Untitled (Figures with Ranchos Church), 1982

color sugar lift aquatint with aquatint and drypoint, edition 35 of 35 44 ½ x 36 in. (113.03 x 91.44 cm.) signed and dated lower right: N. Oliveria 07 editioned lower left: 35/35

Provenance: Private Collection, Texas $5,000 – $7,000

Provenance: The Collection of Inge and Tex Davis, Ranchos de Taos, by descent to Brian Davis $4,000 – $6,000

411 MIGUEL MARTINEZ (b. 1951) Untitled (Portrait of Two Women)

412 JEAN CHARLOT (French-American, 1898–1979) Untitled (Malinches - Mock Battle), 1963

oil on canvas 12 x 24 in. (30.48 x 60.96 cm.) signed and dated upper right: Jean Charlot / 1963

Provenance: The Collection of Inge and Tex Davis, Ranchos de Taos, by descent to Brian Davis

Provenance: John Henry Felix, Hawaii Private Collection, Hawaii

$2,000 – $4,000

$4,000 – $6,000

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413 MICHIO TAKAYAMA (Japanese-American, 1903–1994) In the Dawn, 1966

414 MICHIO TAKAYAMA (Japanese-American, 1903–1994) Vicky, 1966

oil on canvas 40 x 36 in. (101.60 x 91.44 cm.) signed upper right and lower left: M. Takayama inscribed verso upper stretcher bar: [illegible] in the Dawn M. Takayama

oil on canvas 30 x 40 in. (76.20 x 101.60 cm.) signed and dated lower right: M. Takayama ‘66

Provenance: Private Collection, Washington

Provenance: Private Collection, Washington $3,000 – $5,000

$3,000 – $5,000

415 JOEL GREENE (b. 1953) Gash, 1991

416 JOEL GREENE (b. 1953) Pinons and Heavy Sky, 2001

oil on board 17 x 24 in. (43.18 x 60.96 cm.) signed and dated lower left: JOEL GREEN 91 inscribed verso: No. 83

oil on board 13 x 16 ½ in. (33.02 x 41.91 cm.) signed and dated lower right: JOEL GREENE 01 inscribed verso: No. 145

Provenance: Ernesto Mayans Gallery, Santa Fe, New Mexico Private Collection, New Mexico

Literature: Gussie Fauntleroy, Joel Green: New Mexico Modernist, New Mexico Magazine, 2004, p. 19.

Literature: Gussie Fauntleroy, Joel Green: New Mexico Modernist, New Mexico Magazine, 2004, p. 29.

$3,500 – $4,500

$2,500 – $3,500

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417 JOHN FINCHER (b. 1941) Roadside: Colorado, 1975 oil on panel 15 ½ x 23 ½ in. (39.37 x 59.69 cm.) titled, signed and dated lower left: Roadside: Colorado - Fincher ‘75 Provenance: Horwitch Lew Allen Gallery, Santa Fe, New Mexico Private Collection, Connecticut $1,500 – $2,500

418 JOHN FINCHER (b. 1941) The Sawmill Poplars: Prussian oil on canvas 30 x 22 in. (76.20 x 55.88 cm.) signed lower right: - Fincher – inscribed verso: #8: S. M. Poplars: Prussian Provenance: Elaine Horwitch Galleries Private Collection, New Mexico $1,500 – $2,500

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419 TONY ABEYTA (Diné [Navajo], b. 1965) Emergence mixed media 34 x 30 in. (86.36 x 76.20 cm.) signed lower right: Tony Abeyta Provenance: Private Collection, Colorado $2,000 – $4,000

420 GEORGE FISCHER (b. 1956) Believe oil, alkyd and collage on canvas 76 x 60 in. (193.04 x 152.40 cm.) titled and signed lower left: Believe George Fischer Provenance: The Artist Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, New Mexico $6,000 – $10,000

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421 LUIS JIMÉNEZ (1940–2006) Willie Nelson at the Woolgrowers Dance, 1979 color lithograph, edition 3 of 250 19 ¼ x 25 in. (48.90 x 63.50 cm.) signed and dated lower right: Luis Jiménez -79 editioned lower left: 3/250 Provenance: Private Collection, New Mexico $3,000 – $5,000

422 LUIS JIMÉNEZ (1940–2006) Texas Waltz, 1985 color lithograph, edition 16 of 50 48 x 31 ¼ in. (121.92 x 79.38 cm.) editioned, signed and dated lower center: 16/50 Luis Jiménez ‘85 Provenance: Private Collection, New Mexico $4,000 – $6,000

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423 LUIS JIMÉNEZ (1940–2006) Rodeo Queen, 1981

424 LUIS JIMÉNEZ (1940–2006) Hunter Killing Buffalo II, 1976

color lithograph with glitter, edition 19 of 50 42 ½ x 28 ½ in. (107.95 x 72.39 cm.) editioned, signed and dated lower left: 19/50 / Luis Jiménez ‘81

color lithograph, edition IX 23 ⅜ x 35 ½ in. (59.37 x 90.17 cm.) editioned, signed and dated lower center: IX Luis Jiménez ‘76

Provenance: Private Collection, New Mexico

$3,000 – $5,000

$2,000 – $4,000

425 DAVID SIQUEIROS (Mexican, 1896–1974) Muerte al invasor, 1940 lithograph, edición del editor (editor’s edition) 29 ⅜ x 23 in. (74.61 x 58.42 cm.) signed lower right: D A Siqueiros editioned lower left: E/E Provenance: Private Collection, New Mexico $800 – $1,200

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426 ELI LEVIN (b. 1938) Dirty Joke, 1975 oil on canvas 24 ¼ x 36 in. (61.60 x 91.44 cm.) dated and signed lower right: 1975 ELI LEVIN Provenance: Private Collection, New Jersey $3,000 – $5,000

427 ELI LEVIN (b. 1938) Untitled (Dancers), 1962

428 HENRY ASENCIO (b. 1971) Untitled (Kneeling Nude)

mixed media on paper 10 ½ x 13 ½ in. (26.67 x 34.29 cm.) dated and signed lower right: 62 LEVIN

oil on canvas 24 x 20 in. (60.96 x 50.80 cm.) signed lower right: H Ascencio inscribed verso: Live with / Passion! / Enjoy for years / to come. / H Asencio.

Provenance: Private Collection, New Jersey $1,500 – $2,500

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Provenance: Private Collection, New Mexico $800 – $1,200

429 CARLOS HALL (1928–1997) Passing Time oil on linen 24 x 18 in. (60.96 x 45.72 cm.) signed lower right: CARlOS HAll Provenance: Private Collection, New Mexico $1,500 – $2,500

430 WILL SHUSTER (1893–1969) Benny, 1949 oil on board 24 x 17 ⅞ in. (60.96 x 45.40 cm.) signed and dated upper left: © Will Shuster / 49 inscribed verso: “Benny” / by / Will Shuster / 49 / SANTA FE - NEW MEXICO Provenance: Private Collection, New Mexico $4,000 – $6,000

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431 LEON GASPARD (1882–1964) Portrait of Carl F. Clark, 1952 oil on canvas on board 13 x 16 in. (33.02 x 40.64 cm.) inscribed, signed and dated lower left: To Carl from Leon Gaspard 1952 Provenance: The Parmer and Aileen D. Freeman Collection, Houston, Texas Private Collection, New Mexico $2,000 – $4,000

432 JOSEPH FLECK (1892–1977) Portrait of Mrs. Deveaux oil on canvas 20 x 24 in. (50.80 x 60.96 cm.) signed lower left: J. FLECK Provenance: The ArtistThe Deveaux Family, Taos, New Mexico Private Collection, New Mexico $1,000 – $2,000

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433 ANTAL GOLDFINGER (b. 1964) The Clock Tower, 2008 oil on linen 17 ½ x 13 ½ in. (44.45 x 34.29 cm.) signed and dated lower left: Antal / 2008 / Goldfinger Provenance: Private Collection, New Mexico $3,000 – $5,000

434 CASIMIRO CASTRO (Mexican, 1826–1889) La Ciudad de México Tomada en Globo [The City of Mexico Taken from a Balloon] duotone lithograph 20 ¾ x 30 ½ in. (52.71 x 77.47 cm.) Mexico City: Establecimiento Litografico de Decaen, Portal del Coliseo Viejo, 1855 y 1857 From México y sus alrededores: Coleccionde monumentos, trajes y paisajes Provenance: William R. Talbot Fine Art, Antique Maps & Prints, Santa Fe, New Mexico Private Collection, New Mexico Literature: W. Michael Mathes, Mexico on Stone: Lithography in Mexico, 1826-1900, San Francisco: The Book Club of California, 1984, p. 16ff Roberto L. Mayer, Poblaciones Mexicanas: Planos y Panoramas, siglos XVI al XIX, Mexico: Smurtif, 1998, p. 133-134, illus. p. 136. $4,000 – $8,000

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435 JOHN FROST (1890–1937) Two Grisaille Sketches Gol Darn Them Automobilers gouache on paper mounted to board 22 x 15 in. (55.88 x 38.10 cm.) signed lower right: JOHN FROST. inscribed verso: JOHN FROST / TITLE: / “GOL DARN THEM AUTOMOBILERS Ill gouache on paper mounted to board 18 x 22 ½ in. (45.72 x 57.15 cm.) signed lower left: JoHN FROST. Provenance: Private Collection, New Mexico $3,000 – $5,000

436 ARTHUR BURDETT FROST (1851–1928) Two Grisaille Sketches Part 10: Harnet Tired It gouache on paper mounted to board 18 ⅛ x 18 ¼ in. (46.04 x 46.36 cm.) signed lower right: A. B. FROST. inscribed lower margin: Part. 10: “Harnet Tried it.” stamped lower left: COPYRIGHT, 1898, BY HARPER & BROTHERS. A Little Privacy, 1918 gouache on paper mounted to board 21 ¾ x 15 in. (55.25 x 38.10 cm.) signed lower left: A.B. FROST. inscribed verso: February 19, 1918 / A Little Privacy / Pub - March 9, 1918 Provenance: Private Collection, New Mexico $2,000 – $3,000

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437 ARTHUR BURDETT FROST (1851–1928) Group of Four Landscapes oil on board Three Largest: 12 ⅞ x 16 in. (32.70 x 40.64 cm.) two signed on verso: A.B. Frost Provenance: Private Collection, New Mexico $2,000 – $3,000

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INDEX BY ARTIST Abeyta, Tony 296, 419 Acheff, William 362, 363 Ahrendt, William 310 Amick, Robert Wesley 344 Antreasian, Garo 406 Asencio, Henry 428 Aspevig, Clyde 373 Atkinson, Michael 343 Atwill, Douglas 356 Ault, George Copeland 46 Balink, Henry 90, 348 Barela, Patrocino 143, 144 Baumann, Gustave 49–62 Becker, Elizabeth 223 Beeler, Joe 66 Benton, Thomas Hart 44, 45 Berninghaus, Charles 342 Betts, Harold Harrington 336 Biss, Earl 297, 298 Bisttram, Emil 301, 352, 353 404, 405 Blumenschein, Helen Greene 238 Bodmer, Karl 63–65 Bolivia 155–158 Borg, Carl Oscar 32 Boyd, E. 229 Bradley, David 282, 283 Brett, Dorothy 222 Burbank, Elbridge Ayer 79, 80 Cannon, T. C. 284, 285

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Carlson, George 299 Carrulo, Carlos 401, 400 Cassidy, Gerald Ira Diamond 311 Castro, Casimiro 434 Charlot, Jean 74–76, 412 Cook, Howard 77 Couse, Eanger Irving 33–38 Curtis, Edward S. 173–219 Dasburg, Andrew 39–43 Davey, Randall 361 De Decker, Thomas 369, 380, 381 De Forest, Roy 402 Degrazia, Ted 123 Del Valle, Juan Carlos 407, 408 Delano, Gerard Curtis 323–326 Delavy, Edmond 390 Desatnick, Mike J. 309 Duesberry, Joellyn 239, 240 Ellis, Fremont 95, 331–334 Erbe, Gary 376 Ericsson, Joakim 116 Fechin, Nicolai 4 Fincher, John 417, 418 Fischer, George 420 Fleck, Joseph 335, 357, 432 Foothills, California 151–154 Fox, Lincoln 120 Frank, Alyce 242–249 Fraser, James Earle 134, 138–140 Frost, John 435

Frost, Arthur Burdett 436, 437 Furlow, Malcolm 302–304 Garrett, Dan 127 Gaspard, Leon 350, 431 Gibberd, Eric 94 Goldfinger, Antal 433 Graham, Robert Macdonald 107 Graves, Morris 403 Greene, Joel 415, 416 Halbach, David 99 100 Hall, Carlos 429 Handell, Albert 110 Haney, Enoch Kelly 126 Hartley, Marsden 47 Heathcote, Peregrine 392 Henderson, William Penhallow 349 Hertel, Susan 269 Hopi 148 Houser, Allan 137 Hulings, Clark 355 Hullenkramer, Odon 102 Hurd, Peter 87, 88 Hurley, Wilson 337, 368 Jiménez, Luis 421–424 Joe Sr., Oreland 141 Johnson, Frank Tenney 321 Jordan, Jerry 111, 112 Keener, Anna 235, 236 Kloss, Gene 5–26, 231

Kontny, Pawel 119 Kosa Jr., Emil 366 Lamb, Sarah 398 Lara, Armond 145, 146 Larsen, Fran 250–252 Latham, Barbara 1, 233, 234 Levin, Eli 426, 427 Liepke, Malcolm 397 Lillywhite, Raphael 319 Lippincott, Janet 259 Lockwood, Ward 364 Loloma, Charles 264, 264a Lorusso, Joseph 396 Macaione, Tommy 96 Macdonald, Richard 124 Mandelman, Beatrice 255–258 Mann, Paul 305, 306 Martinez, Maria And Adam 136, 136a Martinez, Miguel 410, 411 Mcafee, Ila 224–226 Mcelwain, Louisa 241 Mcgary, Dave 121 Miller [Henrietta Myers], Peter 262, 263 Modesitt, John 382 Moran, Thomas 322 Morang, Dorothy 254 Morang, Alfred 358–360 Moses, Forrest 365 Moyers, William 313 Moylan, Lloyd 27

INDEX BY ARTIST Munger, Gilbert Davis 320 Namingha, Dan 281, 385 Naumer, Helmuth 91–93 Nelson, R. Kenton 393–395 Nieto, John 286–294 Nordfeldt, B. J. O. 48 Nowlin, Bruce Carlton 308, 384 Oliveira, Nathan 409 Otero, Nicolas 172 Parsons, Sheldon 329, 330 Payne, Edgar 31 Payne, Ken 128 Phillips, Joel 81 Phillips, Bert Geer 346, 347 Phillips Fels, Catharine 220 Powell, Dave 129 Portfolio 2 Procter, Burt 97, 98 Quick-To-See Smith, Jaune 273 Rakocy, William 117, 118 Red Star, Kevin 268, 279, 280 Reed, Doel 28–30 Reedy, Leonard 315 Remington, After Frederic 133 Reynolds, James 314 Reynolds, Charles H. 338 Ribak, Louis 108 Rippel, Morris 67, 68 Robles, Julian 83–85 Rogers, Peter 391

Salisbury, Paul 339 Santiago, Roseta 260 Sarnoff, Arthur 318 Sauerwein, Frank Paul 316, 317 Schenck, Billy 386, 387 Schively, Frank 307 Schmidt, Albert 114, 115 Scholder, Fritz 265–267 Schwiering, Conrad 370, 371 Seltzer, Olaf Carl 312 Sharp, Joseph Henry 354 Shuster, Will 327, 351, 430 Silverwood, Mary 253 Sims, Agnes 261 Singleton, Gib 130–132 Sioux 135 Siqueiros, David 425 Sisson, Laurence Philip 103–106, 113 Skeele, Anna Katharine 232 Snidow, Gordon 375 Spanish Colonial 169 Spanish Colonial, Mexico 162, 165, 168, 170, 171 Spanish Colonial, Peru 159, 160, 161 163, 164, 166 Stack, Michael 378 Stavrowsky, Oleg 374 Stedman, Myrtle 82 Stevenson, Beulah 227, 228 Stevenson, Edna Bradley 237 Stiha, Vladan 86

Stockton, Pansy 221 Strisik, Paul 101 Takayama, Michio 413, 414 Tawaquaptewa, Wilson 149 Tennent, Madge 73 Thompson Willing, John 3 Timpe, Wil 109 Tobey, Rebecca 122 Turner, Ben 340, 341 Tzapoff, Antoine 300 Velarde [Tse Tsan], Pablita 274–276 Vigil, Veloy 277, 278 Vigil Gray, Darren 295 Vinella, Ray 89 Von Hassler, Carl 328, 345 Walker, Barvo 142 Walters, Curt 379 Welch, Thaddeus 78 Whitehorse, Emmi 270–272 Wiggins, Kim 388 Wiggins, Kim Douglas 389 Wilson, Will 399 Wood, Robert 372 Woolsey, Carl 367 Workman, Michael 377 Yellowstone Traditions 167 York, Star Liana 125 Youngblood, Nathan 383 Zuñiga, Francisco 70–72 Zorach, Marguerite 230

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TERMS & CONDITIONS OF SALE The following Terms and Conditions of Sale are the Santa Fe Art Auction Limited Co.’s (“Santa Fe Art Auction”) and its agents’ and consignors’ entire agreement with the prospective bidders, bidders and buyers relative to the lots listed in this catalogue. The lots will be offered by the Santa Fe Art Auction as agent for the consignors, unless the catalogue indicates otherwise. 1. The Santa Fe Art Auction operates as an agent of the seller only. It is not responsible in the event any buyer or seller at the auction fails to live up to their respective agreements, including failure of the seller to deliver any property to buyers. The Santa Fe Art Auction assumes no risk, liability, or responsibility beyond the limited warranty contained herein. (a) All property is sold “AS IS.” There are no representations or warranties that extend beyond these Terms and Conditions of Sale. All works shall be available for examination prior to the sale. The Santa Fe Art Auction, and its agents and consignors, make no representations or warranties as to merchantability, fitness for a particular purpose, correctness of the catalogue or description, including, but not limited to, the authenticity, the physical condition, size, quality, rarity, importance, medium, provenance, dates, exhibitions, literary or historical relevance of any property, and, no statement anywhere, whether oral or written, whether made in the catalogue, an advertisement, a bill of sale, a salesroom posting or announcement, or elsewhere shall be deemed such a warranty, representation or assumption of liability. Nor are there any representations and warranties, express or implied, as to whether the purchaser acquires any copyrights, including, but not limited to, any reproduction rights in any property. Contents of this catalogue are subject to change or supplementation before or during the sale, including the sale of any lot. 2. Prospective bidders should inspect the lots before bidding to determine condition, size and whether or not the lot has been repaired or restored and to investigate all other matters relating to the lot that is of material importance to the prospective bidder. 3. A buyer’s premium will be added to the successful bid price and is payable by the purchaser as part of the total purchase price. If paying by cash or check, the purchase price will be the sum of the final bid price plus a buyer’s premium of 20% of the final bid price of each lot up to and including $1,000,000 and 12% of the excess of the final bid price above $1,000,000, plus any applicable sales tax, shipping and handling charges. The buyer’s premium is calculated separately for each lot. If paying by credit card, the purchase price will be the sum of the final bid price plus a buyer’s premium of 23% of the final bid price for each lot up to and including $1,000,000, and 15% of the excess of the final bid price above $1,000,000, plus any applicable sales tax, shipping and handling charges. 4. Unless exempted by law, the Buyer will be required to pay all applicable state and local sales, gross receipts, and compensation tax. Proof of exemption in the form of a current Non-Taxable Transaction Certificate must be provided at registration. In the event of deliveries outside the state, it is the Purchaser’s responsibility to pay any applicable compensating use tax of another state on the total purchase price. • Why Santa Fe Art Auction Collects Sales Tax: New Mexico requires a seller of goods to register with the New Mexico Department of Taxation and Revenue and collect and remit sales tax if the seller maintains a presence within the state. More specifically, tax laws require an auction house, like Santa Fe Art Auction, with a presence in New Mexico, to register as a sales tax collector, and remit sales tax collected to the state. Unless exempted, New Mexico sales tax is charged on the hammer price, buyer’s premium and any other applicable charges on any property picked up or delivered in New Mexico, regardless of the state or country in which the purchaser resides or does business. • Since the 2018 South Dakota v. Wayfair, Inc. ruling, most US states have implemented legislation requiring remote sellers to collect sales tax when the total dollar value of purchases sent to that state exceeds a set threshold, known as an economic nexus. Each state sets its own threshold or nexus. Like all other remote sellers, Santa Fe Art Auction is now required to collect Sales/Use Tax from buyers in any state when the total dollar value of purchases sent to that state creates a nexus. When this occurs, you will see sales tax included on your invoice. The sales tax rate is determined by the state, county, and city where purchases are shipped. As of October 2021, SFAA has met the nexus in the following states: Arizona, Colorado, Texas, Utah, Washington, Illinois, Florida, New York and Massachusetts. However, any purchases made in person and/or picked up in person, are subject to applicable New Mexico sales tax instead. • Certain Exemptions: New Mexico allows for specified exemptions to its sales tax. For example, a registered re-seller such as a registered art dealer may purchase without incurring a tax liability, and Santa Fe Art Auction is not required to collect sales tax from such re-seller. As sales tax laws vary from state to state, Santa Fe Art Auction recommends that clients with questions regarding the application of sales or use taxes to property purchased at auction seek tax advice from their local tax advisors. 5. The Santa Fe Art Auction reserves the right to withdraw any lot before or during the sale and shall have no liability whatsoever for such withdrawal. 6. Except as may be announced by the auctioneer, all bids are per lot, as numbered in the catalogue. 7. The Santa Fe Art Auction reserves the right to reject any bid. The highest bidder acknowledged by the auctioneer will be the Buyer, subject to reserves. In the event of any dispute between bidders, or in the event of doubt as to the validity of any bid, the auctioneer will have the final discretion to determine the successful bidder, cancel the sale, or reoffer and resell the lot in dispute. If any dispute arises after the sale, the Santa Fe Art Auction’s sale record shall be final and conclusive. The Santa Fe Art Auction, in its discretion, may execute orders or absentee bids as a convenience to clients who are not present at the auction; however, the Santa Fe Art Auction is not responsible for any errors or omissions in connection therewith. 8. If the auctioneer, in his or her discretion, determines that any bid is below the reserve of the lot, he or she may reject the same and withdraw the lot from sale, and, if having acknowledged an opening or other bid, the auctioneer decides that any advance thereafter is insufficient, he or she may reject the advance. 9. On the fall of the auctioneer’s gavel, the highest bidder acknowledged by the auctioneer assumes full risk and responsibility for the offered lot, subject to all of the Terms and Conditions of Sale set forth herein, and is immediately obligated to pay the full purchase price. All sales are final and there shall be no exchanges or returns. Payment shall be made by cash, check or wire transfer. As set forth in paragraph 3, above, for an additional percentage Santa Fe Art Auction will also accept credit cards as a form of payment. (Visa and MasterCard only). In addition to other remedies available to Santa Fe Art Auction by law, we reserve the right to impose, from the date of sale, a late charge of 1.5% per month (18% per annum) of the total purchase price, if payment is not made in accordance with the conditions set forth herein.

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(a) All lots must be removed by the Buyer at his or her expense not later than ten (10) business days following the sale, and, if it is not so removed, (i) a handling charge of 1% of the total purchase price per month, or a portion thereof from the tenth day after the sale (until its removal) will be payable to us by the Buyer, with a minimum of 5% of the total purchase price due for any lot not so removed within 60 days after the sale, and (ii) Santa Fe Art Auction may send the purchased lot to a public warehouse for the account of and at the risk and expense of the Buyer. (b) If any applicable conditions herein are not complied with by the Buyer, the Buyer will be in default, and in addition to any and all other remedies available to the Santa Fe Art Auction and its agents and consignors by law, including, without limitation, the right to hold the Buyer liable for the total purchase price, together with all fees, charges and expenses set forth in these Terms and Conditions of Sale, the Santa Fe Art Auction, at its sole option, may (i) cancel the sale of that, or any other lot or lots sold to the defaulting Buyer, or (ii) resell the purchased lot or lots, whether at auction or by private sale, or (iii) effect any combination thereof. The Buyer will be liable for any deficiency, any and all costs, handling charges, late charges, expenses and commissions of both sales, legal fees and expenses, collection fees and incidental damages. The Santa Fe Art Auction and its agents and consignors shall have all of the rights accorded to a secured party under the New Mexico Uniform Commercial Code. The Buyer of each lot agrees that each lot is unique and that Santa Fe Art Auction, in its sole discretion, shall not be required to sell or otherwise seek to mitigate damages should such Buyer fail to pay the total purchase price. Payment will not be deemed to have been made in full until the Santa Fe Art Auction shall have collected good funds. The Santa Fe Art Auction reserves the right to hold all purchases pending collection of the total purchase price, together with all additional fees, charges and expenses incurred pursuant to these Terms and Conditions of Sale. 10. All lots (unless otherwise indicated by the letters “nr”) are subject to a reserve, which is the confidential minimum price acceptable to the consignor. The Santa Fe Art Auction, or its agents or consignors, may implement such reserve by opening the bidding or they or either of them may bid up to the amount of the reserve by placing successive or consecutive bids for a lot or may bid in response to other bidders. In instances where the Santa Fe Art Auction has an interest in the lot, it may bid up to the reserve to protect such interest. 11. Santa Fe Art Auction is the owner of images of each lot offered for sale and may use such images for its own archival purposes, as well as for advertising and publicity in connection with this or future sales by the Santa Fe Art Auction. 12. These Terms and Conditions of Sale, together with the parties’ respective rights and obligations hereunder, shall be governed and construed and enforced in accordance with the laws of the State of New Mexico, without regard to New Mexico’s rules concerning conflicts of laws. 13. Prospective bidders, bidders and Buyers agree that, in the event of any controversy or claim arising out of or relating to a sale of any lot, the party asserting such controversy or claim shall provide written notice thereof to the other party; that any such controversy or claim not settled within fourteen (14) days of delivery of notice by the other party, including, without limitation, any controversy or claim arising from, or relating to, the sale of any lot or any of these Terms and Conditions of Sale, including the terms of this paragraph, the sole and exclusive means for resolving the dispute shall be by binding arbitration in Santa Fe, New Mexico. Said arbitration shall be confidential and shall be pursuant to the New Mexico Uniform Arbitration Act, shall be conducted before a single arbitrator, and shall otherwise be guided by the then extant New Mexico Rules of Arbitration. This Agreement is deemed made in Santa Fe, New Mexico, and is subject to the internal substantive law of the State of New Mexico without regard to conflicts of laws. The award of the arbitrator shall be final, and may be entered into any court having jurisdiction thereof. Each party shall bear that party’s own costs of arbitration and attorney’s fees. 14. The Santa Fe Art Auction is pleased to present to art purchasers shipping options which are explained in the shipping form enclosed in this catalogue. If you misplace this form, call or send an email and another form will be provided. 15. Results are posted on the Santa Fe Art Auction web site and, upon request, may be sent to Buyers, catalogue subscribers, absentee and phone bidders, and other registered bidders. 16. If any part of these Terms and Conditions is held invalid or unenforceable for any reason, the remaining provisions shall continue to be valid and enforceable to the fullest extent permitted by law. 17. These Terms and Conditions are not assignable by any buyer without the prior written consent of the Santa Fe Art Auction. However, these Terms and Conditions are binding on the buyer’s successors, assigns and representatives. 18. No act, omission or delay by the Santa Fe Art Auction shall be deemed a waiver of its rights and remedies under these Terms and Conditions. 19. The Santa Fe Art Auction shall use reasonable efforts to contact prospective buyers who have made prior arrangements to place telephone bids in order for these buyers to participate in the auction. The Santa Fe Art Auction shall not be liable for its failure to contact said bidders or for any errors or omissions made in connection with telephone bids since telephone bids are offered as a free service that is undertaken subject to the other commitments of Santa Fe Art Auction during the sale. 20. Santa Fe Art Auction shall use reasonable efforts to execute online bids in order for online buyers to participate in the auction. Online bidding is provided as an alternative bidding service and should not be considered a replacement for bidding in the room. Santa Fe Art Auction encourages its buyers to weigh the advantages and limitations of live online bidding when deciding whether to bid in the room or online. Santa Fe Art Auction shall not be liable for any errors or omissions made in connection with online bids or the online bidding process. Although Santa Fe Art Auction will do everything in its power to assure all online bids are recognized, Santa Fe Art Auction has no way of guaranteeing that the internet and the online bidding process will be free from technical malfunctions. In the event of a tie between an online bid and a “room” bid, the “room” bid generally will take precedence. “Room” bids include those bids taken from the live auction room(s), telephones, absentee bidders, or bids made by the auctioneer to protect the reserve. Santa Fe Art Auction will not be responsible for errors or failures to execute bids placed on the internet, including, without limitation, errors or failures caused by (i) a loss of connection on Santa Fe Art Auction’s or on the Buyer’s end, (ii) a breakdown or problems with the online bidding software, and/or (iii) a breakdown or problems with a Buyer’s internet connection, computer or system. Santa Fe Art Auction does not accept liability for failing to execute an online internet bid or for errors or omissions in connection with this activity.

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GUIDE FOR BIDDING ABSENTEE BIDS If you are unable to attend the auction in person, and wish to place bids, you may give the Santa Fe Art Auction Bid Department instructions to bid on your behalf. Our representatives will then try to purchase the lot or lots of your choice for the lowest price possible, and never for more than the top amount you indicate. The Santa Fe Art Auction offers this service as a convenience to clients who are unable to attend the auction. However, the Santa Fe Art Auction will not be responsible for failure to execute bids, or any errors in executing bids. PLACING ABSENTEE BIDS Absentee bids are accepted only if you have returned a signed Absentee Bid Form by mail or fax which authorizes the Santa Fe Art Auction to place bids on your behalf. The Absentee Bid Form appears in the back of this catalogue. Please complete and return to the Santa Fe Art Auction by November 4, 2021, 5 PM MST for Session One and November 5, 2021, 5 PM MST for Session Two. To place bids, please use the Absentee Bid Form provided in the back of this catalogue. Be sure the lot number and the descriptions are accurate and note the top price you are willing to pay for each lot. Any alternative bids should be indicated by using the word “OR” between lot numbers. Then if your bid on an early lot is successful, we will not continue to bid on other lots for you. Or, if your early bids are unsuccessful, we will continue to execute bids for alternative lots until a bid is successful. Bids must be placed in the same order as the lot numbers appear in this catalogue. Please place your bids as early as possible. In the event of identical bids, the earliest bid received will take precedence. TELEPHONE BIDS Telephone bids are accepted only if you have returned a signed telephone bid form which authorizes the Santa Fe Art Auction to place bids on your behalf Please check the telephone bid box on the form, complete, and return to the Santa Fe Art Auction by November 4, 2021, 5 PM MST for Session One and November 5, 2021, 5 PM MST for Session Two. Telephone bidders are encouraged to leave back up bids in case of technical difficulties. A Top Limit bid need not be specified. BUYER’S PREMIUM The top limit you indicate on your bid form is the hammer price exclusively. Please keep in mind that a buyer’s premium, as stated in paragraph 3 of the terms and conditions of sale, will be added to the successful bid price of each lot you buy and is payable by you together with the applicable sales tax which is applied to the total cost of the purchase. SUCCESSFUL BIDS Successful absentee bidders will be notified and invoiced within a few days of the sale. Successful absentee bidders shall arrange to make payment via cash, check, credit card or wire transfer upon receipt of notification of purchase. BIDDING INCREMENTS Bidding increments are as follows, but may vary at the sole discretion of the auctioneer: Estimate Increment Under $2,000 $100 $2,000 – $5,000 $250 $5,000 – $10,000 $500 $10,000 – $20,000 $1,000 $20,000 – $50,000 $2,500 $50,000 – $100,000 $5,000 OVER $100,000 $10,000

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SANTA FE ART AUCTION

932 Railfan Road

SANTA FE ART AUCTION

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© 2021 Santa Fe Art Auction, LLC Photography: Molly Wagoner, Kristin Schillaci, Kevin Doria Essays & Editing: Josh Rose, Catharine Holmes, Gillian M. Blitch Catalogue Research: Rachel Daley Graphic Design: Shane Mieske Printing: O’Neil Printing, Arizona

Inviting Fine Consignments for 2022

Upcoming Calendar Luxury Sale: December 11, 2021 Native American + Indigenous Art: February 5, 2022 Prints + Works On Paper: March 12, 2022 Art of the West: May 28, 2022 Signature Summer Sale: June 25, 2022 New Mexico Now: Spanish Colonial to Spanish Market: July 23, 2022 American Indian & Tribal: Classic to Contemporary: August 13, 2022 Contemporary Art, Design + Photography: September 24, 2022 Signature Annual Live Sale: November 5, 2022 Winter Holiday: December 10, 2022 The West's premiere auction house will be holding sales for fine art and artifacts in categories ranging from Modern American, Spanish Colonial, New Mexican and Western American Schools, American Indian and Pueblo Nations, to firearms, and luxury objects including jewelry, watches and wine. Consignments of individual items to large single owner collections invited year round. Contact us for your courtesy evaluation: curator@santafeartauction.com or 505.954.5858

932 Railfan Road, Santa Fe, NM 87505 info@santafeartauction.com 505.954.5858 santafeartauction.com @santafeartauction