Santa Fe Art Auction 2018 by Art Gallery Publication

S AT U R DAY, NOV EM BER 10, 2018, 1:30 PM MST 1011 PA SEO DE PER ALTA , S AN TA FE , N E W M E X IC O

ANNUAL LIVE AUCTION! NOVEMBER 10, 2018 1:30PM MST | PETERS PROJECTS, SANTA FE

TELEPHONE: 505 954-5858 EMAIL : CURATOR@SANTAFEARTAUCTION.COM WWW.SANTAFEARTAUCTION.COM

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Santa Fe Art Auction is honored to offer select artworks from the Collection of Marlene & Grant Wilkins. The Wilkins were avid lifelong collectors of Native American art, with an appreciation founded via frequent visits to Santa Fe, Taos, Denver, and Phoenix where they studied outstanding private and public collections in such institutions as the Denver Art Museum, the Heard Museum, and the Millicent Rogers Museum. In addition to his role as a prominent art collector, Grant Wilkins served on numerous museum and foundation boards prior to his 2018 passing, including those of the Millicent Rogers Museum, the Heard Museum, the Mesa Verde Foundation, and the Colorado History Museum. Grant and Marlene’s collecting began in 1965 when Navajo friends paid the Wilkins a visit and brought gifts of wedding baskets and weavings. These pieces sparked the beginning of their collection, and for the next twenty-five years Grant and Marlene purchased both contemporary and historic pieces. Items were acquired through prominent dealers, through auctions, from other collectors, and from the artists themselves. Many of these pieces came with charming stories that generated fond memories of the collecting process. For example, they have a photo of the son of the dealer from whom they purchased a large San Ildefonso storage jar nestled inside the piece. They boy had to be removed from the pot before the Wilkins could take possession of it. A standout piece in the collection, Allan Houser’s “Pueblo Woman” was featured in Barbara Pearlman’s Allan Houser (p. 177), and was displayed at the United Nations prior to the Wilkins’ acquisition of the piece. The artwork was also featured in the Smithsonian Institution Museum of the American Indian debut exhibition, Native Modernism: The Art of George Morrison and Allan Houser, exhibited from September 21, 2004 to November 6, 2005. This, and the many other highlights from the Wilkins Collection, stand as fine examples of the artistic fruits of a lifetime of thoughtful and careful collecting. (Partially excerpted from Sotheby’s New York Fine American Indian Art Catalogue, essay p. 6-7 by Roger E. Foltz, sale 7319, Wednesday May 26, 1999) Lot 119: Allan Houser (1914-1994) Pueblo Woman, 1983 stone, 28 x 9 ½ x 7 inches $50,000 - $100,000

Telephone and Absentee bidding arrangements must be made no later than 5:00pm MST on November 9, 2018. 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 www.santafeartauction.com Saturday, November 10, 2018 | 1:30pm MST 1011 Paseo de Peralta, Santa Fe, NM 87501 Tel 505 954-5858 | Fax 505 954-5785 | www.santafeartauction.com

Front Cover: Lot 83: Gerard Curtis Delano (1890-1972) The Canyon Trail, oil on canvas, 28 x 33 ¼ inches, $100,000 - $150,000 Frontispiece A: Lot 99: Joseph Henry Sharp (1859-1953) Hunting Son and Eagle Star, oil on canvas, 22 x 27 inches, $350,000 - $500,000 Frontispiece B: Lot 86: Thomas Hart Benton (1889-1975) Study for Desert Still Life, oil on tin, 6 ½ x 7 inches, $100,000 - $150,000

LI V E AUCT IO N Saturday, November 10, 2018 | 1:30pm MST Peters Projects, 1011 Paseo de Peralta, Santa Fe, NM PR E V IE WS Friday, November 9, 2018 | 10:00am – 8:00pm MST Saturday, November 10, 2018 | 9:00am – 1:00pm MST Peters Projects, 1011 Paseo de Peralta, Santa Fe, NM O NLINE AUCT IO N Online bidding available through Invaluable.com and Bidsquare.com

1 GENE KLOSS (1903-1996) Adobes in the Snow, 1944 etching, AP edition of 75 8 ½ x 11 inches editioned and titled lower left: Artist’s Proof Adobes in the Snow signed lower right: Gene Kloss __Imp Provenance: Private Collection, Colorado $2,000 - $3,000

2 GENE KLOSS (1903-1996) Moonlit Kiva, 1953 aquatint and drypoint, AP edition of 75 12 x 15 inches editioned and titled lower left: Artist Proof Moonlit Kiva signed lower right: Gene Kloss __Imp Provenance: Private Collection, Colorado $2,000 - $3,000

3 JOSEPH YELL (1882-1969) May the Peace of the Great Spirit be Yours lithograph 8 ⅜ x 9 inches inscribed lower left: “Litho by Joseph E. Yell” inscribed lower right: “after E.M.Hennings/Taos New Mexico” Provenance: The Artist By descent in the family Note: Joseph Yell was married to E. Martin Hennings' sister, Alice. $600 - $800 nr

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4abc LEONARD H. REEDY (1899-1956) Three Western Watercolors

watercolor on paper a. Pursued by Apache 7 ¾ x 10 ¾ inches signed lower right: LEONARD H. REEDY b. Pursuit of the Outlaw 7 ½ x 10 ½ inches signed lower left: LEONARD H. REEDY c. Lone Rider in Storm 7 ¾ x 10 ¾ inches signed lower right: LEONARD H. REEDY Provenance: Private Collection, Indiana $2,000 - $4,000

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5 NICK EGGENHOFER (1897-1985) Untitled (Cowboy and Saloon) watercolor on paper 9 ½ x 9 ½ inches signed lower right: N. EGGENHOFER Provenance: Private Collection, Indiana $1,500 - $2,500 nr

6 NICK EGGENHOFER (1897-1985) Untitled (Indian on Horseback on the Plains)

7 GEORGE DICK (1916–1978) Show Off

gouache on paper 15 x 10 ¾ inches signed lower right: N. EGGENHOFER

oil on board 9 ¼ x 7 ¼ inches signed lower left: GEORGE DICK

Provenance: Private Collection, Arizona

Provenance: Private Collection, New Mexico

$1,500 - $2,500 nr

$700 - $900 nr

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8ab OLAF WIEGHORST (1899-1988) Pair of Western Watercolors ink and watercolor on paper a. 7 ¼ x 10 ½ inches signed lower left: O-Wieghorst (artist’s cipher) b. 9 ½ x 7 inches signed lower left: O-Wieghorst (artist’s cipher) Provenance: Private Collection, Indiana $2,000 - $3,000 a.

9 OLAF WIEGHORST (1899-1988) Untitled (Cowboy on Horseback), 1962 ink and watercolor on paper 11 ¼ x 8 ¼ inches signed lower left: O. Wieghorst (artist's cipher) inscribed verso: PAINted ― 1962 ― GoLden ERA Provenance: Private Collection, Arizona $2,000 - $4,000

10 OLAF WIEGHORST (1899-1988) Cowboy on Pony oil on board 23 ⅜ x 23 ¼ inches signed lower right: O. Wieghorst Provenance: Private Collection, New Mexico $8,000 - $12,000 S A N TA F E A R T AU C T I O N

11 J.E. KNAUF (b. 1948) Hard Right, 2002 oil on panel 48 x 48 inches signed lower left: JE KNAUF Provenance: Private Collection, New Mexico $1,500 - $2,500 nr

12 MICHAEL CASSIDY (b. 1958) Packing Out, 2018 oil on linen 34 1/2 x 44 1/2 inches signed lower right: M/cassidy Provenance: The Artist $12,000 - $16,000

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13 CARL HANTMAN (b. 1935) Cowboy on Sidewalk oil on canvas 15 ¾ x 11 ½ inches signed center right: HANTMAN inscribed verso: HANTMAN / “COWBOY ON SIDEWALK” Provenance: Private Collection, Indiana $1,000 - $2,000 nr

14 GRAY BARTLETT (1885-1951) Untitled (Indian on Horseback) oil on canvas 24 x 30 ¼ inches signed lower right: Gray Bartlett (artist’s cipher) Provenance: Private Collection, Arizona $3,000 - $5,000

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15 GEORGE-ANN TOGNONI (1920-2008) Nightwatch, 1970

16 AFTER FREDERIC REMINGTON (1861-1909) Trooper of the Plains

bronze, 6/12 16 ¾ x 15 ½ x 5 inches (with base) inscribed: Nightwatch inscribed: G.A. Tognoni ‘70 © 6/12

bronze 28 x 9 ½ x 24 ½ inches inscribed: Frederic Remington stamped: ROMAN BRONZE WORKS INC. N.Y.

Provenance: Private Collection, Arizona

Provenance: Private Collection, Wyoming

$800 - $1,200 nr

$1,500 - $2,500 nr

17 JOE BEELER (1931-2016) Charlie

18 LONE WOLF (1882-1970) Riding High

bronze, 72/100 16 ½ x 6 x 6 ½ inches (with base) inscribed: JOE BEELER / 72/100

bronze 9 ½ x 12 ¾ x 10 ¾ inches inscribed: LONE WOLF

Provenance: Private Collection, Arizona

Provenance: Private Collection, Colorado

$800 - $1,200 nr

$1,000 - $2,000 nr

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19 WILLIAM MOYERS (1916-2010) Spring, 1973 bronze, 6/30 14 ¾ x 13 ½ x 11 ½ inches (with base) inscribed: 6/30 WM MOYERS / © 1973 stamped: A&S / U.S.A. Provenance: Private Collection, Arizona $1,000 - $2,000 nr

20 WILLIAM MOYERS (1916-2010) The Trail from Town oil on canvas 24 x 30 inches signed lower left: WM. MOYERS inscribed verso: -ALL REPRODUCTION AND COMMERCIAL RIGHTS RESERVED BY ARTISTProvenance: Private Collection, New Mexico $3,000 - $5,000

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21 MARJORIE REED (1915-1996) Winter Trip to the Trading Post oil on board 6 x 12 inches signed lower right: MARJORIE REED inscribed verso: “WINTER TRIP / TO THE / TRADING POST”- / BY - MARJORIE REED Provenance: Private Collection, Indiana $800 - $1,200 nr

22 MARJORIE REED (1915-1996) Fording the Rio Grande Near Mesilla oil on canvas 10 ¾ x 13 ¾ inches signed lower right: MARJORIE REED inscribed verso: “FORDING THE RIO / GRANDE NEAR / MESillA / BY / MaRjORie REED Provenance: Private Collection, Arizona $1,000 - $1,500 nr

23 MARJORIE REED (1915-1996) Navajo Camp oil on canvas 16 x 20 inches signed lower right: MARJORIE REED inscribed verso: #2 Navajo Camp Provenance: Private Collection, Indiana $1,000 - $2,000 nr 12

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24 VLADAN STIHA (1908-1992) Monument Valley, 1971 oil on canvas 20 x 24 inches signed and dated lower right: V. Stiha / 1971 Provenance: Marlene & Grant Wilkins Collection $2,000 - $4,000 nr

25 WILLIAM E. SHARER (b. 1934) Navajo Sheep Herder oil on panel 10 ⅞ x 23 ⅞ inches signed lower left: Sharer Provenance: John C. and Dorothy B. Woolley Collection $5,000 - $8,000

26 CHARLES WINFIELD MILLER (1922-1995) Wary Approach-The Ultimate Predator, 1985 oil on canvas 20 x 30 inches signed and dated lower right: CHARLES WINFIELD MILLER © 85 inscribed verso: THE ULTIMATE PREDATOR / “HO-KAY-TU-POKUM CHECKING FOR LIFE / WARY APPROACH Provenance: M. Anthony Greene Collection, Jackson, Wyoming $1,500 - $2,500 nr

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27a-d KARL BODMER (1809-1893) Suite of Four Colored Lithographs lithograph a. 11 x 12 ½ inches b. 11 ½ x 12 ½ inches c. 11 ½ x 12 ½ inches d. 12 x 12 ½ inches Provenance: Private Collection, Kansas $10,000 - $15,000

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28 FREDERIC MIZEN (1888-1964) Chief “Flying Eagle”, 1961 oil on canvas 26 x 36 inches signed, dated and titled lower left: Frederic Mizen 61 CHIEF "FLYING EAGLE" Provenance: Marlene & Grant Wilkins Collection $4,000 - $8,000

29 E.A. BURBANK (1858-1949) Hawgone, Kiowa, 1897 brown conte crayon on paper 11 ¼ x 8 ⅝ inches signed lower right: E.A. BURBANK. / FORT SILL. / O.T. titled and dated upper left: HAWGONE. / KIOWA. / 1897 Provenance: Private Collection, New Mexico $2,000 - $3,000

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30 E.A. BURBANK (1858-1949) She-Comes-Out-First Sioux, 1899 oil on canvas 11 ⅝ x 9 ⅝ inches signed lower left: E.A. BURBANK. titled and dated upper left: SHE.COMES.OUT.FIRST. / SIOUX. / 1899

Hubbell Trading Post in Ganado, Arizona. Burbank would use the trading post as a home base while he traveled Hopi and Navajo country. During these visits, he began using red Conté crayon which he thought enhanced the texture of the Indian faces.

Elbridge Ayer Burbank, of Harvard, Illinois, painted or drew approximately 1200 portraits of Native Americans from more than 125 of the nation’s tribes, as well as still lifes, landscapes, and scenes of Indian domestic ritual. His works, especially of the Indian chiefs and warriors such as Geronimo, Chief Joseph, Chief Gall, and Standing Soldier among others, are essential because he painted his subjects from life, they are ethnographically honest and in some instances, the only portrait of the sitter. As art historian Ashley Waechter has observed, “Burbank’s choice of subject matter and the skilled portrayal of his sitters’ individuality led to great success, and he found that painting these portraits was less stressful than painting portraits commissioned by the more demanding upper echelons of society.”

His autobiography, Burbank Among the Indians is highly collectible in early editions. Even though Burbank has never attained the status or reputation of George Catlin or Karl Bodmer, his works are crucial because they are unromantic realizations of a culture in crisis and decline at the turn of the last century. His portraits are unsentimental, his subjects gaze back at Burbank (and us) with dignity and candor.

In time, Burbank’s technical ability and attention to detail attracted the attention of patrons and entrepreneurs such as Joseph G. Butler Jr. and Juan Lorenzo Hubbell. Butler purchased more than 100 of his portraits and later founded the Butler Institute of American Art. Hubbell founded and owned the

Provenance: Private Collection, New Mexico

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They are immutable portraits of a changing land and time. References: Ashley Waechter, "The Art of Elbridge Ayer Burbank," exhibit catalogue, Santa Fe: Gerald Peters Gallery, 2005

$5,000 - $8,000

31 FRANK HOFFMAN (1888-1958) Indian in Headdress

32 JOHN MOYERS (b. 1958) The Beat of the Drum

oil on canvas 20 x 16 inches signed lower right: HOFFMAN

oil on canvas 16 x 12 inches signed upper left: JOHN MOYERS / (artist’s cipher) © inscribed verso: “THE BEAT OF THE DRUM” / JOHN MOYERS / © (artist’s cipher) / ALL REPRODUCTION RIGHTS / RESERVED BY / ARTIST-

Provenance: Private Collection, Utah $8,000 - $12,000

Provenance: Private Collection, Texas $8,000 - $12,000

33 HARLEY BROWN (b. 1939) ‘Old Dog’ Blackfoot, 1979 oil on canvas 24 x 20 inches signed lower right: HARLEY BROWN inscribed verso: ‘OLD DOG’ / BLACKFOOT / HARLEY BROWN / OIL ON CANVAS / © 1979 Provenance: Private Collection, Canada $3,500 - $5,500

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34 ROY ANDERSEN (b. 1930) The Bear Dreamer oil on panel 14 x 11 inches signed lower right: Roy Andersen (artistâ&#x20AC;&#x2122;s cipher) Provenance: M. Anthony Greene Collection, Jackson, Wyoming $2,500 - $3,500

35 BURT PROCTER (1901-1980) Holy Man oil on board 23 x 11 inches signed lower right: Burt Procter Provenance: Marlene & Grant Wilkins Collection $2,000 - $5,000

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36 PAUL DYCK (1917-2006) Cheyenne Man, 1972 oil on board 8 x 11 ¾ inches signed lower right: Paul Dyck inscribed verso: “CHEYENNE MAN” / PAUL DYCK 1972 Provenance: Private Collection, Colorado

37 PAUL DYCK (1917-2006) Shield of the Three Cranes, 1969

$800 - $1,200 nr

oil on masonite 39 x 35 ½ inches signed upper right: Paul Dyck inscribed verso: “SHIELD OF THE THREE CRANES” / PAUL DYCK 1969 Provenance: Private Collection, Colorado $3,000 - $6,000

38 PAUL DYCK (1917-2006) Wind River Lodges, 1971 oil on masonite 23 ½ x 47 ½ inches signed lower right: Paul Dyck inscribed verso: “WIND RIVER LODGES” / PAUL DYCK 1971 Provenance: Private Collection, Colorado $4,000 - $8,000 S A N TA F E A R T AU C T I O N

39 MICHAEL COLEMAN (b. 1946) In the Woods oil on canvas 21 x 15 inches signed lower left: Â© MICHAEL COLEMAN Provenance: Marlene & Grant Wilkins Collection $4,000 - $6,000

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40 JOHN MOYERS (b. 1958) Winter Sun oil on canvas 24 x 48 inches signed lower right: -JOHN MOYERS- / © inscribed verso: “WINTER SUN” / ALL REPRODUCTION RIGHTS RESERVED BY / THE ARTIST. / JOHN MOYERS_ Provenance: The Artist Private Collection, New Mexico $8,000 - $12,000

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41 GREG BEECHAM (b. 1954) Wolves Running, 1990 oil on canvas 23 ½ x 29 ½ inches signed and dated lower right: G. BEECHAM © 90 (artist’s cipher) Provenance: Private Collection, Alaska $6,000 - $8,000

42 GREG BEECHAM (b. 1954) Fishing the Falls, 1993 oil on canvas 18 x 24 inches signed and dated lower left: G. BEECHAM (artist’s cipher) / © ‘93 Provenance: Private Collection, Alaska $5,000 - $7,000

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43 NATHAN OLIVEIRA (1928-2010) Hawk, 1980 oil on canvas 11 x 13 inches signed and dated lower right: Oliveira 80 Provenance: The Artist Private Collection, New Mexico $12,000 - $16,000

44 GREG BEECHAM (b. 1954) Chilkat Eagles, 1998 oil on canvas 20 x 43 ½ inches signed and dated lower right: G. BEECHAM (artist’s cipher) / © 98 Provenance: Private Collection, Alaska $12,000 - $18,000 S A N TA F E A R T AU C T I O N

45 MAURADE BAYNTON (20th century) First Snow, 1995 oil on panel 17 ½ x 13 ¼ inches signed and dated lower right: Maurade / Baynton 95 © Provenance: M. Anthony Greene Collection, Jackson, Wyoming Exhibited: Canada House, Banff, Alberta $1,500 - $2,500 nr

46 MAURADE BAYNTON (20th century) Kindred Spirits, 1994 oil on panel 30 x 20 inches signed and dated lower right: Maurade / Baynton 94 © Provenance: M. Anthony Greene Collection, Jackson, Wyoming Exhibited: Canada House, Banff, Alberta $1,500 - $2,500 nr

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47 RAY SEXTON (1959-1996) Moose Couple in the Snow, 1990 oil on canvas 26 ¼ x 40 ¼ inches signed and dated lower left: RAY SEXTON © 90 Provenance: M. Anthony Greene Collection, Jackson, Wyoming $6,000 - $7,500

48 DAVE WADE (b. 1952) Sagebrush Repose, 2000 oil on board 26 ¾ x 32 ¾ inches signed lower right: WADE inscribed verso: “SAGEBRUSH REPOSE” / DAVE WADE Provenance: M. Anthony Greene Collection, Jackson, Wyoming $2,500 - $3,000 nr

49 JORGE MAYOL (b. 1948) Big Horn Sheep, 2000 oil on board 12 x 14 inches signed and dated lower right: JORGE MAYOL / © 00 Provenance: M. Anthony Greene Collection, Jackson, Wyoming $800 - $1,000 nr

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50 ROBERT KENNEDY ABBETT (b. 1926) One More Cast, 1982 oil on board 20 x 30 inches signed and dated lower left: abbett. © ‘82 inscribed verso: “ONE MORE CAST”/ OIL 20 X 30 / © 1982 ROBERT K. ABBETT / THE ARTIST RETAINS / ALL REPRODUCTION RIGHTS / TO THIS PAINTING. / R.Abbett Provenance: Private Collection, Illinois $15,000 - $25,000

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51 EARL CARPENTER (b. 1931) Sleeping Indian, 1998 oil on canvas 18 x 24 inches signed lower right: Earl Carpenter Provenance: M. Anthony Greene Collection, Jackson, Wyoming $2,000 - $3,000

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52 KEN CARLSON (b. 1937) On Steep Terrain oil on board 24 x 36 inches signed lower right: CARLSON Provenance: M. Anthony Greene Collection, Jackson, Wyoming $25,000 - $35,000

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53 KEN CARLSON (b. 1937) Yellowstone Bison oil on board 36 x 48 inches signed lower left: CARLSON Provenance: M. Anthony Greene Collection, Jackson, Wyoming $35,000 - $45,000

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54 BOB KUHN (1920-2007) High Plains Lothario, 2007 acrylic on panel 18 x 34 inches signed lower right: Kuhn inscribed verso: ALL REPRODUCTION RIGHTS ARE / RESERVED BY THE ARTIST / ―――BOB KUHN / 2007 A name synonymous with wildlife art and excellence for over 50 years, Bob Kuhn was born in Buffalo, NY and educated at Pratt Institute, Brooklyn NY. He made numerous expeditions to Africa, Alaska, and throughout Canada and the American West. He credited Paul Bransom, known as the "dean of animal artists", as a major influence because of Bransom's insistence on good, accurate drawing. Kuhn himself became renowned for his superlative drawing and a painting technique that gave his work a “sense of flair, spirit, and grace that literally soars” (Robert Bateman). In turn, Kuhn assisted many younger wildlife artists in their careers. He was an illustrator for most of the top outdoor magazines during the 40's, 50's and 60's and in 1970, turned exclusively to easel painting of wildlife. His many awards and medals include such distinguished shows as the National Academy of Western Art and The Cowboy Hall of Fame Wildlife Art Show. In 2001, the National Museum of Wildlife Art in Jackson, Wyoming held an unprecedented retrospective spanning Kuhn's 60-year career. In 2011, a Wildlife Art article labelled Kuhn as "one of the last direct descendants from the Golden Age of Illustration...(a period) that produced the most competent legion of realist painters this continent has ever known." His work represents the best of wildlife art and has been described as having the ability to take its viewers into the very midst of nature's places, almost into the minds of the animals themselves. This painting from Bob Kuhn at the very peak of his powers and the end of his career clearly celebrates the perpetuation of this grandest of species that came so close to extinction. Peter Hassrick, in his catalogue essay accompanying the exhibition Albert Bierstadt, Witness to a Changing West, references Montana historian Michael Punke’s book, The Last Stand, published in 2007, the year of Kuhn’s painting, in which Punke says, “The story of how the buffalo was saved from extinction is one of the great dramas of the Old West…and more profoundly, it is a story of the transition from the Old West to the new.” Provenance: M. Anthony Greene Collection, Jackson, Wyoming $95,000 - $110,000

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55 ROBERT WOOD (1889-1979) Yosemite Falls oil on canvas 36 x 26 inches signed lower left: Robt. W. Wood Provenance: Private Collection, New Mexico $8,000 - $12,000

56 RALPH ALBERT BLAKELOCK (1847-1919) Untitled (Forest Scene) oil on canvas 16 x 22 inches inscribed verso: 16 x 22 R.A. Blakelock N.A - 1847 - 1919 Provenance: Private Collection, Illinois $10,000 - $20,000

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57 WILLIAM T. RANNEY (1813-1857) The Wounded Trooper oil on canvas 15 ¾ x 24 ¼ inches Provenance: Estate of F. W. Woolworth, New Hampshire Private Collection, Connecticut Private Collection, New Mexico As a member of the Texas Army that fought against Santa Anna after the Alamo in San Antonio, William Ranney was one of the few Americans to see the western frontier prior to 1840. He was in the Texas-Mexico area in 1834-35 where he witnessed the events leading to the Texas revolt which culminated in Texan independence from Mexico after the victory at San Jacinto and the capture of resident General Antonio López de Santa Anna. Ranney later recorded his western travels in paint. Ranney completed an artist's apprenticeship in 1833 and painted the American Revolution for a short time. He saw much frontier life as the army made its way to Texas via New Orleans and assuredly made sketches and small paintings during his voyage, as did other early artist-travelers such as Alfred Jacob Miller and Albert Bierstadt. $100,000 - $180,000

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58 JOHN HAUSER (1858-1918) Rush to the Omaha Dance, 1906 oil on canvas 20 x 40 inches signed and dated lower right: John Hauser 1906 Provenance: Private Collection $20,000 - $30,000

59 EDWARD BOREIN (1872-1945) A Goatherder with his Flock ink and gouache on paper 21 x 27 Â¼ inches signed lower left: EDWARD BOREIN Provenance: Private Collection $10,000 - $20,000

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60 NATALIE CURTIS BURLIN (1875-1921) King’s River Canyon, Sierra Nevada, ca. 1917-1920 oil on canvas 36 x 60 inches signed lower right: BURLIN To tell the truth, we don’t know how author, preservationist and renowned ethnomusicologist Natalie Curtis Burlin (1875-1921) managed to find the time to be an artist and paint the large oil on canvas of King’s River Canyon in the Sierra Nevada, California. It is not known exactly when it was done — scholars have narrowed it down to one summer during the years 1917-1920 during a California excursion, to escape the heat of Santa Fe, NM where she lived — but it’s similar to a group of her signed Luminist-style landscapes produced in Southern Europe, during the first decade of the 20th century. A product of the Victorian era, she began her career in New York City as an undereducated but talented musician. At the turn of the century — pushing the envelope on what a “proper” young American woman could accomplish —Natalie Curtis’s travels in the American Southwest ignited her interest in the music and folklore of the American Indian. As her awareness and appreciation of Native American art blossomed, she worried that, in the face of white assimilation and government hostility, much of Native culture would disappear. At Hopi in Northern Arizona, she began transcribing and recording Indian music. This was a tumultuous time at Hopi as officials in charge of the Moqui Reservation forced children to attend the government school, cut their hair, forbid them to speak their native tongue or sing their songs in school. Surreptitiously, she kept recording and eventually, befriended many in the Pueblo.

Her interests were varied and her passion for her subjects was matched only by her devotion to scholarship. Not surprisingly, these passions led her to Santa Fe and its vibrant culture and art colonies. They also led her into the arms of respected painter Paul Burlin, and they would tie the knot in 1917; they lived in Santa Fe until leaving for France in 1920. Paul participated in the 1913 Armory Show in New York. But who was Natalie Curtis Burlin really? All we know for certain is her lush, tranquil landscapes owe more than a passing nod to other noted Luminists such as Albert Bierstadt and Frederic Edwin Church. What she may have absorbed in terms of Northern New Mexico’s enchanted colors, skies and vistas, she’ll take to her grave. Because of her untimely death, (she was hit and killed by a taxi in Paris after delivering an address to an ethnomusicology conference), she didn’t have the opportunity to strategize her works into a coherent academic whole and give closure to her otherwise exemplary career. Provenance: Private Collection, Illinois $15,000 - $25,000

Outraged at the conditions she observed on the reservations, Natalie returned East and enlisted the help of family friend, President Theodore Roosevelt. Teddy responded to the Indians’ dilemma with his trademarked compassion and vigor, and dispatched Natalie back to the Southwest with a personal letter authorizing her to record the songs of the Navajo and Hopi and other groups. S A N TA F E A R T AU C T I O N

61 JOSEPH HENRY SHARP (1859-1953) Montana oil on canvas 10 x 16 inches signed lower left: J H SHARP Provenance: Private Collection, New Mexico $40,000 - $60,000

62 JOSEPH HENRY SHARP (1859-1953) Edge of the Big Horns oil on canvas 15 x 21 Â½ inches signed lower right: J. H SHARP. Provenance: Private Collection, New Mexico $20,000 - $30,000

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63 FREMONT ELLIS (1897-1985) Spring in Old New Mexico oil on canvas 20 x 30 inches signed lower right: FREMONT F. ELLiS inscribed verso: SPRING IN OLD NEW MEXICO/ FREMONT F. ELLIS SANTA FE IV Provenance: Private Collection, New Mexico $20,000 - $30,000

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64 FREMONT ELLIS (1897-1985) Rio Grande Canyon oil on canvas 16 x 20 inches signed lower right: FREMONT ELLIS inscribed verso: RIO GRANDE CANYON Provenance: Private Collection, New Mexico $13,000 - $16,000

65 FREMONT ELLIS (1897-1985) Untitled (River Valley Landscape), 1966 oil on canvas 25 x 30 inches signed and dated lower right: FREMONT F. ELLIS 66 Provenance: Private Collection, New Mexico $10,000 - $15,000

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66 FREMONT ELLIS (1897-1985) Untitled (Autumn in New Mexico) oil on canvas 8 ¼ x 13 ¼ inches signed lower left: FREMONT F. ELLIS Provenance: Private Collection, New Mexico $4,000 - $6,000

67 FREMONT ELLIS (1897-1985) Untitled (Forest Scene) oil on canvas 8 ⅜ x 11 ⅜ inches signed lower left: FREMONT F. ELLIS Provenance: Private Collection, New Mexico $3,000 - $5,000 S A N TA F E A R T AU C T I O N

68 BERT G. PHILLIPS (1868-1956) Untitled (Taos Pueblo Scene) oil on board 2 11/16 x 9 Â½ inches signed lower right: PHiLLiPS. Provenance: Private Collection, Oregon $12,000 - $18,000

69 SHELDON PARSONS (1866-1943) Untitled (Summer Hollyhocks Scene) oil on board 36 x 24 inches signed lower right: Sheldon Parsons. Provenance: Private Collection, New Mexico $12,000 - $18,000

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70 VICTOR HIGGINS (1884-1949) Taos oil on board 6 x 7 Â¾ inches inscribed verso: Victor Higgins / Taos Provenance: Private Collection, New Mexico $3,000 - $5,000

71 WILLIAM R. LEIGH (1866-1955) Untitled (Pueblo Bathers), 1911 oil on board 6 x 9 inches signed and dated lower left: W.R. LEIGH 1911 Provenance: Private Collection, New Mexico $7,000 - $10,000 S A N TA F E A R T AU C T I O N

72 JOSEPH FLECK (1892-1977) Hamlet of Talpa oil on board 17 ½ x 35 ½ inches signed lower left: FLECK Provenance: The Artist By descent in the family to the Collection of Joseph Fleck, III $5,000 - $10,000

73 JOSEPH FLECK (1892-1977) The Land of Enchantment oil on board 18 x 36 inches signed lower left: © FLECK inscribed verso: The Land of Enchantment / JOSEPH FLECK / Taos Provenance: The Artist By descent in the family to the Collection of Joseph Fleck, III $5,000 - $10,000 42

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74 JOSEPH FLECK (1892-1977) November Day oil on board 24 x 29 inches signed lower right: JOSEPH FLECK Provenance: The Artist By descent in the family to the Collection of Joseph Fleck, III $6,000 - $12,000

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75 E. MARTIN HENNINGS (1886-1956) Untitled Landscape oil on canvas 8 x 10 inches signed lower right: E.M. Hennings Provenance: The Artist By descent in the family $20,000 - $30,000

76 CARL VON HASSLER (1887-1969) Untitled (Summer Mesa Scene), 1927 oil on canvas 18 x 22 Âź inches signed and dated lower left: C.F Von Hassler / 27. Provenance: Private Collection, Oregon $1,500 - $2,500

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77 ALBERT SCHMIDT (1895-1957) Vronsky-Babin House oil on canvas 25 ¼ x 30 ¼ inches signed lower right: A. H. SCHMIDT. Vitya Vronsky and Victor Babin were a world renowned Russian concert pianist duo who moved to Tesuque, New Mexico in 1939. The couple’s house was known as “Rancho Piano”, named aptly after the two pianos they kept in the home where they spent their summers until Babin’s death in 1972. Provenance: Private Collection, New Mexico $8,000 - $12,000

78 CARL VON HASSLER (1887-1969) Autumn in Pojoaque oil on canvas on board 13 x 19 inches signed lower right: Von HAssler Provenance: Marlene & Grant Wilkins Collection $4,000 - $6,000

79 GERARD CURTIS DELANO (1890-1972) The Colorado oil on canvas 30 x 35 inches signed lower left: © (artist’s cipher) DElano inscribed verso: The Colorado Provenance: Private Collection, Colorado $15,000 - $25,000

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80 GERARD CURTIS DELANO (1890-1972) Evening Cloud oil on canvas 30 x 32 inches signed lower right: © (artist’s cipher) DElano Provenance: Private Collection, Colorado $30,000 - $50,000

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81 GERARD CURTIS DELANO (1890-1972) Arizona Thunderhead oil on canvas 16 ¼ x 18 ¼ inches 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

82 GERARD CURTIS DELANO (1890-1972) In Arizona watercolor on paper 8 ¾ x 14 ⅞ inches signed lower right: Delano. Provenance: Private Collection, Colorado $6,000 - $9,000

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83 GERARD CURTIS DELANO (1890-1972) The Canyon Trail oil on canvas 28 x 33 ¼ inches signed lower right: DElano inscribed verso: The Canyon Trail / by / Gerard Curtis Delano / 31 E. 18th Ave / Denver, / Colo. / Notice of Copyright / This painting for sale / as a private decoration / only. All reproduction / rights reserved by / the artist Gerard Curtis Delano was born in Massachusetts to a family that traced its ancestry in America back to the early 17th century. As a young boy, Delano showed talent at drawing cowboys, Indians, horses, and storybook adventures, but his family was not enthusiastic about his ambitions for a career in the arts. They suggested that he consider becoming an architect, which he initially pursued by working as a carpenter’s apprentice. Regardless, he began his art studies in New Bedford, MA, and by 1910 was studying at the Art Students League in New York under George Bridgman. Delano also studied with Dean Cornwell, Harvey Dunn, and N.C. Wyeth at the Grand Central School of Art. In 1919, shortly after his release from service in the U.S. Navy, Delano had a chance to “go west,” and took a job at a ranch in Colorado on the Blue River near Kremmling. In 1921 and 1922, he claimed a homestead on over sixty sagebrush and aspen-covered acres in the Arapahoe National Forest. It was after his return to New York City in 1923 for further study at the Art Students League that he sold his first western cover to Ace-High Magazine. This led to work with other publications, and soon he was firmly launched as a cover artist and illustrator for Ace-High, Western Story, Adventure, Cowboy Stories, Ranch Romances, Colliers, and others. Despite his initial success, with the advent of the Great Depression his career as a commercial artist began to unravel. Delano ended up “flat broke,” but ultimately considered this to be “the finest thing that ever happened to me.” Leaving the big city and the precarious state of his finances behind, he returned west to his homesteader’s cabin in Colorado in 1933, and began to consider his talent in a different light. Delano continued to work as a commercial artist, but by 1940 he had decided to stake his future on producing paintings rather than illustrations. Delano visited Arizona and the Navajo Reservation in the fall of 1943, and was enraptured by the majestic beauty and pastoral serenity of the landscape and its native people. He spent summers painting in Monument Valley and Canyon de Chelly. In the Navajo, he found a proud and noble people that he wanted to convey on canvas; the Navajo people and their unique environment became the dominant theme in Delano’s art, and the inspiration for many of his best-known images. He became known as the “Painter of the Navajos.” According to scholar and historian Donald J. Hagerty: “Gerald Curtis Delano’s art is concerned with distance, clouds, silence, the Navajo love of place and the informal domestic life of the Navajos themselves. Through his sympathetic and close association with the Navajo, Delano has left us meaningful memories of a recent past, recognizing through the personal voice of his art the ancient rhythms of the land and lives of its inhabitants.” Provenance: The Artist Collection of Ross McCafferty, Colorado $100,000 - $150,000

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84 CARLOS VIERRA (1876-1937) Barrancas oil on board 16 x 20 inches signed lower left: CARLOS VIERRA Provenance: Private Collection, Colorado $12,000 - $18,000

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85 BIRGER SANDZÉN (1871-1954) Autumn (Smoky Hill River, Kansas), 1946 oil on board 20 x 24 inches signed lower right: Birger Sandzén inscribed verso: Autumn / (Smoky Hill River, Kansas) / Birger Sandzén / Lindsborg, Kansas / 1946 / To Barbara Provenance: Private Collection, Texas $30,000 - $50,000

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86 THOMAS HART BENTON (1889-1975) Study for Desert Still Life oil on tin 6 Â˝ x 7 inches signed lower right: BenTon Thomas Hart Benton is known as the leading exponent of Regionalism, a movement characterized by its celebration of rural American subject matter, and combining elements of modernism and realism. Born in Neosho, Missouri, in 1889, Benton studied at the Corcoran Gallery in Washington and the Art Institute of Chicago intending to become a newspaper illustrator. In 1908, he went to Paris, where he enrolled in the Academie Julian, and briefly experimented with Impressionist techniques. Benton eventually returned to this country in 1911 and settled in New York. He held a variety of jobs working as a commercial artist, a decorator of ceramics, and as a set designer for a motion-picture studio, located in New Jersey. From 1914 to 1918, Benton experimented with Synchronist style paintings, a style that depended to a greater extent on color contrasts. Benton soon left New York for Norfolk, Virginia, where he was stationed with the Navy; it was there that Benton began to question the modernist ideas he had been exposed to in France and in the New York circle. Shifting away from abstraction, Benton started to portray realistic small town scenes, and increasingly grew to believe that art should express one's surroundings rather than abstract ideas and that the ordinary person most exemplified American life. Benton has some renown as the teacher of Jackson Pollock at the Art Students League in New York in the 1930s, but it was his strong belief that art should be accessible to the average person. Throughout the rest of his life, Benton continued to paint in his distinctive regionalist manner. Fellow Missourian and former United States President Harry Truman said that Benton was "the best damned painter in America." Study for Desert Still Life is a small jewel from his post war travels and observations of the West. The final painting, Desert Still Life, 1951, (tempera with oil on canvas mounted on panel, 27 1/8 x 35 3/8 inches) for which it is a study, was bequeathed by the artist and is part of the permanent collection of the Nelson-Atkins Museum of Art. Provenance: William L. Evans Jr Collection Private Collection, New Mexico $100,000 - $150,000

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87 JERRY JORDAN (b. 1944) Extraordinary Moment oil on canvas 26 x 28 inches signed lower right: Jerry Jordan © T.a.o.s. inscribed verso: 26 x 28 / M372 / “EXTRAORDINARY MOMENT” / © Jerry Jordan Provenance: Private Collection, New Mexico $6,000 - $8,000

88 WILLIAM R. LEIGH (1866-1955) Clouds in Africa, 1926 oil on artist board 12 x 16 inches inscribed verso: #58 / Clouds in Africa Provenance: Private Collection, New Mexico $8,000 - $12,000

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89 WILLARD NASH (1898-1943) Landscape with Reservoir, 1930-1933 oil on canvas 16 x 20 inches signed lower right: W Nash inscribed verso: THIS Painting IS CERTIFIED TO BE THE WORK / OF WILLARD NASH, DONE in 1930-33, AND IS / FROM THE COLLECTION OF DIMI NASH HANSELL / SIGNATURE CERTIFIED IN SAN FRANCISCO, CA. / ON 1/19,1975 / James W. McClary Provenance: Private Collection, Washington, DC $35,000 - $45,000

90 ARTHUR HELWIG (1899-1976) Spanish Village, New Mexico, 1934 oil on canvas 25 x 30 inches signed and dated lower right: helwig / 34 inscribed verso: Spanish Village Provenance: Private Collection, New Mexico $3,000 - $5,000

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91 WILLIAM PENHALLOW HENDERSON (1877-1943) Casa Lucero oil on canvas on board 8 x 12 inches initialed lower right: WP / H Provenance: Private Collection, New Mexico $15,000 - $20,000

92 LEON GASPARD (1882-1964) Taos Sketch oil on canvas 9 ¼ x 12 ¾ inches signed lower left: Leon Gaspard inscribed verso: LEON GASPARD / TAOS SKETCH Provenance: Private Collection, Virginia $6,000 - $8,000

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93 JAMES SWINNERTON (1875-1974) Desert Sunset oil on board 18 x 23 Â¾ inches signed lower right: SWiNNERTON Provenance: Private Collection, Washington, DC $8,000 - $10,000

94 JAMES SWINNERTON (1875-1974) Near Santa Barbara, California oil on board 12 x 16 inches inscribed verso: CALIFORNIA / NEAR COAST - / N. OF SANTA BARBARA. / J. SWINNERTON Provenance: Private Collection, Arizona $2,000 - $3,000

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95 WARREN E. ROLLINS (1861-1962) The Navajo oil on canvas 28 x 18 inches signed lower left: -W-E-Rollins Provenance: Private Collection, Colorado $10,000 - $15,000

96 E. MARTIN HENNINGS (1886-1956) An Indian Song, ca. 1925 oil on board 14 ¾ x 14 ¾ inches signed lower right: E. M. Hennings Provenance: Private Collection, New Mexico $30,000 - $50,000

97 E. IRVING COUSE (1866-1936) Girl by the Oven oil on panel 12 x 15 ½ inches signed lower right: E.I. Couse N.A. Provenance: Private Collection, Colorado $40,000 - $60,000 58

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98 E. MARTIN HENNINGS (1886-1956) Taos Indian Maiden oil on canvasboard 12 x 14 inches signed lower right: E.M.Hennings inscribed verso: “PROPERTY OF / J.E.YELL / 3705 IRVING PK.BLVD.” “Taos Indian Maiden” The member of the Taos Society upon whom the region had the most noticeable impact was arguably E. Martin Hennings. The surfaces of Hennings’ bright, sun-drenched landscapes, rendered with a thick yet meticulous brushstroke, have a tactile quality not unlike those of Victor Higgins. Yet, his commitment to detail and use of dramatic shadows affect a degree of hyperrealism. Frozen in the moment, Hennings’ cowboys and Indians, and even his own children, seem like fixed inhabitants of a timeless world. Hennings was born to German immigrants in Penns Grove, New Jersey in 1886. When he was two, his family moved to Chicago, which then served as the primary metropolitan link between the East and West Coasts. Hennings was drawn towards Chicago’s bustling art community, which was then centered around the Chicago Art Institute. After his first visit to the Art Institute as a teenager, Hennings knew his life had been profoundly changed, boldly proclaiming: “I know what I’m going to do; I’m going to be an artist.” Upon finishing high school, Hennings enrolled in the Art Institute, graduating with honors in 1904. He continued studying there until 1906, and returned briefly in 1912, disillusioned by his experiences in the commercial art world and longing for more intensive study. Although

he failed to win a European scholarship in the prestigious Prix de Rome competition (he finished second), he traveled to Germany and entered the Munich Academy. In Munich, he kept company with fellow Americans Walter Ufer and Victor Higgins, both of whom he had known from his Art Institute days. In 1915 Hennings returned to Chicago, forced to leave Germany on account of World War I. As Hennings’ reputation as an artist grew, he attracted the patronage of some of Chicago’s most respected citizens, including former Mayor Carter Harrison and Oscar Mayer, the meat-packing mogul. In 1917, Harrison suggested that Hennings work in Taos for a season, with the guarantee that any paintings executed would be acquired. Despite the profound impression that Taos had on Hennings, he did not settle in the town immediately; that winter he returned to Chicago, where he continued to work for several more years. After careful consideration of several different artists’ colonies on the East Coast, Hennings made Taos his permanent home in 1923. Already well acquainted with Ufer and Higgins, Hennings was invited to join the Taos Society of Artists later that year. A peaceable man with an appetite for intellectual stimulation, Hennings remained an active member of the Society until it disbanded in 1927. Provenance: The Artist By descent in the family $80,000 - $120,000

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99 JOSEPH HENRY SHARP (1859-1953) Hunting Son and Eagle Star oil on canvas 22 x 27 inches signed lower right: JHSHARP Few artists of the American West have ever approached the success or mastery with which Joseph Henry Sharp chronicled the native people and ways of that vanishing frontier. Although Sharp painted in many parts of the world, among them Europe, Hawaii and the Orient, it is the work that he did among the Indians of New Mexico and Montana for which he is especially honored. His portraits and paintings of Native Americans not only are appreciated for their extraordinary artistry, but also have long been used as a source for anthropological insight into various facets of the lives of their subjects. Sharp was born in Bridgeport, Ohio, in 1859. Like many young men who grew up in the years after the Civil War, he developed a real fascination for Indians and the West, to which he would apply his keen and unerring talent for art. Even before leaving to study in Europe, he had begun to envision the travels that he would make upon his return. Making good his promises to himself, Sharp made his first visit to southeastern Montana in 1899. The fruits of these journeys were exhibited to great acclaim at the Paris Exposition of 1900. In 1901 President Theodore Roosevelt, an admirer of Sharp's work, directed his Indian commission to build the artist a studio at the Crow Indian agency on the site of the Custer battlefield. Sharp is the only artist ever to have been honored in this way by the United States government, and paintings from this commission hold a special place in the collections of the Smithsonian Institution in Washington, D.C. Sharp first visited the small village of Taos, New Mexico in 1893. Not long after, while in Paris, he extolled the virtues of this small town to the young artists Ernest Blumenschein and Bert Phillips, setting into motion events that would lead to the start of the Taos Art Colony. As a result, Sharp is generally considered to be the founder of this group. Sharp built a permanent home and studio in Taos during the early years of the twentieth century. No matter where he happened to be, he was moved to record the rapidly vanishing lives of the Native Americans. He knew well and liked the Indians he painted, feelings that they greatly reciprocated -- and felt for few other white men. As a result, he was allowed an astonishing freedom to paint them. Provenance: John C. Eulich Collection of Western Art Private Collection, New Mexico Private Collection, Texas $350,000 - $500,000

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100 HENRY BALINK (1882-1963) Pueblo Indian Girl oil on canvas 12 x 14 inches signed lower left: HENRY C. BALINK / SANTA FE N.M. Provenance: Marlene & Grant Wilkins Collection $6,000 - $10,000

101 HENRY BALINK (1882-1963) Santa Clara Indian oil on canvas 12 x 14 inches signed lower left: HENRY C BALINK Provenance: Marlene & Grant Wilkins Collection $5,000 - $7,000

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102 HELEN CORDERO (1915-1994) Nativity Set, ca. 1973 polychrome ceramic, hide, willow, sheepskin 13 figures ranging from 2 ½ to 6 inches in height signed on base of 3 figurines: Helen Cordero Cochiti Pueblo artist Helen Cordero created the first storyteller figure in 1964 as a tribute to her grandfather, who had been a storyteller at the Pueblo years earlier. The subsequent iconic storyteller figures have grown in popularity across the southwest since Cordero’s initial creation rose to prominence. The ceramic sculptures typically feature a seated adult figure, which is portrayed in the midst of an animated narrative, as evidenced by a wide-open mouth. Children alternately climb on limbs, cling to the back, or nestle peacefully in the storyteller’s lap, lulled either into excited action or dreamy repose by the storyteller’s oration. Cordero’s ceramic figures left a lasting impact on ceramic arts, not only in her Pueblo of Cochiti, but throughout the Pueblos of the Rio Grande Valley and beyond. These intricately sculpted artworks have become some of the most sought-after contemporary Native American art objects of the latter half of the 20th century. Cordero proved to be the matron in a long line of Cochiti artists; today, her children and grandchildren continue the tradition of creating these treasured figures. Provenance: Private Collection, Colorado $15,000 - $20,000

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103ab HELEN CORDERO (1915-1994) Two Figures ceramic a. Storyteller with One Child 11 x 5 ½ x 8 inches inscribed on bottom: HeLeN CoRdERo / Cochiti, N Mex. b. Night Crier 14 ½ x 6 x 5 ½ inches Provenance: Private Collection, Colorado $12,000 - $24,000

104 HELEN CORDERO (1915-1994) Storyteller with 11 Children ceramic 9 ¼ x 5 ½ x 8 ¾ inches inscribed on bottom: HeLeN CoRdeRo / Cochiti. N Mex. Provenance: Private Collection, Colorado $6,000 - $9,000

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105 SERAFINA TAFOYA (1863-1949) Red Storage Jar, ca. 1910 ceramic 20 x 14 inches Provenance: Private Collection, Colorado Note: Accompanied by copy of 1985 letter outlining daughter Margaret Tafoya’s response to seeing an image of this storage jar. She specifically remembers, “This bowl was made by my mother when I was a child…she blamed me for breaking the lid, but I did not break it…My father Geronimo took it to the Mike Kirk Trading Post but I don’t remember when he traded it.” $8,000 - $12,000

106 ACOMA Polychrome Pot ceramic 5 ½ x 7 x 7 inches Provenance: Private Collection, New Mexico $5,000 - $10,000

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Representing two artistic generations, The Arrival of the Cloud People (Lot 107), and Corn Shucking Scene (Lot 108), by iconic mother/daughter Santa Clara artists Helen Hardin and Pablita Velarde serve as exemplary pieces from the artists’ respective oeuvres. Stylistically, Arrival of the Cloud People is typical of Hardin’s later works, done in the decade prior to her 1984 death. Geometric motifs, recalling many centuries of Pueblo and Pre-Pueblo pottery design, decorate the figures themselves and comprise the foreshortened background space. Splatter technique, which Hardin learned and integrated into her artistic practice in the early 1960s, features prominently throughout the artwork. This technique was prized by both Hardin and Velarde, who used it along with her preferred medium of earth pigments to achieve a grainy, textured surface to many of her artworks. Velarde’s Corn Shucking Scene showcases an intimate domestic scene typical of her early (ca. 1940s) artworks. Four women and two men prepare corn for drying and storage, with each figure portrayed only partially using the flattened perspective that Velarde had been taught was an appropriate style for Pueblo easel painting, based on decorative, stylized figures typically seen on Pueblo ceramics. Velarde proved to be an early feminist figure in Native American 20th century art- she was, alongside her mentor Geronima Montoya (see Zia Bird, Lot 109) one of the earliest female Pueblo artists to create easel paintings. Helen Hardin was praised during her lifetime as being a leader in the Native American art movement towards a modernist style. Whereas Velarde established herself as a major figure in the Studio Style, promoted by Santa Fe Indian School art teacher Dorothy Dunn, Hardin sought to align herself with the progressive Native art styles that developed prominently in the 1960s. Interestingly, though Velarde and Hardin are often discussed in terms of traditional versus modern, the two artists did share ideas, techniques, and subject matter frequently throughout the course of their overlapping careers. 107 HELEN HARDIN (1943-1984) The Arrival of the Cloud People, 1975 acrylic on board 19 ½ x 15 inches signed lower right: Tsa-saa-wee-eh (artist’s cipher) inscribed verso: “THE ARRIVAL OF THE CLOUD PEOPLE” (of Santa Clara) / a / contemporary Indian Painting / by / Helen Hardin / TSA-SAH-WEE-EH (artist’s cipher) / May 1975 / Santa Clara Pueblo Artist Provenance: Private Collection, Colorado $15,000 - $20,000

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108 PABLITA VELARDE (1918-2006) Corn Shucking Scene acrylic on paper 12 x 14 ½ inches signed lower right: Pablita Velarde Provenance: Private Collection, Colorado $2,000 - $3,000

109 GERONIMA MONTOYA (1915-2015) Zia Bird, 1977 gouache on paper 12 x 14 inches signed and dated lower right: Po. tsu nu ‘77 Provenance: Private Collection, Colorado $800 - $1,200

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110 ZIA Polychrome Olla, ca. 1910 ceramic 16 ¼ x 17 ¼ inches Provenance: Marlene & Grant Wilkins Collection $7,500 - $15,000

111 ZUNI Polychrome Olla, ca. 1900 ceramic 15 ¼ x 15 inches Provenance: Marlene & Grant Wilkins Collection $15,000 - $20,000

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112 ACOMA Four Color Olla, ca. 1885 ceramic 15 ¼ x 17 inches Provenance: Private Collection, Wyoming $45,000 - $65,000

113 ZIA Trios Polychrome Pot, ca. 1860 ceramic 11 ½ x 12 inches Provenance: Private Collection, New Mexico $5,000 - $10,000

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114 NAVAJO Third Phase Chief’s Blanket, ca. 1865-1875 handspun wool yarns 54 x 76 ½ inches There were four distinct styles of the chief’s blanket produced during the 19th century: the First Phase, the Second Phase, Third Phase and the Variant. The Third Phase appeared during the late 1850s and became popular among Anglo-Americans, who found the First and Second Phase styles too simple. While the First and Second Phase blankets were worn as garments by Plains Indians, Third Phase were purchased as souvenirs rather than garments. Third Phases feature diagonal design elements, almost always in the form of a concentric diamond at the center, surrounded by half-diamonds at the edges, and quarter-diamonds at the corners. This blanket features a very fine weave in which the cream, dark brown, blue and green are homespun. The red and bright red are early 3-ply, possibly Saxony and raveled wool yarns. The blue is indigo, and the green is a yellow & indigo blend. Provenance: Private Collection, New Mexico $90,000 - $120,000

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115 NAVAJO Germantown Serape, ca. 1885-1890 commercially plied wool Germantown yarns (aniline dyes) 75 Â˝ x 61 inches Provenance: Private Collection, New Mexico $20,000 - $30,000

116 NAVAJO Serape, ca. 1870-1880 natural handspun yarns 72 x 48 inches Provenance: Private Collection, New Mexico $20,000 - $30,000

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117 WILLIAM ACHEFF (b. 1947) Seasons Harvest, 1986 oil on canvas 8 x 16 inches signed and dated lower left: WM. Acheff 1986 Provenance: Marlene & Grant Wilkins Collection $12,000 - $18,000

118 GENE ELLIS Still Life, 1973 oil on canvas 24 x 30 inches signed and dated lower left: Gene Ellis â&#x20AC;&#x2DC;73 Provenance: Private Collection, Colorado $750 - $1,000 nr

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119 ALLAN HOUSER (1914-1994) Pueblo Woman, 1983 stone 28 x 9 ½ x 7 inches inscribed: ALLAN HOUSER / © 83 Provenance: Marlene & Grant Wilkins Collection Exhibited: Native Modernism: The Art of George Morrison and Alan Houser, Smithsonian Museum of the American Indian, Washington, D.C., September 21, 2004-November 6, 2005 $50,000 - $100,000

120 ALLAN HOUSER (1914-1994) Morning Star bronze, 5/10 28 ½ x 16 x 11 ½ inches inscribed: ALLAN HOUSER 5/10 Provenance: Private Collection, Colorado $12,000 - $18,000

121 DAN NAMINGHA (b. 1950) Pahlik Mana, 1991 bronze, 1/8 62 x 6 ½ x 7 ¾ inches (with base) inscribed: Namingha / © 1991 1/8 (artist’s cipher) Provenance: Private Collection, Minnesota $35,000 - $45,000 S A N TA F E A R T AU C T I O N

122 ELISEO RODRIGUEZ (1915-2009) Untitled (New Mexico Scene), 1940 oil on masonite 99 ¾ x 45 ¾ inches signed and dated lower right: ELiSEO RodRIGUEZ / 40 “Quietly, but most definitely, Rodriguez has made more of an impact on New Mexican art history than he realized. As one of the few Hispano painters of his era, and the shepherd of numerous important traditional art forms throughout the twentieth century, he set the course for the booming modern-day Hispano arts community.”– Carmella Padilla Eliseo J. Rodriguez was born in Santa Fe in 1915 and lived on family land on Canyon Road. As a boy he did chores and delivered wood to the more well-heeled area residents. He became friendly with the young master painters who were known as “Los Cinco Pintores”. He was inspired by the creations of Fremont Ellis, Walter Mruk, Willard Nash, Will Shuster and Józef Bakós and soon began his first sketches. Later, his friendship with the pintores was further enriched by relationships with the extended family of the Santa Fe Art Colony. They encouraged him with informal consultations and art supplies, until by 1930 he was attending the Santa Fe Art School. In 1934 he was selling his canvas paintings, carvings and reverse paintings on glass at Native Market, on Palace Avenue. Rodriguez was hired for the Federal Art Project (FAP) of the Works Progress Administration (WPA) in 1936 as a painter and muralist, but his focus quickly shifted to the revival of the ancient art of straw applique (”poor man’s gold”). Internationally recognized as a straw appliqué artist (along with his wife Paula), their straw works have been collected and exhibited throughout the country, but his decades-long devotion to painting did not receive the same attention for many years. As Carmella Padilla noted, “Indeed, due to the success and exposure at Spanish Market, art historians and others who considered him a self-taught folk artist, not an academically trained fine artist, have generally ignored his work as a painter.” With the exception of a few showings of his paintings at the Museum of Fine Arts from the 1930’s to the 1950’s, most of Rodriguez’s hundreds of paintings would not be exhibited for another 50 years. Yet, despite the scarcity of his public showings, he was quietly influencing a new generation of Hispanic artists, including Luis Tapia. He did participate in the 1952 “Thirty-Ninth Annual Exhibition of New Mexico Artists”, alongside Emil Bisttram, Randall Davey, Fremont Ellis, Gene Kloss, Olive Rush and other important artists. As Tey Marianna Nunn has written, “Rodriguez excelled at portraiture . . . (his) painting style has been described as reminiscent of Marc Chagall. (His) color palette, composed of bright and muted shades, contributes to his passionate figurative and scenic representations. His works emote an artistic and spiritual religiosity that transcends time and place.” In 1985, he became the only Hispanic New Mexican artist to be celebrated with a plaque in front of the Museum of Fine Arts in Santa Fe, alongside many of the local painters who influenced him. In 2001, 70 years after the Cinco Pintores first lit the candle of his creative spirit Eliseo J. Rodgriguez was heralded with his first ever one-man show at the Museum of Fine Arts. With “Eliseo J. Rodgriguez: El Sexto Pintor”, the long overdue exhibit gave him the recognition he deserved as one of the foremost painters of his era in the southwest. As he has said, “Art has been a very rewarding career for me… It’s like a beautiful song: You can listen to it your entire life and it still makes you smile.” References: Carmella Padilla and Tey Marianna Nunn, “Eliseo J. Rodriguez: El Sexto Pintor”, Santa Fe: Museum of Fine Arts, exhibit catalogue, 2001. Carmella Padilla: “Eliseo Rodriguez: A Lifetime of Art”. Pamphlet for the 2003 Distinguished Artist Award, Santa Fe Rotary Foundation. Michael Pettit: Artists of New Mexico Traditions, Santa Fe: Museum of New Mexico Press, 2012. Provenance: Private Collection, New Mexico $70,000 - $100,000

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123 ELISEO RODRIGUEZ (1915-2009) La Virgen Apocalypse, 1970

124 ELISEO RODRIGUEZ (1915-2009) Untitled (Forest Scene), 1938

oil on masonite 40 x 34 inches signed lower left: ELISEO RODRIGUEZ inscribed verso: “LA / VIRGEN APOCOLYPSE” / $2500.00 / ELISEO RODRIGUEZ / JULY / ‘70

oil on masonite 11 ½ x 8 ⅜ inches signed and dated lower left: ELISEO / ROdrIgUEZ / ‘38

Provenance: Private Collection, New Mexico

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

$20,000 - $40,000

125 E. BOYD (1903-1974) Baby Rocks (Red Rock Bluffs) watercolor on paper 15 ½ x 22 ⅝ inches signed lower left: E Boyd Provenance: Private Collection, New Mexico $1,000 - $3,000

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126 ALBERT SCHMIDT (1883-1957) Untitled (Adobe House Scene) oil on board 15 ½ x 20 inches signed lower left: A. H. SCHMIDT Provenance: Private Collection, Washington, DC $10,000 - $15,000

127 ALBERT SCHMIDT (1883-1957) Man and Donkey Strolling by Cottonwoods oil on canvas 26 x 31 ¾ inches Provenance: Private Collection, Texas $10,000 - $15,000

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128 ALBERT SCHMIDT (1883-1957) Blossoming Trees and Adobe House pastel on paper 12 ½ x 19 ¾ inches Provenance: Private Collection, Washington, DC $7,000 - $10,000

129 ALBERT SCHMIDT (1883-1957) Untitled (Floral) oil on linen 32 x 28 inches signed lower right: A.H.SCHMIDT. Provenance: Private Collection, New Mexico $3,000 - $5,000

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130 WILLIAM E. SHARER (b. 1934) Apples and Aspen Leaves oil on canvas 16 ⅛ x 20 ⅛ inches signed lower left: Sharer Provenance: Private Collection, Colorado $5,000 - $10,000

131 BEN TURNER (1912-1966) Untitled (Floral Still Life) oil on canvas 24 x 30 ⅛ inches signed lower right: BEN TURNER Provenance: Private Collection, New Mexico $2,000 - $3,000

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132 LEON GASPARD (1882-1964) Russian Musicians pastel on paper mounted on board 21 x 46 inches signed lower left: Leon Gaspard Leon Gaspard’s glittering paintings are reflective of his fascination with regional colors, costumes, and rituals, subjects which formed the bulk of his work in his native Russia. His use of color and suggestive rather than definitive brushwork reflect an interest in Impressionism, yet he remained too devoted to representation to ever fully abstract the figure. Although Gaspard was advised by John Marin to “go modern,” he chose instead to emphasize the traditional values of his old world subjects. When combined with his lively palette, vibrant brushstroke, and exotic settings, this trait often lends Gaspard’s work a fairy tale quality. Born on March 2, 1882, in Vitebsk, a small village west of Moscow, Leon Gaspard’s artistic inclinations were nurtured from early childhood by his cultured family. His father was a retired Army officer and trader in furs and fine rugs, while his mother, an accomplished pianist, kept their home filled with music. At the age of fifteen, his father enrolled him in a local art class, where he studied alongside a young Marc Chagall. Eager for more formal instruction, Gaspard soon moved to Paris, and enrolled in the Académie Julian. In Paris, Gaspard became acquainted with the work of Modigliani, Matisse, and the sculptor Rodin, whose expressive use of line impressed him particularly. Upon his arrival in New York after World War I, he quickly assimilated himself into the art scene, exhibiting at prestigious venues including the National Academy of Design and the Vanderbilt Gallery. That summer he and his wife traveled to Santa Fe to visit Sheldon Parsons, but quickly moved to Taos. Impressed by the Taos Pueblo, which reminded Gaspard of Mongolian architecture, he and his wife settled there permanently in 1918. The Musicians, presented as a triptych, is remarkable for its ambitious scale, technical mastery, and engaging content. True to fashion, Gaspard transports viewers to a specific moment in time – here, an otherwise quotidian performance elevated to fine art. Provenance: Private Collection $125,000 - $175,000

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133 LEON GASPARD (1882-1964) The White Kerchief oil on board 5 Â½ x 6 inches signed lower left: Leon S. Gaspard Provenance: Private Collection, Colorado $3,000 - $5,000

134 NICOLAI FECHIN (1881-1955) Shoo Shang oil on canvas 24 x 20 inches signed lower right: N. Fechin Provenance: Private Collection, North Carolina $40,000 - $60,000

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135 CLARK HULINGS (1922-2011) Still Life with Mushrooms, 1984 oil on canvas 11 ½ x 11 ½ inches signed and dated lower right: Hulings © 1984 Provenance: Marlene & Grant Wilkins Collection $6,000 - $8,000

136 CLARK HULINGS (1922-2011) Watering Place at Ubeda, 1981 oil on canvas 18 x 27 inches signed and dated lower left: Hulings 1981 / © Provenance: Private Collection, Colorado $40,000 - $60,000

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137 CLARK HULINGS (1922-2011) Pepito on Donkey, Leading Donkey, 1969 oil on canvas 19 ⅜ x 29 ½ inches signed and dated lower left: Hulings ‘69 Provenance: Private Collection, Colorado $25,000 - $35,000

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139 CLARK HULINGS (1922-2011) Fodder for the Donkey, Gift for His Wife, 1978 oil on canvas 9 x 12 inches signed and dated lower right: Hulings © 1978 inscribed verso: ‘FODDER FOR THE DONKEY, GIFT FOR HIS WIFE/ Clark Hulings Provenance: Marlene & Grant Wilkins Collection $10,000 - $15,000

140 CLARK HULINGS (1922-2011) Chrysanthemums, 1977 oil on canvas 20 x 24 inches signed and dated lower left: Hulings 1977 / © Provenance: Private Collection, Colorado $10,000 - $15,000

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141 RICHARD SCHMID (b. 1934) White Azaleas oil on canvas 23 ⅜ x 29 ⅜ inches signed lower right: Schmid Provenance: Private Collection, Colorado $60,000 - $90,000

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142 HENRIETTE WYETH (1907-1997) C-Shell oil on canvas 21 Â½ x 30 inches signed lower right: Henriette Wyeth Provenance: Patricia E. and William C. Bates Collection $15,000 - $25,000

143 HENRIETTE WYETH (1907-1997) Untitled (Rose) oil on canvas 8 x 10 inches signed upper right: Henriette Wyeth Provenance: Private Collection, New Mexico $10,000 - $15,000

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144 RICHARD SCHMID (b. 1934) Kathy gouache on paper 8 x 9 inches signed lower right: Schmid Provenance: Private Collection, Colorado $1,500 - $2,500

145 GEORGE CARLSON (b. 1940) Life Drawing, 1979 conte crayon on paper 18 x 21 Â˝ inches signed, titled, and dated upper right: CARLSON / LIFE DRAWING / 15 Room, JULY 79 Provenance: Collection of John Manson By descent in the family to present owner Note: John Manson was editor/owner of Artists of the Rockies magazine, and this 15 minute sketch was featured in an article on the artist in the summer 1980 edition. A copy of the magazine accompanies the lot. $500 - $700 nr

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146 E. MARTIN HENNINGS (1886-1956) Portrait of Alice oil on canvas 18 Âź x 15 Âź inches signed lower right: E. Martin Hennings Provenance: The Artist By descent in the family Note: Alice was the sister of artist E. M. Hennings $10,000 - $20,000

147 E. MARTIN HENNINGS (1886-1956) Portrait of Joseph Yell oil on canvas 20 x 16 inches signed upper right: E. Martin / Hennings Provenance: The Artist By descent in the family Note: Joseph Yell was the brother-in-law of E. M. Hennings and married to Alice. See also lot 3. $5,000 - $10,000

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148 E. MARTIN HENNINGS (1886-1956) Portrait of Woman oil on canvas 10 ¼ x 12 ¼ inches Provenance: The Artist By descent in the family $3,000 - $5,000

149ab WALTER UFER (1876-1936) Pair of Figure Studies

charcoal on paper a. Reclining female nude 18 ⅝ x 24 ¼ inches b. Standing female nude with hands behind neck 24 ½ x 18 ⅝ inches Provenance: Private Collection, New Mexico $2,000 - $3,000

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150 DOROTHY BRETT (1883-1976) Untitled (Fantasy Scene), 1966 oil and mixed media on board 31 x 24 inches signed and dated lower left: DEBRETT / 1966 Provenance: The Artist Private Collection, Texas By descent in the family $3,000 - $5,000

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151 JOHN FALTER (1910-1982) Eastern Dudes, 1977 oil on board 14 ¾ x 18 ¾ inches signed and dated lower right: John Falter © ‘77 inscribed verso: “Eastern Dudes” / All Reproduction rights belong / to the artist except by special / permission-John Falter©1977 John Phillip Falter was born in Plattsmouth, Nebraska although the family homestead was in Atchison, Kansas. He studied art at the Kansas City Art Institute and later moved to New York where he attended the Art Students League and later the Grand Central School of Art under George Wright (18731951). Falter’s career started with the sale of his first artwork at twenty years old to Liberty, a pulp magazine. He rose to become one of the most noted cover illustrators for the most notable magazine in the nation, the Saturday Evening Post. Falter's first Saturday Evening Post cover, a portrait of the magazine's founder, Benjamin Franklin, is dated September 1, 1943. That cover began a 25-year relationship with the Post, during which Falter produced over 120 covers for the magazine until the editors changed its cover format from illustrations to photographs. Falter commented, "My main concern in doing Post covers was trying to do something based on my own experiences. … I used humor whenever possible.” He tried "to put down on canvas a piece of America, a stage set, a framework for the imagination to travel around in." His panoramic covers with long views of people were a major departure from the Post's

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customary close-up designs. In fact, Norman Rockwell himself adjusted to the newer style for a time, which he later referred to as his "Falter Period." Falter was honored by his peers with election to the Illustrators Hall of Fame in 1976, and membership in the National Academy of Western Art in June 1978. Falter once said, "If you are not in love with what you are trying to put on canvas, you had better quit." One theme which was prominent throughout all of his works was his deep love for America. John Manson (1927-2012) was the Editor and owner of ‘Artists of the Rockies and the Golden West ‘ art magazine, later renamed ‘Western Art Digest’ . Manson acquired Eastern Dudes after publishing an article on John Falter in Artist of the Rockies in the summer of 1977. He admired Falter’s attention to detail, technique, and composition, and really enjoyed the humorous story the painting tells. Also, according to his daughter, the car in the painting reminded Manson of his first car. Reference: Walt Reed, "The Illustrator in America"; www.askart.com Provenance: Collection of John Manson By descent in the family $20,000 - $40,000

152 PETER HURD (1904-1984) A Ranch in the Estancia Valley watercolor on paper 21 x 29 inches signed lower left: Peter Hurd AWS inscribed verso: A Ranch in the Estancia Valley / watercolor on paper Provenance: Patricia E. and William C. Bates Collection $8,000 - $12,000

153 PETER HURD (1904-1984) Hondo Valley oil on masonite 20 x 26 inches signed lower left: P. Hurd Provenance: Private Collection, North Carolina $8,000 - $10,000

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154 PETER HURD (1904-1984) San Patricio watercolor and gouache on panel 11 ½ x 18 ½ inches signed and titled lower left: Peter Hurd El Gran “wino” de San Patricio Provenance: Patricia E. and William C. Bates Collection $6,000 - $10,000

155 WARD LOCKWOOD (1894-1963) Siesta, 1940 oil on panel 28 x 38 inches signed and dated lower right: LOCKWOOD ‘40 Provenance: Private Collection, California $12,000 - $18,000

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156 THEODORE VAN SOELEN (1890-1964) The Corral oil on canvas 36 Âź x 46 inches signed lower center: van Soelen inscribed verso: Van Soelen / The Corral / OIL on canvas Van Soelen's early art training began in his hometown at the St. Paul Institute of Arts and Sciences. Later he earned a travel-study scholarship to Europe while at the Pennsylvania Academy of Fine Arts. In 1916 Van Soelen moved to Albuquerque to improve his health. After four years illustrating and painting, he wanted to observe Indian life more closely, so he moved to a remote trading post. A later stay on a Texas ranch offered the painter authentic insights into the life of the working cowboy, another theme he pursued in paint and lithography. Eventually he settled permanently in Tesuque, just outside of Santa Fe, working as a muralist for the Works Progress Administration and recording the area and its people with a practiced, disciplined eye. Provenance: Private Collection, New York $30,000 - $50,000

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157ab FRANK APPLEGATE (1882-1931) Two New Mexico Landscapes

watercolor on paper a. 5 x 6 ⅝ inches b. 5 ½ x 8 inches Provenance: Private Collection, New Mexico $5,000 - $10,000

158 VICTOR HIGGINS (1884-1949) Untitled (Self Portrait) charcoal & conte crayon on paper 17 x 21 inches inscribed lower left: Typical preliminary drawing by Victor Higgins/ From the estate of Victor Higgins/ vouched for by Sara Mack Provenance: Private Collection, California Note: Sara Mack was the first wife of Victor Higgins. $5,000 - $10,000

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159 ANDREW DASBURG (1887-1979) Still Life with Zinnias oil on canvasboard 17 ¾ x 13 ½ inches signed lower right: DasburgProvenance: Private Collection, New Mexico $50,000 - $100,000

160 ANDREW DASBURG (1887-1979) Llano Autumn Valley, 1965 pastel on paper 16 ¾ x 22 ¾ inches signed and dated lower right: Dasburg ‘65 Provenance: John C. and Dorothy B. Woolley Collection $10,000 - $15,000

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161 EMIL BISTTRAM (1895-1976) Rancho de Taos Church, 1974 oil on canvas 28 x 36 inches signed and dated lower right: (artist’s cipher) / Bisttram / 74 inscribed verso: CHURCH OF / ST FRANCIS OF ASISI / IN RANCHOS TAOS 1974 Widely recognized for his radically abstract painting styles, embrace of occult philosophies, and connection to the Transcendental Painting Group, Bisttram’s work illustrates a rich array of styles and influences including realism, futurism, expressionism, and nonobjective abstraction. The Hungarian-born Bisttram has been variously described as a modernist, a mystic, a muralist, a teacher, and a philosopher, but rarely a conformist. After settling permanently in the conservative and economically depressed artistic environment of 1930s Taos, New Mexico, Bisttram became known regionally for his then-radical embrace of modernism, and nationally for his progressive theories and styles. His highly symbolic and eclectic approach - which was greatly influenced by Native American spiritualism, Theosophy, Wassily Kandinsky, and the epic paintings of the Mexican muralists - defies categorization and extends from the semi-real to the metaphysical. Bisttram’s family left Hungary for New York in 1906. He began his career as a commercial artist and studied at Cooper Union, the National Academy of Design, and the Art Students League. He taught at Parsons School of Design, the Master Institute of the Roerich Museum, and eventually at his own Taos Art School (later renamed the Bisttram School of Fine Art). He received a Guggenheim Fellowship in 1931 to study fresco painting in Italy; because of growing anti-American sentiment in that country, however, he went instead to Mexico City, where he studied under Mexican muralist Diego Rivera. Bisttram and his wife moved to Taos in 1932. In 1938 he co-founded the Transcendental Painting Group with fellow abstractionist Raymond Jonson. Often overwhelmed by the light and landscape of New Mexico, Bisttram remarked, “Whenever I tried to paint what was before me, I was frustrated by the grandeur and the limitless space.” Despite this challenge, he remained in the state for over 25 years, teaching, painting, and passionately involved in the progressive art movement. Ultimately it was the spirituality of New Mexico’s landscape and its native cultures that fed Bisttram’s artistic imagination and nourished his abstract tendencies. An important innovator both regionally and nationally, Bisttram’s work anticipated the influential unfolding of postwar modernism in American art. Provenance: Marlene & Grant Wilkins Collection $30,000 - $50,000

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162 EMIL BISTTRAM (1895-1976) The Miracle, 1940 oil on canvas 45 x 40 inches signed and dated lower right: BISTTRAM / 40 inscribed verso: The Miracle Emil Bisttram 1940 Provenance: Private Collection, Arizona $20,000 - $30,000

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163 EMIL BISTTRAM (1895-1976) Winter Grandeur, 1963 oil on board 26 x 34 inches signed and dated lower right: (artist’s cipher) / BISTTRAM / 63 inscribed verso: Winter Grandeur E BiSTTram SOLD TO G. BARR Provenance: Private Collection, Arizona $8,000 - $12,000

164 EMIL BISTTRAM (1895-1976) Untitled (Abstract Composition) watercolor and gouache on paper 19 ⅜ x 16 inches signed lower right: BISTTRAM Provenance: Private Collection, California $3,000 - $5,000

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165 RAYMOND JONSON (1891-1982) Watercolor No. 2, 1945 watercolor on board 22 x 30 inches inscribed verso: WATERCOLOR NO. 2- 1945 / Jonson / (artist’s cipher) 4/15 ‘45 Provenance: Patricia E. and William C. Bates Collection $6,000 - $8,000

166 BEATRICE MANDELMAN (1912-1998) Untitled mixed media collage on board 11 ½ x 9 inches signed lower right: Mandelman Provenance: Private Collection, New Mexico $5,000 - $6,000

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167 LOUIS RIBAK (1902-1979) Untitled (Abstract Native American Figure) oil on canvas 60 x 40 inches signed lower right: Ribak Provenance: The Artist Private Collection, New Mexico $10,000 - $15,000

168 LOUIS RIBAK (1902-1979) Gray, Yellow and White Abstractions oil on canvas 39 ⅜ x 31 ⅜ inches signed lower right: Ribak Provenance: Private Collection, New Mexico $8,000 - $10,000

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169 RICHARD KURMAN (b. 1927) Hall 827 Room One, 2013 oil on canvas mounted on foamcore 24 ½ x 32 ¾ inches signed lower right: RKURMAN inscribed verso: “HALL 827 ROOM ONE” Born in Chicago, Illinois in 1927, Richard Kurman studied under well-known New Mexico artist Raymond Jonson at the University of New Mexico in the 1940s. His pieces reflect his training, evoking abstract, geometric imagery full of the vibrant color for which he is best known. His works intend to demonstrate a sense of reason and harmony in the natural world. Provenance: The Artist $3,000 - $5,000

170 WILLIAM LUMPKINS (1909-2000) Untitled 36, 1991 acrylic on paper 44 ½ x 59 inches signed and dated lower right: LUMPKINS 91 Provenance: Estate of the Artist $6,000 - $8,000

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171 WOODY GWYN (b. 1944) Untitled (Panhandle Overpass) oil on canvas 8 â&#x2026;&#x203A; x 48 inches signed lower right: gwyn Provenance: Private Collection, Texas $12,000 - $15,000

172 HILAIRE HILER (1898-1966) Moroccan Colors, 1966 collage and gouache on paper 12 x 18 inches inscribed verso: done in Marrakeche, the last painting he completed before his death Provenance: The Artist Estate of Hilaire Hiler Private Collection, Oklahoma Exhibited: Whitney Museum of American Art, New York, New York Hilaire Hiler, May 6 - June 9, 1968 no. 22 $2,000 - $3,000

173 JANET LIPPINCOTT (1918-2007) Untitled (Abstract Landscape) oil on canvas 16 x 12 inches signed center right: Lippincott Provenance: Private Collection, Colorado $3,000 - $5,000 S A N TA F E A R T AU C T I O N

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174 ROBERT DALE TSOSIE (b. 1960) Untitled (Navajo Yei Figure), 1997 stone 65 x 17 x 17 inches (with base) inscribed: © R.D. TSOSIE 97 Provenance: John C. and Dorothy B. Woolley Collection $2,000 - $4,000

175 DOUG HYDE (b. 1946) Untitled (Woman with Basket of Fruit) alabaster 25 x 14 ½ x 15 ½ inches inscribed: D. HYDE (artist’s cipher) © Provenance: Private Collection, Colorado $4,000 - $6,000

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176 DOUG HYDE (b. 1946) Pueblo Woman, 1995

177 NED JACOB (b. 1938) Hosteen

limestone 66 ½ x 27 x 25 inches (with base) inscribed: D.HYDE (artist's cipher) ©

bronze, 8/10 12 x 6 inches (with base) inscribed: N JACOB 8/10

Provenance: John C. and Dorothy B. Woolley Collection

Provenance: Private Collection, Colorado

$10,000 - $20,000

$1,000 - $2,000 nr

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178 GLENNA GOODACRE (b. 1939) Prudence bronze, 14/25 11 x 6 x 6 Â½ inches (with base) inscribed: G. Goodacre 14/25 Provenance: Marlene & Grant Wilkins Collection $1,000 - $2,000 nr

179 BETTINA STEINKE (1933-1999) The Little Pioneer oil on canvas 24 x 40 inches signed lower left: Bettina / Steinke / NAWA Provenance: Marlene & Grant Wilkins Collection $10,000 - $15,000

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180 GLENNA GOODACRE (b. 1939) Basket Dancers bronze, 5/15 15 ¼ x 17 x 9 ½ inches inscribed: G. Goodacre 5/15 Provenance: Private Collection, Colorado $5,000 - $8,000

181 SANDY SCOTT (b. 1943) Bald Eagle Off Cannery Point bronze, 29/35 36 x 41 x 25 inches inscribed: 29/35 / SSCOTT / © Provenance: M. Anthony Greene Collection, Jackson, Wyoming $10,500 - $12,500 S A N TA F E A R T AU C T I O N

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182 PAUL AUGUST KONTNY (1923-2002) Betatakin Ruin Navajo National Monument oil and marble dust on board 23 ⅝ x 35 ½ inches signed lower right: Kontny Provenance: Private Collection, Colorado $1,000 - $2,000 nr

183 MORRIS RIPPEL (1939-2009) Ancient People (Canyon de Chelley) watercolor on paper 20 x 15 ¾ inches signed lower right: M.RIPPEL © Provenance: Private Collection, Colorado $6,000 - $10,000

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184 GARY ERNEST SMITH (b. 1942) Wild Horse Canyon, 2009-2010 oil on linen 48 x 48 inches signed lower left: GARY / ERNEST / SMITH inscribed verso: “WILD HORSE CANYON” / GARY ERNEST SMITH / © COPYRIGHT RESERVED / OIL ON LINEN / 48” x 48” / 2009-10 Provenance: Private Collection, Minnesota $7,000 - $9,000

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185 GARY ERNEST SMITH (b. 1942) Horses in a Row, 2011 oil on linen 14 x 24 inches signed lower right: GARY / ERNEST / SMITH inscribed verso: HORSES IN A ROW / STUDY 14 x 24 OIL ON LINEN / 2011 GARY ERNEST SMITH © Provenance: Private Collection, Minnesota $3,000 - $4,000

186 GARY ERNEST SMITH (b. 1942) Midwest Sky oil on linen 18 x 24 inches signed lower right: GARY / ERNEST / SMITH inscribed verso: “MIDWEST SKY” / 18 x 24 OIL ON LINEN / GARY ERNEST SMITH / © COPYRIGHT RESERVED Provenance: Private Collection, Minnesota $2,500 - $4,500

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187 FRANZ TREVORS (1907-1980) Cimarron Canyon, NM, 1935 oil on masonite 35 ¼ x 24 inches signed and dated lower left: F. TREVORS-35 Provenance: Private Collection, Oregon $3,000 - $5,000

188 MARTIN SHAFFER (1913-1985) Untitled (New Mexico Landscape), 1949 oil on canvas 22 x 18 ¼ inches signed and dated lower left: Martin Shaffer / 49 Provenance: Private Collection, New Mexico $4,000 - $8,000

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189 TOMMY MACAIONE (1907-1992) Untitled (Autumn Mountain Landscape), 1973 oil on board 23 ½ x 27 inches signed and dated lower left: © THOMAS MACAiONE.73. Provenance: Private Collection, California $2,000 - $3,000

190 TOMMY MACAIONE (1907-1992) Untitled (Adobe House), 1972 oil on board 29 ¼ x 39 ¼ inches signed and dated lower right: .72 © TOM.S.MACAiONE.72. Provenance: Private Collection, California $5,000 - $7,000

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191 LOUISA MCELWAIN (1953-2013) Shining Cliffs oil on canvas 24 x 36 inches signed lower right: McELWAIN Provenance: Private Collection, New Mexico $8,000 - $10,000

192 KIM WIGGINS (b. 1960) Train to Lamy oil on canvas 16 x 20 inches signed lower right: KD WiggiNS Provenance: Private Collection, Texas $4,000 - $7,000

S A N TA F E A R T AU C T I O N

115

193 ELEANORA KISSEL (1891-1966) Still Life oil on canvas 24 x 20 â&#x2026;&#x153; inches Provenance: Private Collection, New Mexico $1,000 - $2,000

116

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194 ANNA SKEELE (1896-1963) Seated Man with Goat oil on canvas 36 x 30 inches signed lower right: A.K. Skeele Provenance: Private Collection, California $2,000 - $3,000

195 MORRIS RIPPEL (1930-2009) 16th of November, 1977 watercolor on paper 12 ¾ x 21 ⅜ inches signed and dated lower right: M.RIPPEL © 77/ NAWA Provenance: Private Collection, Colorado $4,000 - $6,000 S A N TA F E A R T AU C T I O N

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196 ERIC SLOANE (1905-1985) Taos Turquoise oil on board 8 x 10 inches signed lower left: ERIC SLOANE Provenance: Private Collection, Colorado $3,000 - $5,000

197 BURTON SHEPARD BOUNDEY (1879-1962) Taos Pueblo, ca. 1935 oil on board 17 ¼ x 23 ½ inches Provenance: Private Collection, Arizona $1,500 - $2,500

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198 JOE D. REED (1916-1963) Sanctuario de Chimayo, 1946 oil on canvas 24 ¼ x 30 inches signed and dated lower right: JOE D. REEd / 46 inscribed verso: JOE D. REEd / 513 Canyon Rd. / Santa Fe, N.M. / Chimayo Church Provenance: Private Collection, Arizona $2,000 - $4,000

199 WALT GONSKE (b. 1942) Castillo de Consuegra (Windmills) oil on board 13 x 17 inches signed lower right: gonske inscribed verso: gonske / “CASTILLO de CONSUEGRA” / #1848 Provenance: Private Collection, New Mexico $800 - $1,200

S A N TA F E A R T AU C T I O N

119

200 CHARLES BERNINGHAUS (1905-1988) Untitled (Winter Landscape) oil on canvas 25 x 30 inches signed lower left: CHARLES BERNINGHAUS Provenance: Private Collection, New Mexico $4,000 - $6,000

201 CHARLES BERNINGHAUS (1905-1988) Untitled (River Landscape) oil on canvas 25 x 30 inches signed lower right: CHARLES BERNINGHAUS Provenance: Private Collection, New Mexico $5,000 - $7,000

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202 GREGORY MCHURON (1945-2012) Morning Blush, 1993 oil on board 9 x 12 inches signed lower right: GREGORY i. McHURON inscribed verso: “MORNING BLUSH” / 1993 / ALL COPY & REPRODUCTION RIGHTS / RESERVED BY ARTIST Provenance: M. Anthony Greene Collection, Jackson, Wyoming $700 - $900 nr

203 DONALD RICKS (1929-1996) Cathedral Group at Grand Teton oil on board 15 ¾ x 19 ⅞ inches signed lower right: Don Ricks inscribed verso: CATHEDRAL GROUP @ GRAND TETON (mid afternoon) / (highest peak) Provenance: M. Anthony Greene Collection, Jackson, Wyoming $1,000 - $2,000 nr

S A N TA F E A R T AU C T I O N

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204 JORGE MAYOL (b. 1948) Still Waters, 1998 oil on canvas 22 x 30 inches signed and dated lower right: JORGE MAYOL / © 98 Provenance: M. Anthony Greene Collection, Jackson, Wyoming $2,000 - $3,000 nr

205 JORGE MAYOL (b. 1948) Study for Still Waters graphite on paper 5 ⅛ x 7 ¼ inches signed lower left: JORGE MAYOL Provenance: M. Anthony Greene Collection, Jackson, Wyoming $200 - $300 nr

206 DONALD ALLEN MOSHER (b. 1945) Untitled (Bridal Veil Falls, Yosemite, National Park), 1992 oil on canvas 20 ⅛ x 24 ⅛ inches signed lower right: Donald Allen Mosher Provenance: M. Anthony Greene Collection, Jackson, Wyoming $2,500 - $3,500

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207 CLYDE ASPEVIG (b. 1951) Sitka Bay oil on canvas 20 x 24 inches signed lower left: C. ASPEVIG Provenance: Private Collection, Alaska $7,000 - $10,000

208 THOMAS AQUINAS DALY (b. 1937) Beaver Dams and Rising Moon watercolor on paper 9 â&#x2026;&#x203A; x 13 1/4 inches signed lower right: tAdaly Provenance: The Artist $2,000 - $4,000

S A N TA F E A R T AU C T I O N

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209 ELIAS RIVERA (b. 1937) Watermelon Ladies oil on canvas 18 ½ x 15 ½ inches inscribed upper left: RIVERA Provenance: Private Collection, Arizona $3,000 - $5,000

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210 RAMON KELLEY (b. 1939) Puebla, Mex, 1973 acrylic on board 14 ⅜ x 21 ½ inches signed, dated and titled center: Ramon Kelly 73 Puebla MEX. Provenance: Private Collection, Colorado $1,000 - $2,000 nr

211 JOSE SABOGAL (1888-1956) India Ccolla, 1938 oil on canvas 22 x 26 inches signed and dated lower right: J Sabogal / 38 inscribed verso: 69/B 56 x 66 / INDIA / CCOLLA / 1938 Provenance: Private Collection, Illinois $8,000 - $12,000 S A N TA F E A R T AU C T I O N

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212 FRANCIS DONALD (b. 1947) October on the Rio Chiquito oil on canvas 30 ½ x 36 ½ inches signed lower right: Francis Donald inscribed verso: F. Donald / © / “October on the Rio Chiquito" / #271 Provenance: Private Collection, Alaska $1,000 - $2,000

213 WILLIAM E. SHARER (b. 1934) Untitled (Fallen Tree with Flowers), ca. 1969 oil on canvasboard 8 ½ x 11 ⅝ inches signed lower left: Sharer Provenance: Private Collection, Colorado $1,500 - $2,500

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214 CHARLES FRANCIS BROWNE (1859–1920) Untitled (River Scene), 1895 oil on board 9 ½ x 13 inches signed and dated lower left: C.F. Browne / 1895 Provenance: Private Collection, Illinois $1,000 - $1,500

215 ALBERT SCHMIDT (1883-1957) Untitled (Town Scene) oil on board 9 ¾ x 13 inches signed lower right: A.H. SCHMIDT Provenance: Private Collection, Illinois $1,000 - $1,500

S A N TA F E A R T AU C T I O N

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216 MIKHAIL GUERMACHEFF (1867-1930) Sunset Glory oil on canvas 21 ¼ x 25 ¾ inches signed lower right: Guermacheff Provenance: Private Collection, Illinois $7,000 - $9,000

217 CHENOWETH HALL (1908-1999) Between Tucson and Nogales, 1954 watercolor on paper 14 ½ x 18 ¼ inches signed and dated lower right: ChENOWETH / HALL / 54 Provenance: Private Collection, Arizona $1,000 - $2,000

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218 MATEO ROMERO (b. 1966) Untitled oil on board with collage 36 x 47 Â˝ inches initialed lower left: R Provenance: The Artist Private Collection, New York $4,000 - $6,000

219 ROD GOEBEL (1946-1993) Norlyn Portrait oil on canvas 30 x 24 inches signed upper left: Goebel Provenance: Private Collection, New Mexico $1,500 - $2,250

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220 CRAIG VARJABEDIAN (b. 1957) Acequia, Rainsville, New Mexico silver gelatin print, 1/200 16 ½ x 23 ½ inches editioned lower left: 01/200 signed lower right: Craig / Varjabedian Provenance: Private Collection, New Mexico $1,000 - $1,500

221 CRAIG VARJABEDIAN (b. 1957) Cloud & Steeple, New Mexico silver gelatin print, 5/200 16 ½ x 23 ½ inches editioned lower left: 05/200 signed lower right: Craig / Varjabedian Provenance: Private Collection, New Mexico $1,000 - $1,500

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222 JAMES PROSEK (b. 1976) Sockeye Salmon in Full Spawning Dress, 1998 watercolor on paper 5 ½ x 17 ¾ inches signed lower center: James Prosek inscribed lower center: Sockeye Salmon in full spawning dress (oncorhynchus nerka) / painted September 1998 New York City / specimen from Golkona River, Alaska Provenance: Private Collection, Florida $3,000 - $4,000

223 A.J. “JEANIE” MCCOY (20th century) Untitled (Bald Eagle Landing), 1981

224 A.J. “JEANIE” MCCOY (20th century) Untitled (Bald Eagle Perched on a Branch), 1982

Provenance: M. Anthony Greene Collection, Jackson, Wyoming

$250 - $500

$250 - $500 S A N TA F E A R T AU C T I O N

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225 MORTEN SOLBERG (b. 1935) Grand Duke, ca. 1987 watercolor and gouache on paper 20 ½ x 28 ½ inches signed lower right: Morten E Solberg / AWS / © Provenance: M. Anthony Greene Collection, Jackson, Wyoming Note: Award of Merit 1987, Society of Animal Artists $1,500 - $2,500 nr

226 LARS JONSSON (b. 1952) Untitled (Two Magpies) color lithograph, 150/360 23 ¾ x 17 inches editioned lower left: 150/360 signed lower right: Lars Jonsson Provenance: M. Anthony Greene Collection, Jackson, Wyoming $300 - $500 nr

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227 WOLFGANG POGZEBA (1936-1982) Confronted Elks bronze 26 x 12 x 8 Â½ inches (with base) inscribed: WOLF POGZEBA Provenance: Private Collection, Colorado $1,000 - $2,000 nr

228 FRITZ WHITE (1930-2010) Tween a Rock and a Hard Place bronze, 10/25 9 x 7 x 5 inches (with base) inscribed: Fritz White CA / 10/25 Provenance: Private Collection, Colorado $1,000 - $2,000 nr

S A N TA F E A R T AU C T I O N

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229 FRITZ WHITE (1930-2010) The Bugler, 1978 silver 7 x 3 Â½ x 7 inches (with base) inscribed: Fritz White CA / 1978 Provenance: Private Collection, Colorado $1,000 - $2,000 nr

230 KENT ULLBERG (b. 1945) Ring of Bright Water bronze, AP 11 x 3 x 5 inches (with base) inscribed: Ullberg AP Provenance: Private Collection, Colorado $600 - $800 nr

231 UNKNOWN Abstract Bird Sculpture welded steel 98 x 13 x 13 inches (with base) Provenance: M. Anthony Greene Collection, Jackson, Wyoming $3,000 - $5,000 nr

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THANK YOU FOR PARTICIPATING IN THE 2018 AUCTION. WE ARE INVITING QUALIT Y CONSIGNMENTS FOR THE NOVEMBER 2019 AUCTION.

Consignments also invited for UPCOMING ONLINE AUCTIONS: WINTER HOLIDAY SALE DECEMBER 1-9, 2018 SPANISH COLONIAL & HISPANIC ARTS FEBRUARY 15 - 24, 2019 SPRING ONLINE SALE APRIL 12-21, 2019

STAY CONNECTED ON FACEBOOK & INSTAGRAM FOR UPDATES, ANNOUNCEMENTS, AND UPCOMING ONLINE AUCTIONS.

F OR FURTHER INF ORMATION PLE ASE CONTACT US CALL : 505 95 4 -5780 | EMAIL : CUR ATOR@SANTAFE ARTAUCTION.COM VISIT: SANTAFE ARTAUCTION.COM

INDEX ABBETT, ROBERT KENNEDY One More Cast, 50 ACHEFF, WILLIAM Seasons Harvest, 117 ACOMA Polychrome Pot, 106 Four Color Olla, 112 ANDERSEN, ROY The Bear Dreamer, 34 APPLEGATE, FRANK Two New Mexico Landscapes, 157ab ASPEVIG, CLYDE Sitka Bay, 207 BALINK, HENRY Pueblo Indian Girl, 100 Santa Clara Indian, 101 BARTLETT, GRAY Untitled (Indian on Horseback), 14 BAYNTON, MAURADE First Snow, 45 Kindred Spirits, 46 BEECHAM, GREG Wolves Running, 41 Fishing the Falls, 42 Chilkat Eagles, 44 BEELER, JOE Charlie, 17 BENTON, THOMAS HART Study for Desert Still Life, 86 BERNINGHAUS, CHARLES Untitled (Winter Landscape), 200 Untitled (River Landscape), 201 BISTTRAM, EMIL Rancho de Taos Church, 161 The Miracle, 162 Winter Grandeur, 163 Untitled (Abstract Composition), 164 BLAKELOCK, RALPH ALBERT Untitled (Forest Scene), 56 BODMER, KARL Suite of Four Colored Lithographs, 27a-d BOREIN, EDWARD A Goatherder with his Flock, 59 BOUNDEY, BURTON SHEPARD Taos Pueblo, 197 BOYD, E. Baby Rocks (Red Rock Bluffs), 125 BRETT, DOROTHY Untitled (Fantasy Scene), 150 BROWN, HARLEY ‘Old Dog’ Blackfoot, 33 BROWNE, CHARLES FRANCIS Untitled (River Scene), 214 BURBANK, E.A. Hawgone, Kiowa, 29 She-Comes-Out-First Sioux, 30 BURLIN, NATALIE CURTIS King’s River Canyon, Sierra Nevada, 60 CARLSON, GEORGE Life Drawing, 145 CARLSON, KEN On Steep Terrain, 52 Yellowstone Bison, 53 CARPENTER, EARL Sleeping Indian, 51 CASSIDY, MICHAEL Packing Out, 12

COLEMAN, MICHAEL In the Woods, 39 CORDERO, HELEN Nativity Set, 102 Two Figures, 103ab Storyteller with 11 Children, 104 COUSE, E. IRVING Girl by the Oven, 97 DALY, THOMAS AQUINAS Beaver Dams and Rising Moon, 208 DASBURG, ANDREW Still Life with Zinnias, 159 Llano Autumn Valley, 160 DELANO, GERARD CURTIS The Colorado, 79 Evening Cloud, 80 Arizona Thunderhead, 81 In Arizona, 82 The Canyon Trail, 83 DICK, GEORGE Show Off, 7 DONALD, FRANCIS October on the Rio Chiquito, 212 DYCK, PAUL Cheyenne Man, 36 Shield of the Three Cranes, 37 Wind River Lodges, 38 EGGENHOFER, NICK Untitled (Cowboy and Saloon), 5 Untitled (Indian on Horseback on the Plains), 6 ELLIS, FREMONT Spring in Old New Mexico, 63 Rio Grande Canyon, 64 Untitled (River Valley Landscape), 65 Untitled (Autumn in New Mexico), 66 Untitled (Forest Scene), 67 ELLIS, GENE Still Life, 118 FALTER, JOHN Eastern Dudes, 151 FECHIN, NICHOLAI Shoo Shang, 134 FLECK, JOSEPH Hamlet of Talpa, 72 The Land of Enchantment, 73 November Day, 74 GASPARD, LEON Taos Sketch, 92 Russian Musicians, 132 The White Kerchief, 133 GOEBEL, ROD Norlyn Portrait, 219 GONSKE, WALT Castillo de Consuegra (Windmills), 199 GOODACRE, GLENNA Prudence, 178 Basket Dancers, 180 GUERMACHEFF, MIKHAIL Sunset Glory, 216 GWYN, WOODY Untitled (Panhandle Overpass), 171 HALL, CHENOWETH Between Tucson and Nogales, 217 HANTMAN, CARL Cowboy on Sidewalk, 13 HARDIN, HELEN The Arrival of the Cloud People, 107

INDEX

HAUSER, JOHN Rush to the Omaha Dance, 58 HELWIG, ARTHUR Spanish Village, New Mexico 90 HENDERSON, WILLIAM PENHALLOW Casa Lucero, 91 HENNINGS, E. MARTIN Untitled Landscape, 75 An Indian Song, 96 Taos Indian Maiden, 98 Portrait of Alice, 146 Portrait of Joseph Yell, 147 Portrait of Woman, 148 HIGGINS, VICTOR Taos, 70 Untitled (Self Portrait), 158 HILER, HILAIRE Moroccan Colors, 172 HOFFMAN, FRANK Indian in Headdress, 31 HOUSER, ALLAN Pueblo Woman, 119 Morning Star, 120 HULINGS, CLARK Still Life with Mushrooms, 135 Watering Place at Ubeda, 136 Pepito on Donkey, Leading Donkey, 137 Tesuque Cottonwoods, 138 Fodder for the Donkey, Gift for His Wife, 139 Chrysanthemums, 140 HURD, PETER A Ranch in the Estancia Valley, 152 Hondo Valley, 153 San Patricio, 154 HYDE, DOUG Untitled (Woman with Basket of Fruit), 175 Pueblo Woman, 176 JACOB, NED Hosteen, 177 JONSON, RAYMOND Watercolor No. 2, 165 JONSSON, LARS Untitled (Two Magpies), 226 JORDAN, JERRY Extraordinary Moment, 87 KELLEY, RAMON Puebla, Mex, 210 KISSEL, ELEANORA Still Life, 193 KLOSS, GENE Adobes in the Snow, 1 Moonlit Kiva, 2 KNAUF, J. E. Hard Right, 11 KONTNY, PAUL AUGUST Betatakin Ruin Navajo National Monument, 182 KUHN, BOB High Plains Lothario, 54 KURMAN, RICHARD Hall 827 Room One, 169 LEIGH, WILLIAM R. Untitled (Pueblo Bathers), 71 Clouds in Africa, 88 LIPPINCOTT, JANET Untitled (Abstract Landscape), 173 LOCKWOOD, WARD Siesta, 155

LUMPKINS, WILLIAM Untitled 36, 170 MACAIONE, TOMMY Untitled (Autumn Mountain Landscape), 189 Untitled (Adobe House), 190 MANDELMAN, BEATRICE Untitled, 166 MAYOL, JORGE Big Horn Sheep, 49 Still Waters, 204 Study for Still Waters, 205 MCCOY, A.J. “JEANIE” Untitled (Bald Eagle Landing), 223 Untitled (Bald Eagle Perched on a Branch), 224 MCELWAIN, LOUISA Shining Cliffs, 191 MCHURON, GREGORY Morning Blush, 202 MILLER, CHARLES WINFIELD Wary Approach-The Ultimate Predator, 26 MIZEN, FREDERIC Chief “Flying Eagle”, 28 MONTOYA, GERONIMA Zia Bird, 109 MOSHER, DONALD ALLEN Untitled (Bridal Veil Falls, Yosemite, National Park), 206 MOYERS, JOHN The Beat of the Drum, 32 Winter Sun, 40 MOYERS, WILLIAM Spring, 19 The Trail from Town, 20 NAMINGHA, DAN Pahlik Mana, 121 NASH, WILLARD Landscape with Reservoir, 89 NAVAJO Third Phase Chief’s Blanket, 114 Germantown Serape, 115 Serape, 116 OLIVEIRA, NATHAN Hawk, 43 PARSONS, SHELDON Untitled (Summer Hollyhocks Scene), 69 PHILLIPS, BERT G. Untitled (Taos Pueblo Scene), 68 POGZEBA, WOLFGANG Confronted Elks, 227 PROCTER, BURT Holy Man, 35 PROSEK, JAMES Sockeye Salmon in Full Spawning Dress, 222 RANNEY, WILLIAM T. The Wounded Trooper, 57 REED, JOE D. Sanctuario de Chimayo, 198 REED, MARJORIE Winter Trip to the Trading Post, 21 Fording the Rio Grande Near Mesilla, 22 Navajo Camp, 23 REEDY, LEONARD H. Three Western Watercolors, 4abc REMINGTON, AFTER FREDERIC Trooper of the Plains, 16 RIBAK, LOUIS Untitled (Abstract Native American Figure), 167 Gray, Yellow and White Abstractions, 168

INDEX

RICKS, DONALD Cathedral Group at Grand Teton, 203 RIPPEL, MORRIS Ancient People (Canyon de Chelley), 183 16th of November, 195 RIVERA, ELIAS Watermelon Ladies, 209 RODRIGUEZ, ELISEO Untitled (New Mexico Scene), 122 La Virgen Apocalypse, 123 Untitled (Forest Scene), 124 ROLLINS, WARREN E. The Navajo, 95 ROMERO, MATEO Untitled, 218 SABOGAL, JOSE India Ccolla, 211 SANDZÃ&#x2030;N, BIRGER Autumn (Smoky Hill River, Kansas), 85 SCHMID, RICHARD White Azaleas, 141 Kathy, 144 SCHMIDT, ALBERT Vronsky-Babin House, 77 Untitled (Adobe House Scene), 126 Man and Donkey Strolling by Cottonwoods, 127 Blossoming Trees and Adobe House, 128 Untitled (Floral), 129 Untitled (Town Scene), 215 SCOTT, SANDY Bald Eagle Off Cannery Point, 181 SEXTON, RAY Moose Couple in the Snow, 47 SHAFFER, MARTIN Untitled (New Mexico Landscape), 188 SHARER, WILLIAM E. Navajo Sheep Herder, 25 Apples and Aspen Leaves, 130 Untitled (Fallen Tree with Flowers), 213 SHARP, JOSEPH HENRY Montana, 61 Edge of the Big Horns, 62 Hunting Son and Eagle Star, 99 SKEELE, ANNA Seated Man with Goat, 194 SLOANE, ERIC Taos Turquoise, 196 SMITH, GARY ERNEST Wild Horse Canyon, 184 Horses in a Row, 185 Midwest Sky, 186 SOLBERG, MORTEN Grand Duke, 225 STEINKE, BETTINA The Little Pioneer, 179 STIHA, VLADAN Monument Valley, 24 SWINNERTON, JAMES Desert Sunset, 93 Near Santa Barbara, California, 94 TAFOYA, SERAFINA Red Storage Jar, 105 TOGNONI, GEORGE-ANN Nightwatch, 15 TREVORS, FRANZ Cimarron Canyon, NM, 187 TSOSIE, ROBERT DALE Untitled (Navajo Yei Figure), 174

TURNER, BEN Untitled (Floral Still Life), 131 UFER, WALTER Pair of Figure Studies, 149ab ULLBERG, KENT Ring of Bright Water, 230 UNKNOWN Abstract Bird Sculpture, 231 VAN SOELEN, THEODORE The Corral, 156 VARJABEDIAN, CRAIG Acequia, Rainsville, New Mexico, 220 Cloud & Steeple, New Mexico, 221 VELARDE, PABLITA Corn Shucking Scene, 108 VIERRA, CARLOS Barrancas, 84 VON HASSLER, CARL Untitled (Summer Mesa Scene), 76 Autumn in Pojoaque, 78 WADE, DAVE Sagebrush Repose, 48 WHITE, FRITZ Tween a Rock and a Hard Place, 228 The Bugler, 229 WIEGHORST, OLAF Pair of Western Watercolors, 8ab Untitled (Cowboy on Horseback), 9 Cowboy on Pony, 10 WIGGINS, KIM Train to Lamy, 192 WOLF, LONE Riding High, 18 WOOD, ROBERT Yosemite Falls, 55 WYETH, HENRIETTE C-Shell, 142 Untitled (Rose), 143 YELL, JOSEPH May the Peace of the Great Spirit be Yours, 3 ZIA Polychrome Olla, 110 Trios Polychrome Pot, 113 ZUNI Polychrome Olla, 111

SANTA FE ART AUCTION 927 Paseo de Peralta

GERALD PETERS GALLERY 1005 Paseo de Peralta

PETERS PROJECTS 1011 Paseo de Peralta

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 17% of the final bid price of each lot up to and including $500,000, 15% of the excess of the final bid price above $500,000, 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 20% of the final bid price for each lot up to and including $500,000, 18% of the excess of the final bid price above $500,000, 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. If a buyer requests that artwork be shipped to an address in New York State, we must collect New York sales tax due to an affiliated business located in New York City under recent legislation (Part P-1 of Chapter 57 of the Laws of 2009). • 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. • 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.

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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. (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

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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 catalogueue. Please complete and return to the Santa Fe Art Auction by November 9, 2018, 5:00pm MST. 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 by mail or fax which authorizes the Santa Fe Art Auction to place bids on your behalf. The Telephone Bid Form appears in the back of this catalogue. Please check the telephone bid box on the form, complete, and return to the Santa Fe Art Auction by November 9, 2018, 5:00pm MST. 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. TO FAX A COMPLETED BID FORM, DIAL 505 954-5785. 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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ÂŠ 2018 Santa Fe Art Auction Limited Co. Director: Gillian Blitch Director: Jenna Kloeppel Auction Assistant: McKenna Harper Photography: Molly Wagoner, Kristin Schillaci, Catie Carl Graphic Design: Shane Mieske Printing: Oâ&#x20AC;&#x2122;Neil Printing, Arizona Binding: Roswell Book Binding, Arizona www.santafeartauction.com

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