Santa Fe Art Auction 2020 by Art Gallery Publication

SATURDAY, NOVEMBER 14, 2020 SANTA FE, NEW MEXICO

Saturday, November 14, 2020

Front Cover: Lot 258: Gerard Curtis Delano (1890–1972) The Orange Cloud Frontispiece A: Lot 263: Gerard Curtis Delano (1890–1972) Desert Thunderhead Frontispiece B: Lot 262: Gerard Curtis Delano (1890–1972) Bears in the Moonlight

In accordance with COVID-Safe Practices and Guidelines provided by the New Mexico State’s Public Health Order, the Santa Fe Art Auction’s 2020 Signature Annual Sale will be an online-only event. Bidding will be available through multiple online platforms on the internet, by telephone, and through registered absentee bids. The auction building will be closed to the public during the sale but it will be live-streamed for viewing. All lots in the sale will be available for viewing prior to the auction at our Baca Railyard facility at 932 Railfan Road. Face coverings are required to enter the building and social distancing will be observed.

Live Online Auction Saturday, November 14, 2020 932 Railfan Road, Santa Fe, NM 87505 Session One 9:00 AM MST Session Two 1:30 PM MST Previews November 7 – November 13, 2020 10 AM– 5 PM MST and by appointment 932 Railfan Road, Santa Fe, NM 87505 Online Bidding santafeartauction.com invaluable.com bidsquare.com liveauctioneers.com

Telephone and Absentee bidding arrangements must be made no later than 5 PM MST on November 13, 2020. Telephone bidders are encouraged to leave absentee bids in the case of technical difficulties. Please direct all inquiries to 505.954.5858 Register online at santafeartauction.com

SESSION ONE

LOTS 1 â&#x20AC;&#x201C; 195 November 14, 2020 9:00 AM MST

1 GENE KLOSS (1903–1996) Indian Summer, 1943 etching, edition of 75 7 ⅞ x 10 ⅞ in. (20 x 27.62 cm.) signed lower right: Gene KLoss titled lower left: Indian Summer Provenance: Private Collection, Oklahoma Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. I, p. 211, No. 386. $1,500 – $2,500

2 GENE KLOSS (1903–1996) Return of the Woodgatherers, 1949 drypoint and aquatint, edition of 35 9 ¾ x 13 ¾ in. (24.77 x 34.93 cm.) signed lower right: Gene KLoss Imp titled and editioned lower left: Return of the Woodgatherers Ed 35 Provenance: Private Collection, New Mexico* Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. I, p. 248, No. 434. *Proceeds support the mission and vision of the The Couse-Sharp Historic Site, Taos, New Mexico $1,500 – $2,500

SANTA FE ART AUCTION

3 GENE KLOSS (1903–1996) Horseplay of Indian Jesters, 1954 drypoint, edition of 35 10 ¾ x 13 ¾ in. (27.31 x 34.93 cm.) signed lower right: Gene KLoss Imp editioned and titled lower left: Ed 35 Horseplay of Indian Jesters Provenance: The Collection of Don Redlich Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 25, No. 454. $1,500 – $2,500

4 GENE KLOSS (1903–1996) Apache Women at the Fiesta, 1954 drypoint, edition of 75 10 ⅞ x 13 ⅞ in. (27.62 x 35.24 cm.) signed lower right: Gene Kloss titled lower left: Apache Women at the Fiesta Provenance: Private Collection, New Mexico Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 24, No. 453. $1,500 – $2,500

SANTA FE ART AUCTION

5 GENE KLOSS (1903–1996) Taos Pueblo Stream, 1983

6 GENE KLOSS (1903–1996) Taos Eagle Dancers, 1955

etching, drypoint, Artist’s Proof (edition of 50) 7 ¼ x 8 ¾ in. (18.42 x 22.23 cm.) signed lower right: Gene KLoss editioned and titled lower left: Artist’s Proof Taos Pueblo Stream

drypoint, aquatint, edition of 35 10 ¾ x 13 ¾ in. (27.31 x 34.93 cm.) signed lower right: Gene KLoss Imp titled and editioned lower left: Taos Eagle Dancers Ed 35

Provenance: Private Collection, New Mexico

Provenance: The Collection of Kelly Knowlton, Tulsa, Oklahoma

Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 195, No. 614.

Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 29, No. 458.

$1,000 – $2,000

$2,000 – $4,000

7 GENE KLOSS (1903–1996) The Archer, 1964

8 GENE KLOSS (1903–1996) The Rio Grande at Embudo, 1984

intaglio, edition 18 of 50 14 ⅞ x 11 ⅞ in. (37.78 x 30.16 cm.) signed lower right: Gene KLoss Imp titled and editioned lower left: The Archer 18/50

etching, drypoint, edition of 75 7 ½ x 9 in. (19.05 x 22.86 cm.) signed lower right: Gene KLoss editioned and titled lower left: 8/75 The Rio Grande at Embudo

Provenance: Private Collection, New Mexico*

Provenance: Private Collection, New Mexico

Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 78, No. 500.

Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 202, No. 620.

*Proceeds support the mission and vision of the The Couse-Sharp Historic Site, Taos, New Mexico

$1,000 – $2,000

$500 – $1,000

SANTA FE ART AUCTION

9 GENE KLOSS (1903–1996) From Telegraph Hill, 1926

10 GENE KLOSS (1903–1996) Rocky Crest, 1930

etching, unknown edition size 8 ⅞ x 6 ⅞ in. (22.54 x 17.46 cm.) signed lower right: Gene KLoss titled lower left: From Telegraph Hill

etching, aquatint, edition of 50 5 ⅞ x 6 ⅞ in. (14.92 x 17.46 cm.) signed lower right: Gene KLoss titled lower left: Rocky Crest

Provenance: Private Collection, New Mexico

Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. I, p. 58, No. 91.

Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. I, p. 87, No. 181.

$1,000 – $2,000

$600 – $900

11 GENE KLOSS (1903–1996) Rocky Mountain Valley, 1963

12 GENE KLOSS (1903–1996) On Windy Point, 1977

etching, edition of 50 11 ⅞ x 17 ⅞ in. (30.16 x 45.40 cm.) signed lower right: Gene KLoss Imp editioned and titled lower left: 41/50 Rocky Mountain Valley

drypoint, edition 5 of 25 11 ¾ x 14 ¾ in. (29.85 x 37.47 cm.) signed lower right: Gene KLoss NA editioned and titled lower left: 5/25 2nd State On Windy Point

Provenance: Private Collection, Montana

Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 74, No. 496.

Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 126, No. 544.

$1,000 – $2,000

SANTA FE ART AUCTION

13 GENE KLOSS (1903–1996) Ocean Foam, 1946 etching, edition of 50 8 ⅛ x 10 ⅜ in. (20.64 x 26.35 cm.) signed lower right: Gene KLoss titled lower left: Ocean Foam Provenance: Private Collection, New Mexico Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. I, p. 228, No. 408. $1,000 – $2,000

14 GENE KLOSS (1903–1996) Late Sunlight on the Cliffs, 1941 etching, drypoint, aquatint, edition of 75 13 ¾ x 10 ¾ in. (34.93 x 27.31 cm.) signed lower right: Gene KLoss titled lower left: Late Sunlight on the Cliffs Provenance: The Collection of Kelly Knowlton, Tulsa, Oklahoma Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. I, p. 204, No. 377. $600 – $800

15 GENE KLOSS (1903–1996) Courtyard in Chimayo, 1973 etching, Artist’s Proof (edition of 75) 7 ¼ x 8 ¾ in. (18.42 x 22.23 cm.) signed lower right: Gene KLoss editioned and titled lower left: Artist’s Proof Courtyard in Chimayo Provenance: Private Collection, New Mexico Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 129, No. 547. $1,500 – $2,500

SANTA FE ART AUCTION

16 RICHARD ‘DICK’ CRISLER (1908-1933) Untitled (Plant Still Life), 1928 ink on paper 8 ½ x 6 ¾ in. (21.59 x 17.15 cm.) inscribed, signed and dated lower right: To Duane / Dick Crisler -28 Provenance: Private Collection, New Mexico $1,000 – $2,000

17 W. HERBERT DUNTON (1878–1936) Taos Pueblo Indian Girl (Corn Weeds), 1931 lithograph 14 ½ x 11 in. (36.83 x 27.94 cm.) signed in the stone lower left: Dunton / of / Taos titled and inscribed lower left: Taos Pueblo Indian Girl / Model: Corn Weeds, No. 14. signed and dated lower right: W. Hubert Dunton, ‘31. / Southwestern Series Provenance: Private Collection, New Mexico $1,000 – $2,000

18 MAYNARD DIXON (1875–1946) Untitled (Apache Figure), 1915 graphite on paper 5 ¼ x 4 ⅛ in. (13.34 x 10.48 cm.) initialed, inscribed and dated lower left: MD / Rice Ariz - July / 15 Provenance: Private Collection, California $1,500 – $3,000

SANTA FE ART AUCTION

19 EDWARD BOREIN (1873–1945) Walpi, 1919 etching and drypoint 8 x 14 in. (20.32 x 35.56 cm.) signed lower right: Edward Borein Provenance: Private Collection, New Mexico Literature: John Galvin, The Etchings of Edward Borein: A Catalogue of His Work, John Howell Books, San Francisco, 1971, No. 215. $1,500 – $2,500

20 EDWARD BOREIN (1873–1945) Untitled (Mexican Cowboys) ink on paper 7 ¼ x 13 ⅜ in. (18.42 x 33.97 cm.) Provenance: Jamison Gallery, Santa Fe, New Mexico Private Collection, New Mexico $500 – $700

21 EDWARD BOREIN (1873–1945) Two-Sided Drawing, 1897 ink on paper front: 9 ⅝ x 12 ⅜ in. (24.45 x 31.43 cm.) verso: 10 ⅝ x 7 ⅝ (26.9 x 19.4 cm.) recto signed, inscribed and dated lower right: Borein / for Jose del Cabo / Mexico 1897 / Mexico 1897 / Arguenas verso: signed, inscribed and dated lower right: Borein / Mexico 1897 Provenance: Private Collection, New Mexico $500 – $700

SANTA FE ART AUCTION

22 EDWARD BOREIN (1873–1945) Stampeding Longhorns #2, 1914 ink and gouache on illustration board 12 x 16 in. (30.48 x 40.64 cm.) signed and dated lower right: Edward Borein -1914Provenance: A Private Family Foundation* *All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need. $10,000 – $15,000

23 OLAF CARL SELTZER (1877–1957) Untitled (Stag), 1916 charcoal on paper 12 ¼ x 16 ¼ in. (31.12 x 41.28 cm.) signed and dated lower center: O.C. SELTZER / 1916 Provenance: Private Collection, Virginia $4,000 – $6,000

SANTA FE ART AUCTION

24 WILLIAM GEORGE RICHARDSON HIND (1833–1888) Indian Campground watercolor on paper 9 ½ x 13 ½ in. (24.13 x 34.29 cm.) Provenance: Private Collection, New Mexico A Private Family Foundation* *All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need. $4,000 – $6,000

25 WILLIAM GEORGE RICHARDSON HIND (1833–1888) Mission - Seven Islands: July 9th watercolor on paper 6 ½ x 13 ½ in. (16.51 x 34.29 cm.) inscribed lower left: Mission - / Seven Islands: / July 9th Provenance: Private Collection, New Mexico A Private Family Foundation* *All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need. $2,000 – $4,000

26 WILLIAM GEORGE RICHARDSON HIND (1833–1888) Indians - Seal Hunting on the Moisie watercolor on paper 4 ¾ x 8 ¾ in. (12.07 x 22.23 cm.) titled lower left: Indians - Seal hunting / on the Moisie Provenance: Private Collection, New Mexico A Private Family Foundation* *All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need. $1,000 – $2,000

SANTA FE ART AUCTION

27 FREDERICK WHYMPER (1838-1901) Yale, British Columbia, 1865 watercolor and graphite on paper 6 ½ x 8 ¾ in. (16.51 x 22.23 cm.) signed and dated lower center: F. Whymper. del. 1865 Provenance: Private Collection, New Mexico A Private Family Foundation* *All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need. $3,000 – $5,000

28 FREDERICK LUCAS FOSTER (1842–1899) Untitled (French Canadian Voyageurs), 1884 watercolor on paper 8 ¼ x 10 ⅛ in. (20.96 x 25.72 cm.) signed and dated lower right: FL FOSTER / 1884 Provenance: Private Collection, New Mexico A Private Family Foundation* *All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need. $800 – $1,200

29 AUGUST LÖHR (1843–1919 Scene Near Mexico City watercolor on paper 15 ¼ x 23 ½ in. (38.74 x 59.69 cm.) signed lower right: August Lohr Provenance: Private Collection, New Mexico A Private Family Foundation* *All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need. $4,000 – $6,000

SANTA FE ART AUCTION

30 THOMAS SULLY (1783–1872) Indian Squaw Feeding Her Papoose, 1840 gouache on paperboard 13 ⅝ x 10 ⅝ in. (34.61 x 26.99 cm.) initialed and dated lower left: TS 1840 Provenance: Private Collection, New Mexico A Private Family Foundation* *All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need. $4,000 – $6,000

31 EDWARD CURTIS (1868–1952) At the Old Well of Acoma, 1904 orotone on glass (goldtone) 7 ⅝ x 9 ¾ in. (19.37 x 24.77 cm.) signed lower left: CURTIS Provenance: Private Collection, Texas $4,000 – $6,000

SANTA FE ART AUCTION

32 PETER MORAN (1841–1913) Pueblo, ca. 1890 lithograph with hand-colored highlights 11 x 12 ½ in. (27.94 x 31.75 cm.) signed lower left: P. Moran stamped verso: PUEBLO / AFTER THE WATERCOLOR / by / PETER MORAN Provenance: Private Collection, New Mexico $4,000 – $6,000

33 OSCAR E. BERNINGHAUS (1874–1952) Untitled (Taos, New Mexico), 1951 ink on paper 10 x 12 in. (25.40 x 30.48 cm.) signed lower right: O.E. BERNINGHAUS inscribed verso: TO MRS ALMA MAULDIN - / A very Happy Birthday / and delightful Birthday party / in Taos, May - 10 - 1951 / Mr and Mrs. / O. E. Berninghaus, Verso includes envelope and ALS from Berninghaus to Mrs. H. Laudis Mauldin, “It is nice of you to wish an inscription to go with my little sketch - I feel flattered - The enclosed is one you attach in some way on the back of the frame ... Best wishes to you and Mr. Mauldin - O. E. Berninghaus” Provenance: The Artist The Collection of Mrs. Alma Mauldin, Albuquerque, New Mexico Private Collection, New Mexico $3,000 – $5,000

SANTA FE ART AUCTION

34 EMIL BISTTRAM (1895–1976) Indian Bread, 1936 lithograph 15 ⅜ x 12 in. (39.05 x 30.48 cm.) signed and inscribed lower right: Emil Bisttram Taos titled lower left: (INDIAN BREAD) Provenance: Private Collection, New Mexico $1,000 – $2,000

35 THOMAS BENRIMO (1887–1958) Aramaic Man ink on paper 10 x 7 ⅜ in. (25.40 x 18.73 cm.) signed lower left: TOM BENRIMO inscribed verso: ARAMAiC MAN / by / TOM BENRIMO / TAOS, N.M. (inscribed in another hand) verso: Property of William H and Rebecca S. James / TAOS, N.M. Provenance: The Collection of Rebecca James Private Collection, New Mexico $800 – $1,200

SANTA FE ART AUCTION

36 DOEL REED (1887–1958) The Morada, 1955 aquatint, edition of 25 10 ⅞ x 17 ¾ in. (27.62 x 45.09 cm.) signed and dated lower right: Doel Reed, n.a. 1955 editioned lower left: 3/25 Provenance: The Artist The Collection of Kelly Knowlton, Tulsa, Oklahoma Exhibited: 38th Annual A.O.A. Exhibition, 1956 Literature: Harry B. Cohen and Ann L. Rogers, Doel Reed: The Graphic Works, Harco Gallery, Columbia, Missouri, 1998, No. 89, p. 66. $1,500 – $2,500

37 DOEL REED (1887–1958) Untitled charcoal on paper 16 ⅜ x 22 ⅜ in. (41.59 x 56.83 cm.) signed lower right: Doel Reed n.a. Provenance: The Collection of Kelly Knowlton, Tulsa, Oklahoma $800 – $1,000

38 CONRAD BUFF (1886–1975) Cacti ink on paper 13 ¼ x 9 ¼ in. (33.66 x 23.50 cm.) signed lower left: CONRAD / BUFF Provenance: Private Collection, New Mexico $900 – $1,200

SANTA FE ART AUCTION

39 JOZEF BAKOS (1891–1977) Tesuque (Double-Sided Watercolor) watercolor on paper 20 x 25 ½ in. (50.80 x 64.77 cm.) recto: inscribed lower right: Tesuque 150.00 No 28 verso: signed lower right: BAKOS Provenance: Private Collection, New Mexico $3,000 – $5,000

40 JOZEF BAKOS (1891–1977) Cottonwoods watercolor on paper 19 x 14 ¼ in. (48.26 x 36.20 cm.) signed lower right: BAKOS Provenance: The Estate of Jozef Bakos Gerald Peters Gallery, Santa Fe, New Mexico Matthews Gallery, Santa Fe, New Mexico Private Collection, Texas Exhibited: Burchfield Center, Western New York Forum for American Art, Josef Bakos, November 24, 1985 - January 25, 1986 $3,000 – $5,000

SANTA FE ART AUCTION

41 HENRI DE TOULOUSE-LAUTREC (French, 1864–1901) Mademoiselle Marcelle Lender en Buste, 1895 color lithograph, edition of 1,211 12 5/8 x 9 5/8 in. (32.07 x 24.45 cm.) artist's monogram in the stone upper left Pan, Volume I, No. 3, p. 197, Berlin, 1895. Printed by Edouard Ancourt Provenance: A Private Family Foundation* Literature: Jean Adhemar, Toulouse-Lautrec: His Complete Lithographs and Drypoints, Abrams, New York, 1965, No. 131. Loys Delteil, Le peintre-graveur illustré: (xix et xx siècles): tome dixième, H. de Toulouse-Lautrec, Paris, 1920, No. 102, state iii/iii. Wolfgang Wittrock, Toulouse-Lautrec: The Complete Prints, Philip Wilson Publishers Ltd. for Sotheby's, New York, London, 1985, No. 99, state iv/iv. *All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need. $8,000 – $12,000

SANTA FE ART AUCTION

42 B. J. O. NORDFELDT (1878–1955) Untitled (Still Life), 1939 watercolor on paper 21 x 28 ⅜ in. (53.34 x 72.07 cm.) signed and dated lower right: Nordfeldt - ‘39 Provenance: Private Collection, Florida $2,000 – $4,000

43 ARNOLD RÖNNEBECK (1885–1947) View from Casa Luhan and New Mexico Landscape watercolor and graphite on paper 8 x 10 ½ in. (20.32 x 26.67 cm.) verso: estate stamped watercolor and graphite on paper 8 x 10 ½ in. (20.32 x 26.67 cm.) verso: estate stamped Provenance: The Estate of Arnold Rönnebeck $2,000 – $4,000

SANTA FE ART AUCTION

44 EMIL BISTTRAM (1895–1976) Talpas Valley, 1933 watercolor on paper 16 ¾ x 22 ⅝ in. (42.55 x 57.47 cm.) signed and dated lower right: BISTTRAM 33 Provenance: Private Collection, New Mexico $6,000 – $8,000

SANTA FE ART AUCTION

45 GUSTAVE BAUMANN (1881–1971) Palo Verde and Ocotea, 1928 color woodcut, edition 20 of 120, First edition 9 ½ x 11 in. (24.13 x 27.94 cm.) editioned and signed lower right: no 20 of 120 / Gustave [heart-in-hand cipher] Baumann titled lower left: PALO VERDE & OCOTEA Provenance: Private Collection, Ohio Literature: Baumann Inventory No. 89 Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 125. $3,000 – $5,000

46 GUSTAVE BAUMANN (1881–1971) Mountain Gold, 1926 color woodcut, edition 74 of 120, Second edition 9 ½ x 11 ¼ in. (24.13 x 28.58 cm.) editioned and signed lower right: 74 - 120 / Gustave [heart-in-hand cipher] Baumann titled lower left: MOUNTAIN GOLD Provenance: Private Collection, New Mexico Literature: Baumann Inventory No. 56 Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 107. $6,000 – $9,000

47 GUSTAVE BAUMANN (1881–1971) Morning in Mexico, 1936 color woodcut, edition 4 of 125, Second edition 12 ⅜ x 13 ⅜ in. (31.43 x 33.97 cm.) editioned and signed lower right: II 4 125 / Gustave [heart-in-hand cipher] Baumann titled lower left: MORNING IN MEXICO Provenance: Private Collection, California Literature: Baumann Inventory No. 107 Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 143. $6,000 – $9,000

SANTA FE ART AUCTION

48 GUSTAVE BAUMANN (1881–1971) Autumnal Glory, 1920/1936 color woodcut, edition 109 of 125, Third edition 13 ⅛ x 12 ⅞ in. (33.34 x 32.70 cm.) signed lower right: Gustave [heart-in-hand cipher] Baumann editioned lower right: III 109 125 titled lower left: AUTUMNAL GLORY Provenance: Private Collection, New Mexico* Literature: Baumann Inventory No. 61 Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 75. *Proceeds support the mission and vision of the The Couse-Sharp Historic Site, Taos, New Mexico $5,000 – $7,000

49 GUSTAVE BAUMANN (1881–1971) Sequoia Forest, 1960 color woodcut, edition 25 of 55, Second edition 12 ⅞ x 12 ⅞ in. (32.70 x 32.70 cm.) signed lower right: Gustave [heart-in-hand cipher] Baumann dated and editioned lower right: 1960 25-55 titled lower left: SEQUOIA FOREST Provenance: Private Collection, New Mexico* Literature: Baumann Inventory No. 109 Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 146. *Proceeds support the mission and vision of the The Couse-Sharp Historic Site, Taos, New Mexico. $5,000 – $7,000

SANTA FE ART AUCTION

50 HELMUTH NAUMER (1907–1990) High Country Aspens pastel on paper 21 ½ x 27 ½ in. (54.61 x 69.85 cm.) signed lower right: NAUMER / [artist’s cipher] Provenance: Private Collection, New Mexico $4,000 – $6,000

51 HELMUTH NAUMER (1907–1990) Untitled (Arroyo with Chamisa) pastel on paper 15 ½ x 19 ½ in. (39.37 x 49.53 cm.) signed lower right: NAUMER / [artist’s cipher] Provenance: Private Collection, New Mexico $3,000 – $5,000

52 HELMUTH NAUMER (1907–1990) Cherry Trees, 1953 pastel on paper 15 ⅜ x 19 ½ in. (39.05 x 49.53 cm.) signed lower right: NAUMER / [artist’s cipher] Provenance: Private Collection, New Mexico $1,500 – $2,500

SANTA FE ART AUCTION

53 NILS HOGNER (1887–1970) Untitled (San Antonio Church), 1932 watercolor and graphite on paper 8 ¾ x 11 ¾ in. (22.23 x 29.85 cm.) signed and dated lower right: HOGNER 32 Provenance: The Artist The Collection of Mrs. Alma Mauldin, Albuquerque, New Mexico Private Collection, New Mexico $1,000 – $2,000

54 JOZEF BAKOS (1891–1977) Untitled (European Countryside) watercolor and gouache on paper 18 ⅜ x 13 ⅜ in. (46.67 x 33.97 cm.) signed lower right: BAKOS Provenance: Private Collection, New York $1,500 – $2,500

55 ALBERT SCHMIDT (1885–1957) Aspen Road

56 ALBERT SCHMIDT (1885–1957) Water Wheel

pastel on paper 13 x 19 ⅞ in. (33.02 x 50.48 cm.)

pastel on paper 13 ¼ x 17 ¾ in. (33.66 x 45.09 cm.) signed lower left: A H SCHMIDT

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

SANTA FE ART AUCTION

57 ANDREW DASBURG (1887–1979) Trees in Ranchitos II, 1975 color lithograph, edition 8 of 10 16 ¼ x 23 ¼ in. (41.28 x 59.06 cm.) initialed lower right: A.D. lower left: Tamarind chop mark Provenance: A Private Family Foundation* *All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need. $1,500 – $2,500

58 WILLIAM LUMPKINS (1908–2000) Table and Still Life, 1986 watercolor on paper 43 ⅜ x 43 ⅜ in. (110.17 x 110.17 cm.) signed and dated lower right: LUMPKINS - 86 Provenance: Private Collection, New Mexico $4,000 – $6,000

SANTA FE ART AUCTION

59 HOWARD SCHLEETER (1903–1976) Untitled, 1952 mixed media on paper 8 ⅝ x 13 ½ in. (21.91 x 34.29 cm.) signed and dated lower right: HB SCHlEEtER 52 Provenance: Private Collection, New Mexico $2,000 – $4,000

60 CADY WELLS (1904–1954) Plant Study, ca. 1952 mixed media on paper 10 ¼ x 7 ⅞ in. (26.04 x 20 cm.) initialed lower right: C. W. Provenance: A Private Family Foundation* *All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need. $2,500 – $5,000

SANTA FE ART AUCTION

61 NICK EGGENHOFER (1897–1985) Oxen Pulling a Covered Wagon gouache on board 10 ⅞ x 16 ⅜ in. (27.62 x 41.59 cm.) signed lower right: N EGGENHOFER Provenance: Private Collection, New Mexico* *Proceeds support the mission and vision of the The Couse-Sharp Historic Site, Taos, New Mexico. $3,000 – $5,000

62 THEODORE VAN SOELEN (1890–1964) Working with the Wagon lithograph, edition 31 of 100 15 ⅞ x 21 ¾ in. (40.32 x 55.25 cm.) initialed in the stone lower left: © VS signed lower right: VAN SOELEN N.A. editioned and titled lower left: 31/100 Working With The Wagon Provenance: Private Collection, New Mexico $1,500 – $2,500

SANTA FE ART AUCTION

63 THEODORE VAN SOELEN (1890–1964) The Wrangler lithograph, edition 58 of 100 14 x 16 ¾ in. (35.56 x 42.55 cm.) editioned and signed lower left: 58/100 © VAN SOELEN NA titled lower right: The Wrangler Provenance: The Artist Private Collection, New Mexico $1,000 – $2,000

64 THEODORE VAN SOELEN (1890–1964) Bridling the Buckskin lithograph, edition 96 of 100 12 ¼ x 19 ¼ in. (31.12 x 48.90 cm.) initialed in the stone lower left: © V.S. signed lower right: VAN SOELEN editioned lower left: 96 / 100 titled lower center: Bridling the Buckskin Provenance: The Artist Private Collection, New Mexico $1,000 – $2,000

65 THEODORE VAN SOELEN (1890–1964) Gentle Pony lithograph, edition 21 of 100 19 ⅜ x 12 5/16 in. (49.21 x 31.27 cm.) signed lower right: VAN SOELEN editioned lower left: 21/100 titled lower center: Gentle Pony Provenance: The Artist Private Collection, New Mexico $1,000 – $2,000

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66 WILLIAM SANDERSON (1905–1990) The Loner, 1966 oil on canvas 47 ⅝ x 29 ⅜ in. (120.97 x 74.61 cm.) signed lower left: Sanderson William Sanderson was born in Latvia and came to the United States in 1923 at the age of 18. Once in America, he studied painting at the National Academy of Design and at the Art Students League in New York City. Early on, he made a living as an illustrator and had works published in The New Yorker magazine among others. He also taught graphic arts at the New York School of Industrial Arts under the WPA, and was the subject of several one man shows in New York City including The Contemporary Artist’s Gallery in 1931, and Saks Galleries in 1956. After World War II, Sanderson moved to Denver, Colorado where he taught advertising design at the University of Denver School of Art for the next 26 years. He showed his fine art with a group of artists known as Fifteen Colorado Artists, which included Mina Conant, Paul K. Smith and Frank Vavra. The Kirkland Museum in Denver organized a one-man show for Sanderson in 2009. Provenance: Private Collection, New Mexico $15,000 – $20,000

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67 PETER HURD (1904–1984) Freight Stop, ca. 1965 watercolor and gouache on paper 24 ¾ x 38 ½ in. (62.87 x 97.79 cm.) signed lower right: Peter Hurd Provenance: Private Collection, New Mexico Exhibited: Museum of New Mexico, Santa Fe, New Mexico, Peter Hurd and Henriette Wyeth, June - August 1965 $15,000 – $20,000

68 PETER HURD (1904–1984) Mountain Landscape watercolor on paper 19 ½ x 28 ¼ in. (49.53 x 71.76 cm.) signed lower left: Peter Hurd Provenance: A Private Family Foundation* *All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need. $8,000 – $12,000

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69 ANDREW WYETH (1917-2009) Nell, 1976 watercolor on paper 20 ⅞ x 29 ½ in. (53.02 x 74.93 cm.) signed upper left: Andrew Wyeth Andrew and Betsy Wyeth named their dog Nell Gwynn after the mistress of Charles II. Nell found her way into many important Wyeth paintings throughout the 1970s, including the masterworks Night Sleeper (1979), The Ides of March (1974) and Winter Dogs (1969). It was said that Wyeth was privately amused by the pet’s name as her presence is tied to the appearance of Wyeth’s long time muse and mistress, Helga. Nell, watercolor on paper, was painted in 1976, a year which proved to be very important for the artist. In October of that same year, Two Worlds of Andrew Wyeth: Kuerners and Olsons opened at the Metropolitan Museum of Art in New York City. At the time, it was the first solo exhibition by a living artist presented by the Met. The exhibition also served as an introduction to then director Thomas Hoving, who would collaborate with Wyeth on many projects for years to come. Nell is a combination of many of Wyeth’s favorite painting subjects, not just the family’s favorite pet but also winter as well as the landscape around his Chadd’s Ford home. Of winter, Wyeth poetically stated, “I prefer winter and fall, when you feel the bone structure of the landscape. Something waits beneath it; the whole story doesn’t show.” When Wyeth made the egg tempera for his paintings, he would use the yolks for the paint and would feed the egg whites to Nell. There is something about the way he paints Nell; so much personality and grace comes through the curves of her face and the delicate marks of her eyes and features. Provenance: Private Collection, Texas $80,000 – $120,000

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70 ROBERT ‘SHOOFLY’ SHUFELT (b. 1935) He’s Just a Colt, 2000 graphite on paper 9 ¼ x 11 ⅛ in. (23.50 x 28.26 cm.) titled, signed and dated lower right: “HE’S JUST A COLT…” / SHOOFLY / 2000 Provenance: The Legacy Gallery, Scottsdale, Arizona Private Collection, Washington, D.C. $1,500 – $2,500

71 BILL OWEN (1942–2013) Western Heritage bronze, edition 15 of 25 with base: 15 ¾ x 14 x 6 ½ in. (40.01 x 35.56 x 16.51 cm.) inscribed: 15/25 © Bill Owen [Cowboy Artists cipher] / THUMB / BUTTE / BRONZE Provenance: The Collection of Mr. Raymond J. Minella $3,000 – $5,000

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72 GRANT SPEED (1930–2011) When Two are Too Many bronze, edition 10 of 30 with base: 20 ¼ x 26 x 12 ½ in. (51.44 x 66.04 x 31.75 cm.) inscribed: G Speed / © 1985 [Cowboy Artists cipher] 10/30 Provenance: Private Collection, New Mexico* *Proceeds support the mission and vision of the The Couse-Sharp Historic Site, Taos, New Mexico. $3,000 – $5,000

73 JOHN HAMPTON (1918–2000) On the Prod, 1970

Provenance: Private Collection, New Mexico* *Proceeds support the mission and vision of the The Couse-Sharp Historic Site, Taos, New Mexico. $5,000 – $7,000

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bronze, Foundry Proof with base: 20 ½ x 23 ½ x 14 in. (52.07 x 59.69 x 35.56 cm.) inscribed: JW HAMPTON [artist’s cipher] [Cowboy Artists cipher] 1970 FOUNDRY / PROOF stamped: BUFFALO BRONZE WORKS

SCULPTURE 74 EDWARD FRAUGHTON (b. 1939) Clearing the Haulway bronze, edition 4 of 40 with base: 22 ½ x 34 ½ x 15 in. (57.15 x 87.63 x 38.10 cm.) inscribed: © 1992 / Edward Fraughton / 4/40 Provenance: Private Collection, New Mexico* *Proceeds support the mission and vision of the The Couse-Sharp Historic Site, Taos, New Mexico. $5,000 – $7,000

75 KEN PAYNE (1938–2012) Sound in the Night bronze, edition 25 of 30 11 ¾ x 11 ½ x 6 ½ in. (29.85 x 29.21 x 16.51 cm.) with base: 14 x 12 x 8 in. (35.56 x 30.48 x 20.32 cm.) inscribed: KEN PAYNE / © 86 25/30 Provenance: The Private Collection of Tom Whalen $1,000 – $2,000

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76 KEVIN MCCARTHY (b. 1955) Pony Express, 1990 bronze, edition 11 of 20 with base: 15 ¾ x 16 ½ x 7 ¾ in. (40.01 x 41.91 x 19.69 cm.) inscribed: Kevin McCarthy / 1990 11/20 Provenance: The Private Collection of Tom Whalen $1,500 – $2,000

77 SANDI GIPE (20th Century) Go for the Go-Around bronze, edition 1 of 10 with base: 13 ¼ x 38 ¼ x 13 in. (33.66 x 97.16 x 33.02 cm.) inscribed: Sandi Gipe 1/10 Provenance: A Private Family Foundation* *All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need. $1,500 – $2,500

78 HARRY JACKSON (1924–2011) Trapper II, 1982 bronze, edition of 100 with base: 16 ¾ x 8 ¼ x 4 ¾ in. (42.55 x 20.96 x 12.07 cm.) inscribed: © Harry Jackson 1982 inscribed: TR II 72 Provenance: The Private Collection of Tom Whalen $4,000 – $6,000

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SCULPTURE 79 BILL NEBEKER (b. 1942) I Will Listen No More, 1997

80 JIM RENO (1929–2008) Comanche Scout, 1991

bronze, edition 2 of 25 with base: 22 ¼ x 9 ¾ x 5 ½ in. (56.52 x 24.77 x 13.97 cm.) inscribed: 1997 © / BILL NEBEKER [Cowboy Artist’s cipher] / 2/25 inscribed: THUME / BUTTE / BRONZE

painted bronze, edition 1 of 30 with base: 30 x 17 x 10 ½ in. (76.20 x 43.18 x 26.67 cm.) inscribed: © JIM RENO 1991 / 1/30 inscribed: COMANCHE SCOUT

Provenance: The Private Collection of Tom Whalen

Provenance: A Private Family Foundation*

$3,000 – $5,000

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

81 JIM RENO (1929–2008) The Enemy: Comanche and Apache, 1990 painted bronze, edition 2 of 8 with base: 26 x 28 x 18 in. (66.04 x 71.12 x 45.72 cm.) inscribed: The Enemy: Apache and Comanche / 2/8 / © Jim Reno / 1990 Provenance: A Private Family Foundation* *All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need. $5,000 – $10,000

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82 JIM RENO (1929–2008) Comanche Uprising, 1989 painted bronze, edition 4 of 30 with base: 19 ¼ x 15 x 11 in. (48.90 x 38.10 x 27.94 cm.) inscribed: JIM RENO 1989 Provenance: A Private Family Foundation* *All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need. $3,000 – $5,000

83 JIM RENO (1929–2008) Comanche Buffalo Hunter

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

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bronze, edition 5 of 15 with base: 19 ¼ x 22 ¾ x 9 ¾ in. (48.90 x 57.79 x 24.77 cm.) inscribed: JIM RENO © / 5/15

SCULPTURE 84 JOHN COLEMAN (b. 1949) An Honored Life, 2002 bronze, edition 2 of 15 43 x 16 x 17 ½ in. (109.22 x 40.64 x 44.45 cm.) inscribed lower center: “AN HONORED” / LIFE / JOHN COLEMAN / [Cowboy Artists cipher] / ©02 2/15 Provenance: Private Collection, New Mexico* *Proceeds support the mission and vision of the The Couse-Sharp Historic Site, Taos, New Mexico. $20,000 – $40,000

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85 DAVE MCGARY (1958–2013) The Rainmaker, 1996 polychrome bronze, edition 19 of 100, from the Warrior Series with base: 28 x 23 x 17 in. (71.12 x 58.42 x 43.18 cm.) inscribed on base: 19 / 100 Dave McGary 1996 Provenance: The Collection of Mr. Raymond J. Minella Literature: M. Duty, Dave McGary: American Realism in Bronze, Ruidoso, 1997, p. 138. The Rainmaker rests atop a wooden box with drawer which holds a copy of McGary’s retrospective, Dave McGary: American Realism in Bronze, signed by McGary and by the author, Western art scholar Michael Duty. $10,000 – $15,000

86 DAVE MCGARY (1958–2013) Four Bears, Maquette, 1992 polychrome bronze, edition 16 of 50, from the Upper Missouri River Series with base: 28 x 12 x 10 ½ in. (71.12 x 30.48 x 26.67 cm.) inscribed on base: DAVE McGARY / 1992 / 16/50 Provenance: The Collection of Mr. Raymond J. Minella Literature: M. Duty, Dave McGary: American Realism in Bronze, Ruidoso, 1997, p. 79. $8,000 – $12,000

87 ALLAN HOUSER (Chiricahua Apache, 1914–1994) Desert Breeze, 1988 bronze, edition 19 of 20 with base: 24 x 9 ½ x 7 ½ in. (60.96 x 24.13 x 19.05 cm.) inscribed: Allan Houser © 88 19/20

$7,000 – $10,000

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Provenance: Private Collection, New Mexico

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88 KEVIN RED STAR (Crow, b. 1943) Teepees, 1976 watercolor on paper 17 ⅞ x 23 ½ in. (45.40 x 59.69 cm.) signed and dated lower right: Kevin Red Star / 1976 Provenance: The Barbara and Ed Okun Collection $2,000 – $3,000

89 T. C. CANNON (Kiowa, 1946–1978) Grandmother Gestating Father and the Washita River Runs Ribbon-Like color woodblock, edition 425 of 999 16 ¾ x 12 ⅛ in. (42.55 x 30.80 cm.) stamp signed lower right: T. C. Cannon editioned and signed lower left: 425/999 / Walter Cannon Provenance: Private Collection, Texas $4,000 – $6,000

90 PAUL PLETKA (b. 1946) Untitled (American Indian Portrait) watercolor and ink on paper 21 ⅜ x 29 ⅜ in. (54.29 x 74.61 cm.) signed lower right: Pletka Provenance: Private Collection, Texas $3,000 – $5,000

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91 JOHN NIETO (1936–2018) Liberty Celebration, 1986 oil on canvas 60 x 48 ⅛ in. (152.40 x 122.24 cm.) signed lower left: nieto inscribed verso: “LIBERTY CELEBRATION”

“I paint Native American themes so I can step back in time and shine some light on those people—that culture,” said Nieto. “Through my artwork, I hope to show their humanity and their dignity.” Nieto's distinctive style has a combination of subject matter, bold comparisons, and searing color. He has produced bronze

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After participating in an exhibit at the John F. Kennedy Center for the Performing Arts in Washington, D.C., John Nieto met with President Reagan in the Oval Office of the White House and presented him with the painting Delegate to the White House. The painting hung in Washington for the duration of the President's term in office and now has been included in the Reagan Presidential Library. In 1981, Nieto participated by invitation in the "Salon d'Autumn" at the Grand Palais, Paris, France, and in 1989 he mounted a one-man show at the Axis Gallery in Tokyo, Japan. Nieto received the New Mexico Governor's Award for Achievement in the Arts in 1994, and has served on the Advisory Boards for both the Wheelwright Museum in Santa Fe and the Native American Preparatory School. After prolonged ill health, John passed away in July of 2018 at his home in Texas. Provenance: Private Collection, New Mexico $15,000 – $20,000

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John Nieto's paintings reflect his upbringing from Hispanic and American Indian parents whose New Mexican roots can be traced back over 300 years. His bold and confident use of brilliant colors has been likened to the 1920's French Fauvist movement, which impressed him greatly during a visit to Paris. His time in Paris also exposed him to another strong influence - Expressionism, where the sub-consciousness of artists manifested itself on canvas. Liberty Celebration (1986) depicts a native dancer performing in front of the Statue of Liberty in New York City. It is a uniquely iconic and rare painting and only one of two Nietos known to include the Statue of Liberty subject matter.

sculptures, etchings, lithographs and silk- screen prints, in addition to drawings in pastel crayons and charcoal. However, most of his career was devoted to these large-scale colorful oils of Native subjects and wildlife.

NATIVE AMERICAN 92 JAMES HAVARD (b. 1937) Mudhead Room, 1984 mixed media on aluminum 66 x 60 in. (167.64 x 152.40 cm.) signed and dated upper right: Havard 84 James Pinkney Havard was born in Galveston, Texas, in 1937. His father worked along the Gulf Coast as a roughneck and pipefitter in the Texas oil fields. Havard attended Sam Houston State College where he studied with the sculptor Charles Pebworth (1926-2019) and painter Gaddis Geeslin (1920-2008). It was through these artists that Havard learned about Abstract Expressionism and began painting in the style of these mentors. Upon graduation in 1959, he moved east to attend the Pennsylvania Academy of the Fine Arts. Havard graduated from PAFA in 1965 and, soon after, was included in a National Collection of Fine Arts Exhibition at the Smithsonian Institution in Washington, D.C. and at the Academy Gallery of the National Institute of Arts and Letters in New York City. After moving to New York City in the 1980s, Havard focused on large-scale, expressive paintings referencing Native American culture in a most unique way. Over the next ten years, he made frequent visits to Santa Fe, New Mexico, for inspiration and to pursue his interest in collecting. Havard’s style of blending expressionistic abstraction with indigenous symbols caught the attention of museums throughout the country and soon his works were added to several important collections, including the Metropolitan Museum of Art, the Los Angeles County Museum of Art and the Solomon R. Guggenheim Museum of Art. Considered a "pioneer of abstract illusionism," Havard’s signature paintings include collage elements, images and text that refer to prehistoric Native American culture, squeezings of paint directly from the tube, and spray painted "shadows" giving the illusion that the paint is actually suspended in front of the paint surface. Closely related to the Abstract Expressionists because of his expressive sweeping and gestural brushes of paint, Havard is a sensuous colorist who powerfully conjures up emotional responses and impressions from the viewer In 1989 Havard moved to Santa Fe, New Mexico where he has lived ever since. Excerpted from: Southwest Rising: Contemporary Art and the Legacy of Elaine Horwitch, 2020, By Julie Sasse Provenance: Private Collection, New Mexico $12,000 – $18,000

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93 JAMES HAVARD (b. 1937) Padre Island, Texas, 1976

94 JAMES HAVARD (b. 1937) Yuma, 1974

acrylic and crayon on paper 40 x 32 in. (101.60 x 81.28 cm.) signed and dated upper right: Havard 76 titled upper left: Padre Island Texas

mixed media on paper 29 ¾ x 22 ⅛ in. (75.57 x 56.20 cm.) signed and dated upper right: Havard 74 titled upper left: Yuma

Provenance: Private Collection, New Mexico

Provenance: Private Collection, Texas

$4,000 – $6,000

95 JAMES HAVARD (b. 1937) New Mexico History Page, 1990 mixed media collage on paper 40 ½ x 30 ¼ in. (102.87 x 76.84 cm.) signed and dated lower right: Havard 90

$5,000 – $7,000

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Provenance: Private Collection, New Mexico

NATIVE AMERICAN 96 DAVID BRADLEY (Chippewa, b. 1954) Scholder in New York, 1984 oil on canvas 36 x 30 x 1 ½ in. (91.44 x 76.20 x 3.81 cm.) signed and dated lower left: DAVID P. BRADLEY / © 84 inscribed verso: “Scholder in New York” David Bradley studied at the Institute of American Indian Arts and the College of Santa Fe. He was represented by the prestigious Elaine Horwitch Galleries where he showed alongside such artists as Fritz Scholder. Throughout his career, Bradley has completed portraits of artists who have affected and influenced his career, including T.C. Cannon and Georgia O’Keeffe as well as Scholder. According to Valerie K. Verzuh, curator at the Museum of Indian Arts and Culture in Santa Fe, “Bradley’s paintings are also homages to artists he admires and who inspired him. In both instances, the artist combines or alters the images he borrows to create hybrid contemporary pieces.” Bradley’s Scholder in New York, 1984, is one of the more successful works in this group. In the painting, Bradley places Scholder stoically in his New York Studio, a New York skyline complete with the Statue of Liberty is seen in the window behind him. The window on the world is a narrative context that Bradley enlists many times throughout his career. “I had a great respect for Scholder,” says Bradley in discussing this painting recently with the Santa Fe Art Auction. “We both showed

our work at Horwitch Gallery for a year or two, but we didn’t hang out or socialize. He was one of the most famous artists in the West and I was a student. A few years ago, the Denver Art Museum did a big traveling show of his work titled “Super Indian.” I was so flattered to be asked to do one of the essays in the book that accompanied the exhibit.” In that essay, Bradley wrote about that time in 1970s: “Fritz Scholder was leading a pack of successful Indian artists that were the talk of the Southwest art scene… To me, Scholder and his work remind me of a special time when Santa Fe became known as one of the top art markets in the country and contemporary Indian art was put on the map.” Bradley’s artwork has been collected by many museums and institutions across the country and he was recently the subject of a one-man exhibition at the New Mexico Museum of Indian Arts and Culture, Autry Museum in Los Angeles, and a simultaneous exhibit at the Georgia O’Keeffe Museum in Santa Fe. Provenance: Addison/Parks Gallery, Santa Fe, New Mexico The Barbara and Ed Okun Collection Literature: Valerie K. Verzuh, Indian Country: The Art of David Bradley, Museum of New Mexico Press, 2015 $4,000 – $8,000

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97 FRITZ SCHOLDER (Luiseño, 1937–2005) Bicentennial Indian, 1974 color lithograph, B.A.T. (edition of 125) 22 ⅜ x 29 ½ in. (56.83 x 74.93 cm.) signed lower left: Scholder editioned lower center: B.A.T. (Bon à Tirer) Provenance: A Private Family Foundation* *All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need. $5,000 – $10,000

99 FRITZ SCHOLDER (Luiseño, 1937–2005) Barcelona Dream #1

oil on linen 14 ½ x 17 ¼ in. (36.83 x 43.82 cm.) signed lower left: Scholder inscribed verso: 14454 FRITZ SCHOLDER / SOUTHWEST PATTERNS 1967 OIL ON LINEN

monotype 36 ⅜ x 27 ½ in. (92.39 x 69.85 cm.) signed lower right: Scholder titled lower left: Barcelona Dream #1 lower center: two chop marks

Provenance: Private Collection, New York

Provenance: The Collection of Don Redlich

$3,000 – $5,000

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98 FRITZ SCHOLDER (Luiseño, 1937–2005) Southwest Patterns, 1967

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100 R. C. GORMAN (Navajo, 1932–2005) Untitled (Seated Woman) watercolor on paper 30 ¼ x 22 ⅜ in. (76.84 x 56.83 cm.) signed lower left: R.C. Gorman Provenance: Private Collection, Virginia $2,000 – $4,000

101 R. C. GORMAN (Navajo, 1932–2005) Untitled, 1974 pastel on paper 22 x 28 in. (55.88 x 71.12 cm.) signed and dated lower left: R. C. Gorman 1974 Provenance: Private Collection, New Mexico $1,500 – $2,500

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102 VELOY VIGIL (1931–1997) Great Pueblo acrylic on canvas 24 x 41 in. (60.96 x 104.14 cm.) signed lower left: V. Vigil Provenance: Suzanne Brown Gallery, Scottsdale, Arizona Private Collection, Texas $4,000 – $8,000

oil on canvas 30 x 36 in. (76.20 x 91.44 cm.) signed lower center: VigiL inscribed verso: Oil by ViGiL Provenance: Private Collection, California $2,000 – $4,000

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103 VELOY VIGIL (1931–1997) Untitled (Umbrella Procession)

NATIVE AMERICAN 104 TONY ABEYTA (Navajo, b. 1965) Autumn Rains, 2020 oil on canvas 24 x 20 in. (60.96 x 50.80 cm.) signed lower right: Tony Abeyta Provenance: The Artist Private Collection, New Mexico $8,000 â&#x20AC;&#x201C; $12,000

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105 TONY ABEYTA (Navajo, b. 1965) Soft Spoken Rains watercolor on paper 12 ¾ x 17 ⅝ in. (32.39 x 44.77 cm.) signed lower right: Tony Abeyta inscribed verso: TONY ABEYTA / Navajo / Tony Abeyta / “Soft Spoken Rains” / Watercolor / S.F.N.M. Provenance: Private Collection, New Mexico* *Proceeds support the mission and vision of the The Couse-Sharp Historic Site, Taos, New Mexico. $2,000 – $4,000

106 TONY ABEYTA (Navajo, b. 1965) Transforming to the Sky, 2000 oil on canvas 40 x 30 in. (101.60 x 76.20 cm.) signed lower right: Tony Abeyta Provenance: Private Collection, Texas $3,000 – $6,000

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107 POPOVI DA (San Ildefonso, 1923–1971) Blackware Wedding Vase, 1971 clay height 13 in. (33.02 cm.) inscribed: Last piece made by / Popovi Da in 1971 / Fired by Dora Tse’Pe 2010 / Joyce Da Provenance: Private Collection, New Mexico $10,000 – $15,000

108 MARIA MARTINEZ (San Ildefonso, 1887–1980) & POPOVI DA (San Ildefonso, 1923–1971) Polychrome Plate, ca. 1965–70 clay, pigment height 2 ⅜ x diameter 14 ⅜ in inscribed: Maria / Popovi According to Pueblo pottery expert Robert Gallegos, the best work of the 20th century was made by Maria Martinez along with her son Popovi Da on the San Ildefonso pueblo. These two pots come directly from the family. The polychrome is signed by both Da and Martinez and dates from the latter half of the 1960s. Popovi was Maria’s youngest son and the two started working together in the late 50s until his premature death in 1971. Provenance: Private Collection, New Mexico $15,000 – $25,000

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109 PABLITA VELARDE [TSE TSAN] (Santa Clara, 1918–2006) Deer Dancer, 1978 earth minerals on board 11 ⅝ x 9 ½ in. (29.53 x 24.13 cm.) signed and dated lower right: PAblitA VElARdE / © 1978 Provenance: Private Collection, New Mexico $2,000 – $3,000

oil on canvas 16 x 20 in. (40.64 x 50.80 cm.) signed lower right: LONE WOLF [artist’s cipher] Provenance: Private Collection, New York $1,500 – $2,500

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110 LONE WOLF (Blackfoot, 1882–1970) Untitled (Mountain Range)

WOMEN ARTISTS 111 GENE & REBECCA TOBEY (1945–2006) (b. 1948) Pathfinder polychrome bronze, edition 2 of 8 82 ½ x 58 ½ x 35 ¼ in. (209.55 x 148.59 x 89.54 cm.) inscribed: Tobey © / 2/8 Provenance: Private Collection, Texas $20,000 – $30,000

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113 GENE & REBECCA TOBEY (1945–2006) (b. 1948) Echoes of the Past, 1995

polychrome bronze , edition 7 of 18 with base: 24 ⅛ x 23 ¾ x 23 ¾ in. (61.28 x 60.33 x 60.33 cm.) inscribed: Tobey / '94 © / 7/18

polychrome bronze, edition 8 of 25 with base: 37 ½ x 20 ½ x 20 ½ in. (95.25 x 52.07 x 52.07 cm.) inscribed: Tobey © / 95 8/25

Provenance: Private Collection, Texas

$4,000 – $6,000

$3,000 – $5,000

114 GENE & REBECCA TOBEY (1945–2006) (b. 1948) Winter Shaman, 1995

115 GENE & REBECCA TOBEY (1945–2006) (b. 1948) Comancheria II

polychrome bronze, edition 22 of 40 with base: 16 ⅛ x 12 x 9 ½ in. (40.96 x 30.48 x 24.13 cm.) inscribed: Tobey © / ‘95 22/40

glazed ceramic 21 ⅜ x 20 ½ x 11 in. (54.29 x 52.07 x 27.94 cm.) inscribed: Tobey ©

Provenance: Private Collection, Texas

$2,000 – $4,000

$1,500 – $2,500

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WOMEN ARTISTS

112 GENE & REBECCA TOBEY (1945–2006) (b. 1948) Written on the Wind, 1994

WOMEN ARTISTS

116 LUCILE WILCOX JOULLIN (1876–1924) Making Ristras oil on canvas 16 ¼ x 20 ¼ in. (41.28 x 51.44 cm.) signed lower right: Lucile Joullin Provenance: A Private Family Foundation* *All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need. $2,000 – $4,000

117 GEORGIA O’KEEFFE (1887–1986) Trees in Snow, 1902 watercolor on paper 14 ⅞ x 11 in. (37.78 x 27.94 cm.) Provenance: Estate of Georgia O’Keeffe Private Collection, Mongerson Wunderlich, Chicago, Illinois Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, New Mexico A Private Family Foundation* Literature: Barbara Buhler Lynes, Georgia O’Keeffe: Catalogue Raisonne, National Gallery Washington, 1999, No. 4. *All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need. $40,000 – $60,000

118 ELANOR COLBURN (1866–1939) Gateway to Taos, 1930 oil on canvas 24 x 30 in. (60.96 x 76.20 cm.) signed and dated lower right: Elanor Colburn 30’ inscribed verso: Gateway to Taos / Elanor Colburn Provenance: Private Collection, Texas $10,000 – $20,000

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Gisella Loeffler (1902-1977) was an Austro-HungarianAmerican painter, illustrator and textile artist who worked in a distinctive folk style. Loeffler was born in Vienna, but traveled to Missouri with her family early in life before settling in St. Louis, Missouri. She trained at the Washington University in St. Louis School of Fine Arts but her memories of a European childhood are what resulted in her definitive folk art stylings. Hansel and Gretel (ca. 1936-1937) is a gouache and tempera on beaverboard. It is Loeffler’s most famous painting as it commands a full- page representation in Mabel Dodge Lujan’s 1947 classic, Taos and Its Artists. In St. Louis, Loeffler saw an exhibition of paintings by Oscar Berninghaus (who was also from St. Louis) and Ernest Blumenschein. She was immediately drawn to Taos, New Mexico, feeling it resembled the villages of her native Austrian home. So, in 1933, Loeffler moved with her daughters to Taos. Once she arrived in New Mexico, she immediately began working for the New Deal Federal Art Project where she painted murals in schools and hospitals. She married her second husband, Frank P. Chase, in 1949 and they lived in the former Taos home of D.H. Lawrence. She lived in Taos for over 40 years and died there in 1977. In Taos and its Artists, Lujan wrote : “Gisella Loeffler! How people are attracted to your funny little painted children and the reassuring life you surround them with!...Everyone is allured and amused by the life of these robust infants with roses and birds and hearts all about them. It makes people forget that sometimes their life is not so gay.” In 1998, Loeffler and Kloss: Two Taos Legends was held at the Panhandle Plains Museum in Texas as part of the Taos Art Colony Centennial Celebration. Her work is included in the permanent collection of The Harwood Museum in Taos; The New Mexico Museum of Art, Albuquerque; the Museum of International Folk Art, Santa Fe; and the Panhandle-Plains Historic Museum in Texas.

119 GISELLA LOEFFLER (1902–1977) Hansel and Gretel, ca. 1936-1937 gouache and tempera on beaverboard 46 ¾ x 40 ⅝ in. (118.75 x 103.19 cm.) signed lower left: GISELLA LOEFFLER - TAOS N. MEXICO. Provenance: Private Collection, New Mexico Literature: Mabel Dodge Lujan, Taos and Its Artists, New York, 1947, No. 40. $15,000 – $20,000

oil on board 18 ¼ x 47 ¾ in. (46.36 x 121.29 cm.) signed lower right: GiSELLA LOEFFLER Provenance: Private Collection, New Mexico

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$10,000 – $15,000

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120 GISELLA LOEFFLER (1902–1977) Untitled (Children at Taos Pueblo)

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121 GISELLA LOEFFLER (1902–1977) Winnowing Wheat Song gouache on board 15 ¾ x 15 ¾ in. (40.01 x 40.01 cm.) signed upper right: GiSELLA inscribed verso: WINNOWiNG WHEAT SONG / GISELLA LOEFFLER / TAOS / NEW MEXiCO Provenance: The Artist The Collection of Russell Bean Private Collection, Texas $1,500 – $2,500

122 GISELLA LOEFFLER (1902–1977) Untitled (Madonna and Child) gouache on paper 11 x 11 in. (27.94 x 27.94 cm.) signed lower right: Gisella Provenance: Private Collection, New Mexico $1,500 – $2,500

123 GISELLA LOEFFLER (1902–1977) Carnuel, New Mexico watercolor on paper 13 ⅞ x 18 ⅝ in. (35.24 x 47.31 cm.) signed lower right: GiSELLA / LOEFFLER titled lower center: CARNUEL - NEW MEXiCO Provenance: Private Collection, Texas $800 – $1,200

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124 BEULAH STEVENSON (1895–1965) Up Canyon Road, 1948 oil on board 20 x 16 in. (50.80 x 40.64 cm.) inscribed verso: up Canyon Road 1948 / 2” resoivoir [sic] / looking up Canyon Provenance: Private Collection, New Mexico

125 BEULAH STEVENSON (1895–1965) Road to Taos #2, 1954

$4,000 – $6,000

oil on canvas board 20 x 24 in. (50.80 x 60.96 cm.) signed lower left: Beulah Stevenson inscribed verso: Summer 1954 / Taos road - / sky & sun – inscribed verso: road to Taos - #2 / sky and mountains - / New Mexico Provenance: Private Collection, New Mexico $5,000 – $7,000

126 ANNA KEENER (1895–1982) Apprehensive, 1957

Provenance: Private Collection, New Mexico $4,000 – $6,000

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casein on masonite 24 ⅛ x 28 ⅛ in. (61.28 x 71.44 cm.) signed and dated lower right: Anna E. Keener 1957 inscribed verso: Anna E. Keener / 312 Cadiz Road / Santa Fe _ New Mexico / November / Tritex on Gesso Panel / painted entirely with roller, artist’s label verso: Anna E. Keener FIAL / 312 Cadiz Road / Santa Fe, New Mexico / Apprehensive / Casein (Tritex) Brayers

WOMEN ARTISTS 127 ANNA KEENER (1895–1982) Untitled (New Mexico Landscape)

128 ANNA KEENER (1895–1982) Untitled (Pecos, New Mexico)

pastel on paper 13 ⅞ x 16 ⅝ in. (35.24 x 42.23 cm.) signed lower right: Anna E. Keener

oil on board 14 ¾ x 18 in. (37.47 x 45.72 cm.) signed verso upper left: Anna E. Keener

Provenance: Private Collection, New Mexico

$1,500 – $3,000

129 ANNA KEENER (1895–1982) Untitled (Landscape)

130 HELEN GREENE BLUMENSCHEIN (1909–1989) Ranchos de Taos, 1959

oil on canvas board 11 ¾ x 15 ⅝ in. (29.85 x 39.69 cm.) signed lower left: Anna E. Keener

oil on canvas 14 x 17 ½ in. (35.56 x 44.45 cm.) signed lower left: Helen G Blumenschein

Provenance: Private Collection, New Mexico

$1,500 – $2,500

$2,000 – $3,000

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131 NORMA BASSETT-HALL (1889–1957) Navajo Land, 1947 color woodcut, edition of 100 9 ⅜ x 14 in. (23.81 x 35.56 cm.) signed lower right: Norma Bassett-Hall editioned and titled lower left: Ed. 100 Navajo Land

132 BERNIQUE LONGLEY (1923–1999) Untitled (New Mexican Girl), 1956

Provenance: Private Collection, New Mexico

oil on masonite 36 x 18 in. (91.44 x 45.72 cm.) signed and dated lower left: BErniquE 1956

Literature: Joby Patterson, Norma Basset Hall: Catalogue Raisonne of the Block Prints and Serigraphs, Portland, Oregon: Pomegranate Communications, 2014, No. 82a

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

$1,500 – $2,500

133 AGNES MARTIN (1912–2004) Portrait of Daphne Vaughn encaustic on canvas 20 x 16 in. (50.80 x 40.64 cm.) Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, New Mexico A Private Family Foundation* Exhibited: Harwood Museum of Art, Taos, New Mexico, Agnes Martin: Before the Grid, January 20, 2012 - July 1, 2012

$20,000 – $40,000

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

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134 GEORGIA O’KEEFFE (1887–1986) Untitled (Antelope Horns), ca. 1952 graphite on paper 17 ⅝ x 23 ⅝ in. (44.77 x 60.01 cm.) Provenance: A Private Family Foundation* Literature: Barbara Buhler Lynes, Georgia O’Keeffe: Catalogue Raisonne, National Gallery Washington, 1999, Vol. II, p. 776, No. 1245. *All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need. $30,000 – $50,000

135 REBECCA SALSBURY JAMES (1891–1968) Shell in Landscape pastel on paper 19 ½ x 25 ½ in. (49.53 x 64.77 cm.) Provenance: A Private Family Foundation* Exhibited: Harwood Museum, Taos, New Mexico, Rebecca Salsbury James: Paintings and Colchas, February 20 - June 6, 2010 *All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need. $50,000 – $70,000

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136 BEATRICE MANDELMAN (1912–1998) Same as Other Fruit, ca. 1945 oil on canvas 16 ⅛ x 19 ⅞ in. (40.96 x 50.48 cm.) signed lower right: B. MANDELMAN inscribed verso on upper stretcher bar: same as other fruit In 1935 Mandelman was employed by the Works Progress Administration (WPA), first as a muralist and then as a printmaker with the Graphic Division of the New York Project, and remained there until the WPA was disbanded in 1942. During this time in her life, she was associated with numerous New York School artists, including Willem de Kooning, Arshile Gorky, Jackson Pollock, and Stuart Davis. Mandelman’s works were included in exhibitions at the Chicago Art Institute, the Museum of Modern Art, and the National Gallery of Art in Washington, DC. In 1942, she married fellow artist Louis Ribak and soon after headed west to visit Ribak’s teacher and mentor, John Sloan in Santa Fe. The couple eventually settled nearby in Taos, where a new influx of artists from New York and California during the late 40s and 50s, including Mandelman and Ribak, Ed Corbett, Agnes Martin, Oli Sihvonen, and Clay Spohn, would become known as the “Taos Moderns.” Mandelman was included in a 1952 group exhibition "Taos Painting Yesterday and Today," organized by Ted Egri, at the Colorado Springs Fine Arts Center. It was the first museum exhibition to address the development of Modernist art in Taos.

Provenance: Heinley Fine Arts, Taos, New Mexico Private Collection, New Mexico $4,000 – $6,000

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Beatrice Mandelman was an intensely dedicated painter. In the relative isolation of Northern New Mexico she found the freedom to develop a style that was distinctly her own. Inspired by the light, the local color, the landscape and the confluence of diverse cultures in Taos, her work flourished. Over the span of seven decades, she produced an incredibly important body of work as a pioneering woman artist in the Modernist field. The entire Ribak-Mandelman Estate is now part of the University of New Mexico Collection.

WOMEN ARTISTS 137 BEATRICE MANDELMAN (1912–1998) Still Life with Fruit

138 BEATRICE MANDELMAN (1912–1998) Untitled

oil on canvas 28 ¼ x 22 ¼ in. (71.76 x 56.52 cm.) signed lower right: B. MANDELMAN inscribed verso: STILL LIFE WITH FRUIT BEATRICE MANDELMAN / TAOS, N.M

acrylic and gouache on canvas 31 ½ x 47 ¼ in. (80.01 x 120.02 cm.) obscurely signed lower left: Mandelman

Provenance: Private Collection, New Mexico $5,000 – $8,000

Provenance: The Artist The Collection of Richard C. and Louise R. Dice $2,000 – $4,000

139 BEATRICE MANDELMAN (1912–1998) Untitled

140 BEATRICE MANDELMAN (1912–1998) The Flight

acrylic and graphite on canvas 47 ¼ x 31 ½ in. (120.02 x 80.01 cm.) signed lower left: Mandelman

mixed media collage on board 18 ⅜ x 27 ⅜ in. (46.67 x 69.53 cm.) signed lower right: MandElman inscribed verso: Title Flight - Collage / Artist Beatrice Mandelman

Provenance: The Artist The Collection of Richard C. and Louise R. Dice $3,000 – $5,000

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

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141 JANET LIPPINCOTT (1918–2007) Light From a Distant Shore, 1969 oil on canvas 60 x 68 in. (152.40 x 172.72 cm.) signed lower left: Lippincott inscribed verso: 68 x 60 / LIGHT FROM A / DISTANCE SHORE / Lippincott 1969 Janet Lippincott is counted among the pioneers of modernism in New Mexico. In an article in Southwest Art in the early 1980s, Lippincott stated that “abstract painting is an intellectual process. To be a modern painter and to make a truthful statement is the sum total of all I am and what I am continually striving to create. I am a painter and my feelings are all I can contribute to this world.” Janet Lippincott’s works are held in numerous important permanent collections including the Boulder Museum of Contemporary Art, the Columbia Museum of Fine Arts, the Denver Art Museum, the Kirkland Museum of Fine and Decorative Art, the Museum of Albuquerque, the Nelson Atkins Museum, the New Mexico State Capitol Art Collection, the Santa Barbara Museum, the Museum of New Mexico, the Utah Museum of Fine Arts, the Frederick R. Weisman Art Museum, and the Yellowstone Art Museum. Provenance: Private Collection, New Mexico $15,000 – $20,000

143 JANET LIPPINCOTT (1918–2007) Proud is My Bird, 1969

oil on canvas 42 ½ x 42 ½ in. (107.95 x 107.95 cm.) signed center right: Lippincott

mixed media on canvas 37 x 37 in. (93.98 x 93.98 cm.) signed lower left: Lippincott inscribed verso: #36 / PROUD IS MY BIRD / Lippincott 1969

Provenance: Private Collection, California $12,000 – $18,000

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Provenance: Private Collection, New Mexico $8,000 – $12,000

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142 JANET LIPPINCOTT (1918–2007) Untitled (Circular)

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144 JANET LIPPINCOTT (1918–2007) The Man, 1957 oil on canvas 59 ½ x 33 ⅜ in. (151.13 x 84.77 cm.) signed and dated lower right: Lippincott / 1957 Provenance: Private Collection, New Mexico $15,000 – $20,000

145 JANET LIPPINCOTT (1918–2007) Untitled, 1960 oil on canvas 48 x 71 ½ in. (121.92 x 181.61 cm.) verso: estate stamped Provenance: Private Collection, New Mexico $20,000 – $25,000

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146 JANET LIPPINCOTT (1918–2007) Summer Landscape, 1975 oil, silver foil, and burlap on canvas 63 x 62 ¾ in. (160.02 x 159.39 cm.) signed lower right: Lippincott inscribed verso: 1975 Summer Landscape Provenance: Private Collection, New Mexico $12,000 – $18,000

147 JANET LIPPINCOTT (1918–2007) Untitled acrylic and mixed media on canvas 33 ¾ x 33 ¾ in. (85.73 x 85.73 cm.) signed lower left: Lippincott Provenance: Private Collection, New Mexico $4,000 – $7,000

oil on board 11 ⅞ x 24 in. (30.16 x 60.96 cm.) signed upper left: Lippincott inscribed verso: HARBOR Provenance: The Collection of Kelly Knowlton, Tulsa, Oklahoma $1,500 – $2,500

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148 JANET LIPPINCOTT (1918–2007) Harbor, ca. 1973

WOMEN ARTISTS 149 CIEL BERGMAN (1938-2017) Good, Wild, Sacred (The Struggle to Recover What is Lost), 1989 oil on canvas 60 x 84 x 1 ½ in. (152.40 x 213.36 x 3.81 cm.) inscribed verso: GOOD, WILD, SACRED / (THE STRUGGLE TO RECOVER WHAT IS LOST) / #647 / S.B. 1989 Ciel Bergman / AKA ChOBowers / PRIV. COLL: NORMAN GIVANT Provenance: The Barbara and Ed Okun Collection $4,000 – $6,000

150 GLADYS NILSSON (b. 1940) The Little Ladyies Life, 1992 watercolor on paper 12 ¼ x 11 ½ in. (31.12 x 29.21 cm.) inscribed verso (other hand): Gardening by Gladys Nilsson / 1994 / (signed on rear of ptg.) Provenance: The Barbara and Ed Okun Collection $7,000 – $9,000

151 GLADYS NILSSON (b. 1940) The Little Ladyies Life Class, 1992 watercolor on paper 11 x 7 ½ in. (27.94 x 19.05 cm.) Provenance: The Barbara and Ed Okun Collection $7,000 – $9,000

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152 LYNDA BENGLIS (b. 1941) Pima Travel Agent, 1995 glazed ceramic 17 ¾ x 12 x 8 in. (45.09 x 30.48 x 20.32 cm.) signed underside: L Benglis [indecipherable] Provenance: The Artist The Barbara and Ed Okun Collection $20,000 – $30,000

mixed media on canvas 60 ¼ x 48 x 1 ½ in. (153.04 x 121.92 x 3.81 cm.) inscribed verso: TOP / Judith A. Tuwaletstiwa / Kykotsmoori III: 6 / 8/18/1995 Provenance: Private Collection, New Mexico $1,000 – $3,000

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153 JUDY TUWALETSTIWA (b. 1941) Kykotsmoori III, 1995

WOMEN ARTISTS 154 SUSAN HERTEL (1930–1992) Horses By Lone Butte, 1992 oil on canvas 24 x 54 in. (60.96 x 137.16 cm.) signed lower left: Susan Hertel stamped and inscribed verso: THIS PAINTING SUPPORT PROFESSIONALLY PREPARED FOR: SUSAN HERTEL Susan Hertel grew up in Illinois, spending family summers in Lake Geneva, Wisconsin and winters in Arizona, where she developed a passionate interest in horses and Indigenous cultures. In 1948, Hertel attended Scripps College in Claremont, California, where she studied drawing with noted California School of Painting artist Millard Sheets. She became his studio assistant and went on to collaborate with Sheets for the next 26 years. In 1980 the Hertels moved to Cerrillos, New Mexico where they set up a studio and built corrals for their horses. In 1983, she joined Elaine Horwitch galleries and embarked on a productive art career. One of Hertel’s memorable connections during those years was to actor Robert Redford, who often came to the Horwitch gallery in Santa Fe to buy her paintings. Redford would drive his silver Porsche to the gallery afterhours, when he could enjoy looking at the paintings on his own, and purchase her work for his private collection. Excerpted from Southwest Rising; Contemporary Art and the Legacy of Elaine Horwitch, 2020. By Julie Sasse. Provenance: Elaine Horwitch Galleries Private Collection, New Mexico $10,000 – $15,000

155 KRYSTII MELANIE (b. 1963) Dappled Grey, 2013 oil on linen panel 12 x 16 in. (30.48 x 40.64 cm.) signed lower left: © Krustii Melanie Provenance: Private Collection, Washington, D.C. $1,500 – $2,500

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156 ALYCE FRANK (b. 1932) The Orchard at Capitol Reef oil on canvas 30 x 40 in. (76.20 x 101.60 cm.) signed lower left: Alyce Frank inscribed verso: #263 / The Orchard at / Capitol Reed / by Alyce Frank Provenance: Private Collection, Texas $3,000 – $5,000

oil on canvas 30 x 40 in. (76.20 x 101.60 cm.) signed lower left: Alyce Frank inscribed verso: #269 / Flowering Peach / Trees / by Alyce Frank Provenance: Private Collection, Texas $3,000 – $5,000

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157 ALYCE FRANK (b. 1932) Flowering Peach Trees

WOMEN ARTISTS 158 ALYCE FRANK (b. 1932) At the End of Winter oil on canvas Each Canvas: 47 ½ x 23 ½ in. (120.65 x 59.69 cm.) signed lower right (panel 1): Alyce signed lower left (panel 2): Frank inscribed verso: #230(a/b) / A Pair Valdez / "at the End of Winter" / by Alyce Frank Provenance: Private Collection, Texas $8,000 – $12,000

159 ALYCE FRANK (b. 1932) The White House - Canyon de Chelly oil on canvas 40 x 30 in. (101.60 x 76.20 cm.) signed lower left: Alyce Frank inscribed verso: #721 / The While [sic] House / Canyon de Chelly / Alyce Frank Provenance: The Artist Private Collection, New Mexico $5,000 – $10,000

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160 ALYCE FRANK (b. 1932) Malinalco, Mexico oil on canvas 30 x 40 in. (76.20 x 101.60 cm.) signed lower right: Alyce Frank inscribed verso: Especially for Anna / From Lycee / #762 / Malinalco, Mexico / Alyce Frank Provenance: The Artist Private Collection, New Mexico $4,000 – $6,000

acrylic on canvas 30 ¼ x 66 ⅛ in. (76.84 x 167.96 cm.) inscribed verso on upper stretcher bar: OSBORNE ‘74 ACRYLIC 67” x 31” OSBORNE Provenance: Private Collection, New York $5,000 – $10,000

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161 ELIZABETH OSBORNE (b. 1936) Monument Valley, 1974

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162 INGER JIRBY (b. 1942) Storm Over the Jemez, 1988 oil on canvas 36 x 48 in. (91.44 x 121.92 cm.) signed lower right: Inger Jirby inscribed verso: “STORM OVER THE JEMEZ” / © Inger Jirby / July 2nd 1988 36 x 48” Santa Fe, N.M. Provenance: Private Collection, Texas $5,000 – $7,000

163 INGER JIRBY (b. 1942) Pilar in Moonlight, 2000 oil on canvas 40 x 56 in. (101.60 x 142.24 cm.) signed lower right: Inger Jirby inscribed verso: Inger Jirby / “Pilar in Moonlight” 40 x 56” / Dec 12 2000 / Pilar, N.M. Provenance: Private Collection, New Mexico $6,000 – $9,000

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164 INGER JIRBY (b. 1942) Nico’s Bakery, 1992 oil on canvas 38 ¼ x 48 ¼ in. (97.16 x 122.56 cm.) inscribed verso: Nico’s Bakery / Inger Jirby / Mykonos Greece Aug. 7th;1992 Provenance: A Private Family Foundation* *All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need. $4,000 – $6,000

165 INGER JIRBY (b. 1942) Orange House + Red Church, 1990 oil on canvas 30 x 40 in. (76.20 x 101.60 cm.) signed lower right: Inger Jirby inscribed verso: “Orange House + / Red Church” / June 13, 1990 30 x 40 / Pilar, N.M. / © Inger Jirby Provenance: Private Collection, Texas $4,000 – $6,000

166 INGER JIRBY (b. 1942) Courtyard with Red Ladder, 1989

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

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oil on canvas 24 x 30 in. (60.96 x 76.20 cm.) signed lower right: Inger Jirby inscribed verso: “Courtyard w. Red / Ladder” / © Inger Jirby 24 x 30” / Dec 30 1989 / Zihuatanejo, Mexico

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167 FRAN LARSEN (b. 1937) Village at Arroyo’s End, 1998 watercolor on board 47 ½ x 15 ½ in. (120.65 x 39.37 cm.) signed lower left: LARSEN Provenance: Private Collection, Texas $2,000 – $4,000

168 FRAN LARSEN (b. 1937) The Other Side of the Valley / Mountain Sunset Path, 1999 watercolor on board A. 39 ½ x 29 ⅝ in. (100.33 x 75.25 cm.) B. 39 ½ x 29 ⅝ in. (100.33 x 75.25 cm.) A. signed lower right: LARSEN B. signed lower left: LARSEN Provenance: Private Collection, Texas $2,000 – $4,000

169 FRAN LARSEN (b. 1937) Approaching Black Mountain, 1999

170 FRAN LARSEN (b. 1937) Calm in the Canyon, 1996

watercolor on board 23 ¾ x 47 ¾ in. (60.33 x 121.29 cm.) signed lower left: LARSEN

watercolor on board 29 ½ x 39 ⅝ in. (74.93 x 100.65 cm.) signed lower right: LARSEN

Provenance: Private Collection, Texas

$1,500 – $2,500

$1,000 – $2,000

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171 FRAN LARSEN (b. 1937) Evening Sentinel, 1996 watercolor on board 19 ¾ x 29 ¾ in. (50.17 x 75.57 cm.) signed lower right: LARSEN Provenance: Private Collection, Texas $800 – $1,200

172 ANNE COE (b. 1949) Keeping Your Head Above Water acrylic on canvas 48 ½ x 48 ½ x 1 ¼ in. (123.19 x 123.19 x 3.18 cm.) inscribed verso: ANNE Provenance: Elaine Horwitch Galleries, Santa Fe, New Mexico Private Collection, New Mexico $1,500 – $2,500

173 ANNE COE (b. 1949) Javalina Heaven, 1984

Provenance: Elaine Horwitch Galleries, Santa Fe, New Mexico Private Collection, New Mexico $1,000 – $2,000

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acrylic on canvas 26 ½ x 38 ½ x 1 ¼ in. (67.31 x 97.79 x 3.18 cm.) inscribed verso: Anne Coe / “Javalina Heaven” / 1984 / 26 ½ x 38 ½ / Anne Coe

WOMEN ARTISTS 174 PEGGY MCGIVERN (b. 1952) Pilar Church , 2005 oil on canvas board 29 ½ x 23 ½ in. (74.93 x 59.69 cm.) signed lower left: McGivern Provenance: Private Collection, Texas

175 SUSAN CONTRERAS (b. 1952) Los Trabajadores (The Workers), 2005

$2,000 – $4,000

oil on linen 50 x 60 in. (127 x 152.40 cm.) signed lower left: CONTRERAS Provenance: Private Collection, New Mexico Exhibited: Parks Gallery, Taos, New Mexico, Susan Contreras: Recuerdos de Mexico, October 15 - November 7, 2005 $4,000 – $6,000

176 MICHAEL TRACY (b. 1943) Cruz de Sangre I, 1989 acrylic rebozo on cotton canvas with enamel over canvas 36 ⅜ x 46 ⅜ in. (92.39 x 117.79 cm.) Provenance: Gallery Paule Anglim, San Francisco Private Collection, New York Private Collection, New Mexico $1,000 – $2,000

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177 ROBERT MALLARY (1917–1997) Untitled (Assemblage), 1957 mixed media: found materials, resin mix and pigment on wooden board 44 x 61 ½ x 4 ½ in. (111.76 x 156.21 x 11.43 cm.) signed and dated lower right: mallary 57

During the 1950s and 1960s, Mallary was included in several important exhibitions, including Sixteen Americans (1961) at the Museum of Modern Art, New York where he was shown alongside artists such as Jasper Johns, Ellsworth Kelly and Robert Rauschenberg. He was also included in The Art of Assemblage at MOMA, as well as other important exhibitions at the institution: Recent Sculpture U.S.A. (1959), The 1960s: Paintings & Sculptures from the Museum Collection (1967), Young Abstract Expressionists of the Fifties (1971) and The Artist as Adversary (1971). Untitled, 1957, comes from Mallary’s series of New Mexico Reliefs. In his foreword to the catalogue for an exhibition of those works at The Mayor Gallery, Wayne Thiebaud wrote: “Robert Mallary introduced me to the community of excellence and its rich traditions. His extraordinary capacity for interrogation of visual works allows formalism its regal position as one of a painters most useful tools for evaluation and self-criticism. His beautiful and expressive works continue to inspire.” Provenance: The Artist Private Collection, New Mexico $20,000 – $30,000

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POST-WAR CONTEMPORARY

Robert Mallary spent his childhood in California and then traveled to Mexico City during the 1930s and 1940s where he studied with David Alfaro Siquerios. The experience led to Mallary’s interest in unconventional materials and techniques. Looking back on this time in his life, Mallary stated, “ About twenty-five years ago I fell under the spell of Siqueiros. He was advocating a technological revolution in painting and was himself working with an airbrush and synthetic lacquers. Soon I was doing likewise, and in the 1940s was spending much time investigating various areas of technology from the point of view of uncovering some new materials which might be adapted to the special needs of painting and sculpture.”

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178 DICK MASON (1951–1993) Two paintings: Bent & Dark Age II, 1987 mixed media on linen 46 x 36 in. (116.84 x 91.44 cm.) signed and dated lower right: D. Mason 3/87 titled lower left: Bent inscribed verso: D. Mason / “Bent”/ MIXED MEDIA ON LINEN / 48 x 36”/ © DICK MASON 1987 mixed media on linen 46 x 38 in. (116.84 x 96.52 cm.) signed and dated lower right: D. Mason 3/87 inscribed verso: D. Mason / DARK AGE II / MIXED MEDIA ON LINEN / 48 x 36” / © DICK MASON Provenance: Elaine Horwitch Galleries Private Collection, Kansas Exhibited: The Museum of the Southwest, Spotlights: Paintings by Dick Mason, April 18 - May 31, 1992 $3,000 – $5,000

179 CHARLES ARNOLDI (b. 1946) Untitled, 1990

180 ROBERT GRAHAM (1938–2008) MOCA Torso, 1992–1995

bronze, edition of 10 11 x 20 x 11 in. (27.94 x 50.80 x 27.94 cm.) inscribed: ARNOLDI 1990

bronze, edition of 3500 11 x 4 ½ x 4 ½ in. (27.94 x 11.43 x 11.43 cm.) inscribed: R Graham CARLOS

Provenance: Private Collection, California

$2,000 – $3,000

$2,000 – $4,000

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181 LADDIE JOHN DILL (b. 1943) Untitled (Diptych), 1993 glass, cement, iron oxides on panel 12 x 12 x 2 in. (30.48 x 30.48 x 5.08 cm.) (each) signed and dated verso (each): Laddie John Dill / 1993 Provenance: Private Collection, California $1,500 – $2,500

watercolor on paper 21 ½ x 29 ½ in. (54.61 x 74.93 cm.) signed center (in manila envelope): Paul Sarkisian Provenance: Private Collection, New Mexico $3,000 – $5,000

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POST-WAR CONTEMPORARY

182 PAUL SARKISIAN (1928–2019) Envelopes

POST-WAR CONTEMPORARY 183 KEN PRICE (1935–2012) Gleam, 2000 acrylic on fired ceramic 6 ¼ x 8 x 6 ¾ in. (15.88 x 20.32 x 17.15 cm.) In the summer of 2019, the Georgia O’Keeffe Museum in Santa Fe launched the latest of their “Contemporary Voices” program with an extensive exhibition of the work of ceramic artist Ken Price. In the program to the exhibition, curator Ariel Platek credits Price for being one of the few ceramic artists who helped to “elevate ceramic sculpture to a status on a par with contemporary painting, worthy of collection and exhibition by leading museums.” Price was born in Los Angeles, California in 1935 where he attended grade school and high school. After a brief stint at Santa Monica City College, Price received a B.F.A. from the University of Southern California in 1956. From 1955 to 1958, Price studied with ceramics legend Peter Voulkos at the Los Angeles County Art Institute, which later became known as the Otis Art Institute. He also took life drawing, animation and watercolor courses from the Chounard Art Institute and Los Angeles City College. At the time, Los Angeles was flooded with young artists and Price soon came to know artists such as John Altoon, Billy Al Bengston, Robert Irwin, Edward Kienholz, John Mason and Edward Moses. From 1960 to 1964, Price had three solo exhibitions at the famed Ferus Gallery in Los Angeles. In 1969, Price was honored with a solo exhibition at the Whitney Museum of American Art in New York City. Later, Price enrolled in the graduate ceramics program at the New York State College of Ceramics at Alfred where he finished the equivalent of a two-year M.F.A. program. From 1971 to 1982 Price lived in Taos, New Mexico. According to Platek, the works selected for the exhibition at the O’Keeffe Museum included 10 sculptures and more than a dozen works on paper that “date mainly to the last decades of Price’s life and were made in his studio in Arroyo Hondo, near Taos. Like Georgia O’Keeffe, Price had an established career elsewhere before relocating to New Mexico.” Gleam, like Horace which appeared in the exhibit, is a striking example from this same period and work phase in the artist’s oeuvre. These items are the result of a painstaking process described by Platek: “While a traditional ceramic glaze is fired together with the clay, Price painted the sculptures … after firing. He layered multiple coats of different colored acrylic paints and then selectively sanded them, revealing the colors that had built up below. Depending on the palette, the effect can suggest goose bumps or extraterrestrial organisms.” In 2012 Price was the subject of a highly acclaimed retrospective at the Los Angeles County Museum of Art which later traveled to the Metropolitan Museum of Art. Provenance: L.A. Louver, Los Angeles, California Private Collection, California $100,000 – $150,000

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184 THE FROSTIG COLLECTION The complete set of 5 bronze sculptures together with original wooden box, 2005 SARAH PERRY (20th Century) Speak For Me, 2004 1 ½ x 5 ¾ x 2 ¼ in. (3.81 x 14.61 x 5.72 cm.)

bronze, edition 23 of 200 each signed and editioned Provenance: Private Collection, California $4,000 – $6,000

CHARLES ARNOLDI (b. 1946) Crybaby, 2004 4 ½ x 3 ½ x 3 ½ in. (11.43 x 8.89 x 8.89 cm.) MICHAEL MCMILLEN (b. 1946) Maquette for The Studio, 2004 3 ¾ x 5 ⅞ x 3 ⅞ in. (9.53 x 14.92 x 9.84 cm.) GYWNN MURRILL (b. 1942) Stretching Dog Maquette, 2004 3 x 7 ½ x 1 ½ in. (7.62 x 19.05 x 3.81 cm.) KEN PRICE (1935–2012) Lunk, 2004 4 x 4 ⅞ x 4 ¾ in. (10.16 x 12.38 x 12.07 cm.)

186 GEORGE HERMS (b. 1935) Poets Pipe, 2008

wood, coffee filters, metal 24 x 22 ⅜ x 6 in. (60.96 x 56.83 x 15.24 cm.) titled, signed, and dated verso: “FAITHFUL” / G. Herms / 2006

wood, cardboard and coffee filters 20 ¼ x 17 ⅝ x 2 in. (51.44 x 44.77 x 5.08 cm.) titled, signed, and dated verso: POETS / PIPE G. Herms / 2008

Provenance: Private Collection, California

$1,500 – $2,500

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185 GEORGE HERMS (b. 1935) Faithful, 2006

POST-WAR CONTEMPORARY

187 DIRK DE BRUYCKER (1955–2015) The Great Longing II, 1990 mixed media on canvas 30 x 40 in. (76.20 x 101.60 cm.) inscribed verso: DIRK DE BRUYCKER / 1990 /”THE GREAT LONGING” Provenance: Private Collection, New Mexico $3,000 – $5,000

188 DIRK DE BRUYCKER (1955–2015) Drifter, 2004

189 DIRK DE BRUYCKER (1955–2015) #4

mixed media on canvas 28 x 22 in. (71.12 x 55.88 cm.) inscribed verso: DIRK DE BRUYCKER / “INNER MOTION” II / 1999 / 28” X 22”

mixed media on canvas 28 x 22 in. (71.12 x 55.88 cm.) inscribed verso: 28” x 22”/ #4, MM / DIRK DE BRUYCKER

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

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190 JUAN CARLOS DEL VALLE (Mexican, b. 1975) Cake XIX, 2015 oil on canvas 16 x 12 in. (40.64 x 30.48 cm.) inscribed verso: PINTO’: / JUAN CARLOS / DEL VALLE / -MÉXICO- / 40 x 30 cm / “PASTEL XIX” / 6-VII-2015 Juan Carlos del Valle was born in Mexico City in 1975 where he currently lives and works. He is well-known for linking a realist-expressionist aesthetic with an exploration about the human condition. “Through his cake paintings, often depicted as already sliced, cut or bitten, Del Valle is not only drawing attention to the pastry itself but to the intimate act of eating it, forming a relationship with it, finding the humanity in it. The artist plays with the ambivalence of desire and love, both the animal and the divine natures that coexist within us. Cake XIX seduces the viewer, it wants to be eaten and shamelessly triggers the senses –the mouth instantly waters when evoking the sweetness of the cream, the tanginess of the jam and the moisture of the bread. At the same time, there is a radical vulnerability about the way this cake’s layers are exposed, a sort of nakedness. The strawberry on top even reminds of a human heart.” –Pilar Alfonso Galeano Provenance: Private Collection, Mexico City $3,000 – $5,000

191 JOSE BEDIA (b. 1959) She Stops at Pretty Places, 2016 mixed media on paper 50 x 38 in. (127 x 96.52 cm.) signed and dated lower right: J Bedia 16

Provenance: Private Collection, Los Angeles, California $5,000 – $7,000

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POST-WAR CONTEMPORARY

Jose Bedia is a very important figure in the history of art from Cuba. He graduated with honors from ISA, the Instituto Superior de Arte de la Habana and later became a mentor and teacher to the next generation of Cuban artists. He was a pioneer of the radical transformation of Cuban Art that inaugurated the Exhibition Volumen 1. His works are in many important collections in the United States, including the Metropolitan Museum, the Whitney Museum of American Art, the Guggenheim, Tate Modern and the Smithsonian Museum in Washington D.C.

POST-WAR CONTEMPORARY

192 DAMIÁN SIQUEIROS (Mexican, b. 1959) The Song of Red 04, 2017 archival print on moab 300 natural, edition 1 of 5 20 x 30 in. (50.80 x 76.20 cm.) signed, editioned and dated lower right: Damian Siqueiros 1/5 2017 Provenance: Private Collection, Los Angeles, California $2,000 – $3,000

Damián Siqueiros is a Mexican-Canadian Montreal-based image maker. As a photographer, he does not pursue the reflection of reality, but rather imagines how to transform and reinterpret it. “The Rapt of Culture” is part of the artist’s Icarus series referencing iconic themes from Art History used for tragic storytelling. (The word “rapt” in this case is used in its original etymological sense to mean abduction.) With a clearly Baroque aesthetic, Icarus II, draws from Masters such as Hendrick Goltzius, Rubens, Titian and Michelangelo. The spectator can see elements from the fall of Icarus, Prometheus’ and Tityus’ torture to the entombment of Christ. The empathetic groupings in each of the images evoke an emotional depth that is at once familiar and displaced, majestic and dystopian. The mix of different textures through postproduction and intervention, blurs the lines between the photographic medium, painting and drawing. For Siqueiros, this was one of the first successful attempts to push the boundaries of photography by developing the process of creation so that choreography and costume design are as essential as the resulting images. The series has been exhibited at the Art Museum of the Americas, the Gabarrón Foundation in NY, the Frost Museum and won the “Coup de Coeur” Scotia Bank prize during Montreal’s Art Souterrain public art festival.

193 DAMIÁN SIQUEIROS (Mexican, b. 1959) Icarus II, The Rapt of Culture, 2017 archival print, edition 3 of 5 32 x 47 in. (81.28 x 119.38 cm.) signed, editioned and dated lower right: Damián Siqueiros 3/5 2017 Provenance: Private Collection, Los Angeles, California $3,000 – $4,000

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194 LEKHA SINGH (20/21st Century) Weeds 8, 2016 photograph on brushed aluminum, edition of 5 96 x 144 in. (243.84 x 365.76 cm.) Indian-born American photographer Lekha Singh has traveled the world for over 25 years, taking photographs and making films. Her work tells stories of the commonality of human experience from crowded cities to little-known places of destitution and desolation. Whether Singh is taking a macro approach to weeds – flora’s most under-appreciated species – or she is traveling the world exposing cultural nuances, Lekha Singh delves into a paradigm that celebrates the eternal beauty found within subjects hidden in plain sight.

Singh’s films have reached more than a hundred million people and garnered many awards including The Sundance Collective’s Social Impact Award, The American Psychological Association’s Best Avant-Garde Film and Fingal Film Festival’s Best Documentary. Provenance: Private Collection, Los Angeles, California $20,000 – $30,000

195 LEKHA SINGH (20/21st Century) Do Not Touch, 2018 photograph on brushed aluminum, edition of 6 40 x 30 in. (101.60 x 76.20 cm.) Provenance: Private Collection, Los Angeles, California $2,500 – $3,500

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POST-WAR CONTEMPORARY

Her photographs have been seen in over twenty exhibitions, four books (including one for National Geographic) and several magazines and newspapers, including the New York Times. The Los Angeles County Museum of Art, The International Center of Photography and the Rubin Museum have her works in their permanent collection.

SESSION TWO

LOTS 196 â&#x20AC;&#x201C; 374 November 14, 2020 1:30 PM MST

EARLY AMERICAN

196 FREDERICK DELLENBAUGH (1853–1935) Indian Behind Cactus, 1885 oil on canvas 16 ¾ x 20 ⅝ in. (42.55 x 52.39 cm.) signed and dated lower right: F.S. Dellenbaugh 1885 Provenance: Private Collection, New Mexico A Private Family Foundation* *All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need. $3,000 – $5,000

197 WILLIAM ARMSTRONG (Canadian, 1822–1914) A Dakota Indian Woman

198 WILLIAM ARMSTRONG (Canadian, 1822–1914) Te.he.do.ne-cha, 1865

oil on board 17 ½ x 13 ½ in. (44.45 x 34.29 cm.) inscribed verso: Dacotah Woman / Armstrong / Toronto CN

oil on board 17 ½ x 13 ½ in. (44.45 x 34.29 cm.) signed and dated lower left: Armstrong / 65 inscribed verso: Te.he.do.ne-cha Sioux / [indecipherable]

Provenance: Private Collection, New Mexico A Private Family Foundation* *All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need. $4,000 – $8,000

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199 EDGAR PAXSON (1852–1919) Apache Kids, 1891 oil on canvas 24 x 18 in. (60.96 x 45.72 cm.) signed and dated lower right: E’g’ Paxson / - 91’ – inscribed on artist’s label verso: “Apache Kids” Provenance: J. N. Bartfield Galleries, New York, New York Private Collection, Texas $15,000 – $25,000

oil on canvas 14 x 12 in. (35.56 x 30.48 cm.) signed and dated lower left: CHAS. BRINTON COX. / 1902 Provenance: Private Collection, New Mexico $3,000 – $5,000

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EARLY AMERICAN

200 CHARLES BRINTON COX (1864–1905) Mexican Children, 1902

EARLY AMERICAN

201 JOHN CALVIN PERRY (1848–1936) California Landscape oil on canvas 14 x 30 ½ in. (35.56 x 77.47 cm.) signed lower left: J Perry Provenance: Private Collection, New Mexico A Private Family Foundation* *All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need. $3,000 – $5,000

202 CHARLES DEAS (1818–1867) Landscape with Stream and Figures, 1847 oil on panel 10 ⅝ x 15 ⅝ in. (26.99 x 39.69 cm.) signed and dated lower right: CDeas 1847 Provenance: Private Collection, Pennsylvania A Private Family Foundation* *All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need. $50,000 – $70,000

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203 WORTHINGTON WHITTREDGE (1820–1910) Long’s Peak Sunset, 1870 oil on canvas 13 ⅞ x 21 ½ in. (35.24 x 54.61 cm.) signed lower right: [illegible] W. Whittredge Provenance: Private Collection, New York Private Collection, Massachusetts Amon Carter Museum, Fort Worth, Texas Private Collection, New Mexico A Private Family Foundation* Exhibited: Amon Carter Museum, Fort Worth, Texas, American West, January 1974 Laguna Gloria Art Museum, Austin, Texas, American Landscape Paintings: 1850-1900, September 7 - October 17, 1976 Literature: Janson, Anthony F., Worthington Whittredge, Cambridge University Press, 1989, Illus. p. 124. *All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need. $50,000 – $70,000

oil on canvas 18 x 24 in. (45.72 x 60.96 cm.) signed lower left: Charles Partridge Adams inscribed upper stretcher bar: Storm Clouds Lifting - Rocky Mountains, / Southern Colorado Provenance: Private Collection, Texas $6,000 – $9,000

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EARLY AMERICAN

204 CHARLES PARTRIDGE ADAMS (1858–1942) Storm Clouds Lifting, Southern Colorado, ca. 1915

EARLY AMERICAN

205 CORNELIUS BOTKE (1887–1954) Untitled (Landscape) oil on canvas 16 x 20 in. (40.64 x 50.80 cm.) signed lower right: CORNELIUS BOTKE Provenance: Private Collection, New York $3,000 – $5,000

206 WILLIAM KEITH (Scottish, 1838–1911) California in Springtime, 1894 oil on wood board 19 ½ x 30 ⅛ in. (49.53 x 76.52 cm.) signed and dated lower right: W. Keith / 94 Provenance: Collection of Selah and Gladys Chamberlain, Woodside, California Estate of Jean R. Chickering, Santa Fe, New Mexico Private Collection, New Mexico $3,000 – $5,000

207 JOHN FROST (1890–1937) Spring - The Farm oil on board 13 x 15 ½ in. (33.02 x 39.37 cm.) inscribed verso: Spring The Farm / by John Frost Provenance: Private Collection, New Mexico $3,000 – $5,000

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208 WALT KUHN (1877–1949) Cabin in the Pines, ca. 1928–1935 oil on canvas 30 x 25 in. (76.20 x 63.50 cm.) signed upper left: WALT KUHN signed lower right verso: WALT KUHN Provenance: Hobe Sound Galleries North, Brunswick, Maine Barridoff Galleries, Portland, Maine Salander O’Reilly Galleries, Inc., New York, New York Midtown Payson Galleries, New York, New York A Private Family Foundation* Exhibited: Salander O’Reilly Galleries, Inc., New York, New York, Marsden Hartley and Walt Kuhn, “The Landscapes”, January 8 - February 27, 1988 The Museum of Art of Ogunquit, Walt Kuhn: American Master, July 1 - September 15, 1992 *All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need. $8,000 – $12,000

209 W. HERBERT DUNTON (1878–1936) Untitled (Forest Stream), 1905 oil on canvas 22 x 15 in. (55.88 x 38.10 cm.) signed and dated lower right: W. Herbert Dunton / ‘05 Provenance: Private Collection, New Mexico

$7,000 – $10,000

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EARLY AMERICAN

To be included in the upcoming catalogue raisonné of the artist's work.

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210 RALPH MEYERS (1885–1948) Untitled (Cottonwoods), 1915 oil on canvas 10 x 12 in. (25.40 x 30.48 cm.) signed and dated lower right: R.W. Meyers. 1915 signed and dated lower left (partially obscured): R Meyers Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, New Mexico Exhibited: Taos Art Museum at Fechin House, Ralph Meyers, A Taos Original, May 21 - October 4, 2015 $4,000 – $6,000

211 RALPH MEYERS (1885–1948) Adobes in Spring, ca. 1920 oil on canvas on board 11 ⅝ x 15 ½ in. (29.53 x 39.37 cm.) signed lower right: Ralph Meyers Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, New Mexico Exhibited: Taos Art Museum at Fechin House, Ralph Meyers, A Taos Original, May 21 - October 4, 2015 $5,000 – $7,000

212 FRANZ STRAHALM (1879–1935) Taos Pueblo oil on board 20 x 10 in. (50.80 x 25.40 cm.) signed lower right: Franz Strahalm Provenance: Private Collection, Virginia $1,500 – $3,000

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213 E. A. BURBANK (1858–1949) Untitled (Taos Pueblo in Winter) oil on board 6 ½ x 9 ⅛ in. (16.51 x 23.18 cm.) signed lower right: E. A. BURBANK Provenance: Private Collection, California $5,000 – $7,000

oil on board 14 x 17 ⅞ in. (35.56 x 45.40 cm.) signed and inscribed lower left: [indecipherable] / with my appreciation & love / “Brandy” inscribed verso: George K. Brandiff “Brandy” / presented to / Grace Vollmer Provenance: Private Collection, Virginia $8,000 – $12,000

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214 GEORGE KENNEDY BRANDIFF (1890–1936) Untitled (Taos Pueblo)

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215 E. I. COUSE (1866–1936) The Camping Place oil on canvas 24 x 29 in. (60.96 x 73.66 cm.) signed lower left: .COUSE. N.A. Provenance: Private Collection, Texas To be included in the upcoming catalogue raisonné of the artist's work. $100,000 – $150,000

216 E. I. COUSE (1866–1936) Indian Brave Kneeling Before the Firelight oil on board 7 ½ x 9 ⅜ in. (19.05 x 23.81 cm.) signed lower left: E-I-COUSE. Provenance: Hirschl & Adler Galleries, Inc., New York, New York Jack and Susan Eiteljorg Collection, Santa Fe, New Mexico Owings-Dewey Fine Art, Santa Fe, New Mexico Gordon Collection, Williams Island, Florida Private Collection, New Mexico To be included in the upcoming catalogue raisonné of the artist’s work. $30,000 – $40,000

217 EMIL BISTTRAM (1895–1976) Study for ‘Mexican Wake’, 1931 pastel on tissue paper 17 ½ x 23 ½ in. (44.45 x 59.69 cm.) signed and dated lower right: BISTTRAM 31 Provenance: Owings-Dewey Fine Art, Santa Fe, New Mexico Private Collection, Georgia $20,000 – $25,000

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Moses, 1934, is one of a number of studies Higgins did for this mural.

oil on burlap 49 ½ x 39 ½ in. (125.73 x 100.33 cm.) signed lower left: VICTOR HIGGINS

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

It was late Spring in 1932 when Taos residents woke up to a real terror: a horrible raging fire destroyed almost the entire side of the plaza, including the Taos Country Courthouse. A new courthouse was built and, by 1934, the Public Works of Art Project (PWAP) commissioned ten fresco murals for the new courthouse by four of the town’s most famous painters—Emil Bisstram, Victor Higgins, Ward Lockwood and Bert Phillips.

Literature: Dean Porter, Victor Higgins: An American Master, Salt Lake City: Gibbs Smith, 1991, p.188, Illus. p.266. Dean Porter, Teresa Hayes Ebie, and Suzan Campbell, Taos Artists and Their Patrons: 1898-1950, Snite Museum of Art, University of Notre Dame, 1999, Illus. p.225, No. 183.

Higgins’ central panel Moses the Lawgiver/Moses, el Legislador is a true masterpiece of the Modernist style. An austere and geometrically configured Moses commands the forefront of a quintessential Higgins landscape, with angular cliffs, ascending mountain faces and the abstracted layers of clouds.

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*All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need. $80,000 – $120,000

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218 VICTOR HIGGINS (1884–1949) Moses, 1932–1933

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219 WILL SHUSTER (1893–1969) Sifting Wheat, San Ildefonso, New Mexico, 1920 oil on canvas 20 x 24 in. (50.80 x 60.96 cm.) signed and dated lower right: WILL SHUSTER / ‘20 Provenance: Dr. Clark B. Marlor Collection Rainone Galleries, Arlington, Texas Private Collection, Texas Exhibited: New Mexico Museum of Fine Arts $20,000 – $30,000

220 LEON GASPARD (1882–1964) Selling Mushrooms, 1913 oil on linen on board 4 ⅞ x 11 1/16 in. (12.38 x 28.10 cm.) signed and dated lower left: Leon Gaspard 1913 Provenance: The Artist Private Collection, Texas $10,000 – $20,000

221 LEON GASPARD (1882–1964) The Blue Shawl, 1914 oil on silk mounted on board 12 ⅞ x 8 ½ in. (32.70 x 21.59 cm.) signed and dated lower left: Leon Gaspard / Russia 1914 Provenance: Private Collection, New Mexico $8,000 – $12,000

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222 ALFRED MORANG (1901–1958) The Women at Claude’s oil on canvas board 20 x 16 in. (50.80 x 40.64 cm.) signed lower left: Alfred / Morang Provenance: Private Collection, New Mexico $6,000 – $8,000

watercolor 25 ¼ x 29 in. (64.14 x 73.66 cm.) inscribed upper right: LA VILLA REAL DE LA / SANTA FE’ / Observed Sketchily / Recorded Affectionately / for / KATHERINE MURPHY / by / Sam Houston / August 1936 Provenance: Zaplin Lampert Gallery, Santa Fe, New Mexico Private Collection, New Mexico $4,000 – $6,000

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223 SAM HOUSTON La Villa Real de la Santa Fe, 1936

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224 PIERRE MENAGER (1894–1973) Mineshaft Tavern, Madrid, New Mexico oil on board 25 ½ x 43 ⅜ in. (64.77 x 110.17 cm.) signed lower right: Pierrre Menager

225 PIERRE MENAGER (1894–1973) Wedding in New Mexico

Provenance: Private Collection, New Mexico

oil on canvas board 23 ⅛ x 19 ¼ in. (58.74 x 48.90 cm.) signed lower right: P Menager

$3,000 – $6,000

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

226 HOWARD BOBBS (1910–1984) Untitled (Madrid Coal Mine)

227 JAMES BUTLER (b. 1925) The Plaza, Santa Fe

oil on board 24 x 30 in. (60.96 x 76.20 cm.) signed lower right: Howard Bobbs inscribed verso: BOBBS CARMEL - CALIF

oil on board 8 ½ x 11 ½ in. (21.59 x 29.21 cm.) signed lower left: Butler

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

Provenance: Private Collection, California $1,000 – $2,000

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228 RANDALL DAVEY (1887–1964) After a Race at Rolling Rock oil on masonite 26 ⅛ x 32 ⅛ in. (66.36 x 81.60 cm.) signed lower left: Randall Davey Provenance: A Private Family Foundation* *All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need. $4,000 – $6,000

229 MAURICE STERNE (1878–1957) Peaches, Peppers and Corn oil on masonite 24 x 30 in. (60.96 x 76.20 cm.) signed lower right: Sterne inscribed verso: #6006 / Peaches & Peppers / & Corn / by Sterne Provenance: A Private Family Foundation* *All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need. $8,000 – $12,000

oil on canvas mounted to board 14 x 18 ¼ in. (35.56 x 46.36 cm.) signed lower left: Sterne Provenance: Private Collection, Los Angeles, California Bourgeois Galleries, New York, New York Private Collection, New Mexico A Private Family Foundation* Exhibited: Worcester Art Museum, Worcester, Massachusetts, Exhibition of Paintings and Drawings by Contemporary American Artists, February 10 - March 2, 1924, no. 47 *All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need. $2,000 – $4,000

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230 MAURICE STERNE (1878–1958) Still Life

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231 ERNEST LEONARD BLUMENSCHEIN (1874–1960) Untitled (Woman Seated on Rock), 1913 oil on wood 5 ⅞ x 3 ⅞ in. (14.92 x 9.84 cm.) initialed lower left: B inscribed verso: To Mr. and Mrs. Samuel Shaw / from the Blumeys / New Year 1913 Provenance: Zaplin Lampert Gallery, Santa Fe, New Mexico Private Collection, New Mexico A Private Family Foundation* *All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need.

232 JEAN HANAU (1899–1966) Storm Over Jemez Mountains, 1928 oil on canvas 31 ⅝ x 24 ⅜ in. (80.33 x 61.91 cm.) signed and dated lower right: Jean Hanau / 1928 Provenance: Private Collection, Virginia $4,000 – $6,000

$5,000 – $7,000

233 FRANK HOFFMAN (1888–1958) Taos Indian Pony and Chickens, 1920 oil on wood panel 8 x 10 ⅛ in. (20.32 x 25.72 cm.) signed upper left: Hoffman

234 WILLARD NASH (1898–1943) Santa Fe Adobes

Provenance: Private Collection, New Mexico

oil on canvas 11 x 14 in. (27.94 x 35.56 cm.) signed lower left: WILLARD NASH inscribed verso: By Willard Nash

Exhibited: Panhandle-Plains Historical Museum, Canyon, Texas, From the Land of Enchantment: New Mexico Art in Texas Panhandle Collections $6,000 – $8,000

Provenance: Private Collection, New Mexico $10,000 – $15,000

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235 B. J. O. NORDFELDT (1878–1955) Gulls and Rocks, 1954 oil on canvas 32 x 40 in. (81.28 x 101.60 cm.) signed and dated lower right: Nordfeldt 54

*All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need. $20,000 – $30,000

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Provenance: Zabiskie Gallery, New York, New York Richard Stuart Gallery, Pipersville, Pennsylvania Private Collection, Texas A Private Family Foundation*

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236 B. J. O. NORDFELDT (1878–1955) Reddish Brown House, 1930 oil on canvas 26 x 32 in. (66.04 x 81.28 cm.) signed lower right: Nordfeldt Provenance: A Private Family Foundation* *All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need. $10,000 – $20,000

237 B. J. O. NORDFELDT (1878–1955) Mexican with Pink Sweater, 1937

238 ALFRED MORANG (1901–1958) Self Portrait, 1956

oil on canvas 32 x 26 in. (81.28 x 66.04 cm.) signed and dated upper right: Nordfeldt 37

mixed media on paper 15 x 15 ½ in. (38.10 x 39.37 cm.) signed and dated lower right: A Morang 56 inscribed verso: Alfred Morang / 1956

Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, New Mexico A Private Family Foundation* *All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need. $6,000 – $8,000

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239 CLINTON ADAMS (1918–2002) Still Life in Western Landscape, 1959 tempera and collage on board 24 x 30 in. (60.96 x 76.20 cm.) signed and dated lower left: Clinton Adams ‘59 Provenance: Tobe C. Moss Gallery, Los Angeles, California Private Collection, Texas $6,000 – $8,000

oil on masonite 32 x 48 in. (81.28 x 121.92 cm.) signed lower right: TOM BENRIMO, artist’s label affixed verso: REFLECTIONS #1 / #20 Provenance: Private Collection, New Mexico $3,000 – $5,000

241 HOWARD SCHLEETER (1903–1976) Stephanie, 1955 oil on prestwood 12 ½ x 7 ½ in. (31.75 x 19.05 cm.) dated and signed lower left: 55 / HB SCHLEETER inscribed verso: “STEPHANIE” / HOWARD B. SCHLEETER, / ALBUQUERQUE, NEW MEXICO. / DATE: NOVEMBER 7, 1955. / “ - 13” 55/26 {OIL ON / PRESTWOOD} Provenance: Private Collection, New Mexico $1,200 – $1,800

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240 THOMAS BENRIMO (1887–1958) Reflections #1

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242 CHARLES STEWART (1922–2011) Picking Flowers, 1954 oil on board 30 x 50 in. (76.20 x 127 cm.) signed and dated lower right: C. STEWART “54” Provenance: Gallery A, Taos, New Mexico Private Collection, New Mexico $6,000 – $8,000

243 CHARLES STEWART (1922–2011) The Butterfly Ceremony, 1994 oil on board 34 x 48 in. (86.36 x 121.92 cm.) signed lower right: C. STEWART T.S. inscribed verso: 34” x 48” Rio Grande / The Butterfly Ceremony / The Ceremony at Mid Summer / Charles C. Stewart / 1994 Provenance: Private Collection, New Mexico $5,000 – $10,000

244 CHARLES STEWART (1922–2011) Hopi Clowns and Glutens oil on canvas 18 x 24 in. (45.72 x 60.96 cm.) signed lower left: C. STEWART T.S. inscribed verso: “HOPI CLOWNS and GLUTENS” / C. STEWART TAOS inscribed in artist’s hand to card affixed to verso: This Hopi painting is of the CLOWNS / They are from the left KAISALWHITE / CLOUD CLOWN - KONA KACHINA / Chipmunk KISA iza / Prairie Falcon Kitchina - / AYA Katchina is a Rattle / katchina they are all part / of the racing ceremony Provenance: Private Collection, New Mexico $2,000 – $4,000

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245 LOUIS RIBAK (1902–1979) Burning Woods, ca. 1967 oil on masonite 30 x 24 in. (76.20 x 60.96 cm.) signed lower right: Ribak inscribed verso: Burning Woods Provenance: The Artist The Collection of Richard C. and Louise R. Dice $6,000 – $9,000

246 LOUIS RIBAK (1902–1979) Yellow and Red, ca. 1969

Provenance: The Artist The Collection of Richard C. and Louise R. Dice $7,000 – $10,000

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oil on masonite 36 x 24 in. (91.44 x 60.96 cm.) signed lower right: Ribak inscribed verso: Yellow & Red

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247 RAYMOND JONSON (1891–1982) Polymer No. 2, 1970 polymer on masonite 27 x 48 in. (68.58 x 121.92 cm.) signed and dated lower right: Jonson / 70 inscribed verso: POLYMER NO. 2 - 1970 / JONSON / THIS GRAY IS LATEX Provenance: Private Collection, New Mexico A Private Family Foundation* *All proceeds of sale from this artwork benefit a private charitable foundation (501c3) dedicated to supporting local arts communities and families in need. $8,000 – $12,000

248 RAYMOND JONSON (1891–1982) Watercolor No. 13, 1944 watercolor 12 ⅜ x 15 ¼ in. (31.43 x 38.74 cm.) signed lower right: Jonson inscribed verso: Mat is painted with Acrylic Gesso / WATERCOLOR NO. 13 - 1944 / RAYMOND JONSON / 2/16 [artist’s cipher] ‘44 / PALETTE / ULTRAMARINE VIOLET / COBALT BLUE / CERULEAN BLUE / PERMALBA WHITE / CADMIUM YELLOW PALE / CADMIUM YELLOW MEDIUM / CADMIUM RED ORANGE / CADMIUM RED MEDIUM Provenance: Private Collection, New Mexico $5,000 – $7,000

249 RICHARD KURMAN (1927–2020) North Sea Watch, 2012 oil on canvas 23 x 35 in. (58.42 x 88.90 cm.) inscribed verso: Richard Kurman 2012 / “NORTH SEA WATCH” / KURMAN Provenance: The Artist $3,000 – $5,000

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250 EMIL BISTTRAM (1895–1976) Brotherhood acrylic on canvas 56 x 50 in. (142.24 x 127 cm.) signed lower right: [artist’s cipher] / BISTTRAM inscribed verso: (BROTHERHOOD] E. BISTTRAM TAOS NM. Provenance: Private Collection, New Mexico $15,000 – $20,000

acrylic on canvas 67 1/4 x 91 1/4 x 1 1/4 in. (170.82 x 231.78 x 3.18 cm.) inscribed verso: [indecipherable] / K H. Hödicke / 82 Provenance: Annina Nosei Gallery, New York, New York The Barbara and Ed Okun Collection $10,000 – $20,000

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251 K. H. HÖDICKE (German, b. 1938) Odysseus and Siren, 1982

TAOS + SANTA FE SCHOOLS 252 RALPH MEYERS (1885–1948) Untitled (Mountain Landscape)

253 ODON HULLENKREMER (1888–1978) Camino Rancheros Toward Espanola, 1948

oil on canvas board 11 ⅞ x 8 ⅞ in. (30.16 x 22.54 cm.) signed lower right: R-MEYERS

oil on board 18 x 24 in. (45.72 x 60.96 cm.) signed and dated lower left: Odon Hellenkremer / 48 inscribed verso: SANTA FE, N.M. / CAMINO RANCHEROS . TOWARD ESPANOLA / by Odon Hullenkramer / 1948

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

Provenance: Atherton Gallery, Atherton, California Private Collection, Texas $3,000 – $5,000

254 RALPH MEYERS (1885–1948) Untitled (Arroyo Seco Adobes) oil on board 10 x 13 ¾ in. (25.40 x 34.93 cm.) signed lower left: Ralph Meyers Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, New Mexico Exhibited: Taos Art Museum at Fechin House, Ralph Meyers, A Taos Original, May 21 - October 4, 2015 $3,000 – $5,000

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255 FREMONT ELLIS (1897–1985) Taos Canyon oil on canvas 25 x 30 in. (63.50 x 76.20 cm.) signed lower left: FREMONT ELLiS Provenance: Private Collection, Colorado $10,000 – $15,000

257 CARL VON HASSLER (1887–1969) Untitled (Aspens in the Foothills)

acrylic on canvas board 7 ⅞ x 9 ⅞ in. (20 x 25.08 cm.) signed lower right: FREMONT ELLIS inscribed verso: FREMONT ELLIS / APPLE BLOSSOMS / 1962 / 553 CANYON Rd SANTA FE N.M. / do not oil or varnish / this painting

oil on board 18 x 23 in. (45.72 x 58.42 cm.) signed lower right: Von Hassler

Provenance: Linda McAdoo Gallery, Santa Fe, New Mexico, 1976 Collection of Jack Taylor Dempsey Matthews Gallery, Santa Fe, New Mexico Private Collection, New Mexico

$2,000 – $4,000

$4,000 – $6,000

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Provenance: Private Collection, New Mexico

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256 FREMONT ELLIS (1897–1985) Apple Blossoms, 1962

“There is a vastness, an immensity, and the peaceful hush of an enormous cathedral about Arizona’s great canyons. Whoever has been within these walls and has seen the flocks of sheep and goats grazing, heard the distant tinkle of the lead goat’s bell, listened to the haunting song of the bright-skirted shepherdess, and who has seen in the distance an approaching rider, a tiny speck against the massive walls, must yearn to perpetuate his impressions of those precious moments. That is why I paint the Navajo.” – Gerard Curtis Delano

GERARD CURTIS

DELANO (1890 â&#x20AC;&#x201C;1972)

GERARD CURTIS DELANO

GERARD CURTIS DELANO (1890–1972) The transformation of Gerard Curtis Delano from illustrator to fine artist was complete the instant he stepped onto the Land of the Navajo for the very first time. However swift, this was a moment that the artist had been preparing for his entire professional career. In 1940, Delano completed a four-year project that he titled “The Story of the West.” This series had a two-year run in Western Story Magazine and was comprised of 106 drybrush ink drawings that appeared alongside his narrative focusing on the development of the frontier West. The project had allowed him to survive in Colorado during an otherwise difficult period in his professional career. But now, in 1940, at the age of 50, Delano was faced with a “what’s next?” moment. Delano was a deeply spiritual and religious man who spent a majority of his life in solitude. After much introspection, he decided that he could make his living as a fine artist. So, his first trip to gather material for this elevated career move was to the Navajo Nation in New Mexico and Arizona. In Donald Hagerty’s essay, Heart of the Desert, which accompanied the catalogue to a 2001 Retrospective of Delano’s work at the Gerald Peters Gallery in Santa Fe, New Mexico, the writer states: “When Delano first ventured onto the Navajo Reservation in 1940, he found a world poised between the old and new ways…The traditional livelihoods of shepherding, weaving, and subsistence farming were regulated by changes of the seasons. For the most part, Navajo culture revolved around that land-based life. Automobiles were scarce on the reservation, and horses for riding and horse-drawn wagons still prevailed. Reservation roads were often faint tracks, and most of the major highways would not be paved until the late 1950s.” This is the land Delano encountered and subsequently fell in love with. It is what led to him being known as the “Painter of the Navajo” and it is also what led him to write, later in his life, “So began my knowledge of, and acquaintance with, the Navajo. As my admiration of these people has grown, so has the number of my material-gathering trips among them.” This private collection consigned to the Santa Fe Art Auction is one of the best and most significant collections of the artist’s work still in private hands. Twelve in number, the collection includes large masterworks in oil, smaller more intimate oil paintings and magnificently rendered watercolors. All twelve works come from Delano’s output after 1940 when he made the decision to spend the rest of his career depicting daily scenes of Navajo life harvested from firsthand accounts and experiences. The masterwork of Delano’s Navajo period is without a doubt The Orange Cloud. The Orange Cloud (oil on canvas, 32 x 42”), depicts a scene complete with large Native American figuration on horseback, featuring brightly colored dress and well-illustrated indigenous accessories. The composition exudes family warmth through the inclusion of a foal, and the overall image is enhanced by the tones of the setting sun in the titular orange cloud also reflected in the water at the horses’ feet. In Richard G. Bowman’s book, Walking with Beauty: The Art and Life of Gerard Curtis Delano, the author states “Delano identified some of his paintings as being the finest in execution and quality by putting a small red dot in the corner of the paintings.” The Orange Cloud is one of only a handful of paintings that bears this red dot. In fact, only five of Delano’s top ten auction records include this same red dot. Eight of the twelve paintings are set in the heart of Navajo Country, drawn from Delano’s love of the canyons and valleys of the region, including two of his favorite places, Vermillion Cliffs and Canyon de Chelly. No painting of the Arizona landscape is quite as epic as Delano’s Desert Thunderhead. In this monumental work, a giant cloud formation is rendered in Modernist geometric form, dominating the small sliver of land depicted beneath it. Large mesas appear infinitesimal against the immensity of the mass of cloud and sky. Completed in early 1940, the painting shows Delano’s contribution to the Modernist West as well as to this stylistic tradition that still continues today. Also particular to this group of paintings are two rare nocturnes depicting wildlife of the region. Bears in the Moonlight (oil on canvas, 24 x 28”) is a delightful painting of a mother bear and two cubs resting for the moment next to a large expanse of water. Delano has expertly captured the crepuscular moment when sky meets shore, with only brief, slight strokes representing the horizon line and small circles of pure white to designate the stars in the skies. The roundness of the bear form contrasts exquisitely with both the rock formation and the curve of the shoreline to present what Bowman calls “pure poetic design.” Another such painting is New Life (oil on board, 11 ½ x 15 ½”) in which Delano delicately places a newborn fawn next to a doe, with their swift reflections captured momentarily in the brilliant moonlight. Completing the unequaled excellence of this Delano collection is an outstanding example of a canoe scene. Wilderness Silence (watercolor, 11 ¾ x 21 3/4) elegantly places a solitary Native figure rowing quietly out on to the still fog-covered lake with only his reflection and a small white dog. The two pause as the barely visible form of a White Heron flies over them. In this scene, Delano’s understanding of solitude and simple beauty shine through. The watercolor depicts that moment of revelation, where a lone figure experiences a moment of transcendence that allows him to connect to something large than himself. It is in this ability to portray the sublime beauty of the natural world where Delano’s true talent shines through.

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258 GERARD CURTIS DELANO (1890–1972) The Orange Cloud

Provenance: Collection of Mr. and Mrs. Del Trailer Private Collection, Arizona Literature: Richard G. Bowman, Walking with Beauty: The Art and Life of Gerard Curtis Delano, Denver, Colorado, 1990, Illus. p. 78. $500,000 – $700,000

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GERARD CURTIS DELANO

oil on canvas 32 ¼ x 42 ¼ in. (81.92 x 107.32 cm.) signed lower left: © DElano red dot lower right inscribed verso: K’os C[]li-tso-i / Pronounced / K-ose T[]-Kthli-tso-ee / which translated from the Navajo / means: / The Orange Cloud

GERARD CURTIS DELANO 259 GERARD CURTIS DELANO (1890–1972) Vermillion Cliffs (Navajo Reservation) oil on canvas 31 ¼ x 36 in. (79.38 x 91.44 cm.) signed lower right: © DElano inscribed verso: Notice of Copyright: This painting for sale as a / private decoration only. All reproduction / rights reserved by the artist / Vermillion Cliffs, Arizona / (Navajo Reservation) / Painted by / Gerard Curtis Delano / 31 E. 18th Ave. / Denver, / Colo., (Copyright notice stamped 6 times on verso.) Provenance: The Collection of J.J. Whitehead Gerald Peters Gallery, Santa Fe, New Mexico Estate of Dr. Otey Johnson, Ardmore, Oklahoma Private Collection, Arizona Literature: Donald J. Hagerty, Heart of the Desert: The West of Gerard Curtis Delano, Santa Fe, New Mexico: Gerald Peters Gallery, 2001, Illus. p. 52-53. $100,000 – $150,000

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260 GERARD CURTIS DELANO (1890–1972) Sheep in the Riverbed oil on board 19 ¾ x 24 in. (50.17 x 60.96 cm.) signed lower right: © DElano inscribed verso: Sheep in the Riverbed / Painted and Copyright / by / Gerard Curtis Delano Provenance: Zaplin Lampert Gallery, Santa Fe, New Mexico Private Collection, Arizona $50,000 – $70,000

oil on board 18 x 24 in. (45.72 x 60.96 cm.) signed lower left: © DElano inscribed verso (photograph copy affixed to backing): The Flock of Sheep / Painted and Copyright / by / Gerard Curtis Delano Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, Arizona $50,000 – $70,000

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GERARD CURTIS DELANO

261 GERARD CURTIS DELANO (1890–1972) The Flock of Sheep

GERARD CURTIS DELANO 262 GERARD CURTIS DELANO (1890–1972) Bears in the Moonlight oil on masonite 24 x 30 in. (60.96 x 76.20 cm.) signed lower right: © DElano inscribed verso: Bears in the Moonlight / Painted by / Gerard Curtis Delano. Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, Arizona Literature: Richard G. Bowman, Walking with Beauty: The Art and Life of Gerard Curtis Delano, Denver, Colorado, 1990, Illus. p. 148. $100,000 – $150,000

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263 GERARD CURTIS DELANO (1890–1972) Desert Thunderhead

"This painting was inspired by the roly-poly cloud formation billowing up into the sky while I was in that country, and was located northeast of Kayenta in the Monument Valley region.” – Gerard Curtis Delano Provenance: Collection of Mr. and Mrs. Del Trailer Private Collection, Arizona Literature: Richard G. Bowman, Walking with Beauty: The Art and Life of Gerard Curtis Delano, Denver, Colorado, 1990, Illus. p. 67. $300,000 – $500,000

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GERARD CURTIS DELANO

oil on canvas 40 x 48 in. (101.60 x 121.92 cm.) signed lower right: © DElano inscribed verso: Desert Thunderhead / Locale - Navajo Reservation, / Arizona stamped verso: NOTICE OF COPYRIGHT: / THIS PAINTING FOR SALE AS AN / ORIGINAL DECORATION ONLY. / ALL RIGHTS TO REPRODUCTION / RESERVED BY THE ARTIST: / GERARD CURTIS DELANO / 31 EAST 18TH AVE. / DENVER, COLO.

GERARD CURTIS DELANO 264 GERARD CURTIS DELANO (1890–1972) Family Affair oil on canvas board 15 ⅝ x 19 ⅝ in. (39.69 x 49.85 cm.) signed lower right: © DElano Provenance: Private Collection, Arizona $40,000 – $60,000

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265 GERARD CURTIS DELANO (1890–1972) Wilderness Silence watercolor on paper 11 ¾ x 21 ¾ in. (29.85 x 55.25 cm.) signed lower left: © DElano Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, Arizona $18,000 – $25,000

oil on board 11 ½ x 15 ½ in. (29.21 x 39.37 cm.) signed lower left: DElano Provenance: Private Collection, Arizona

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$20,000 – $25,000

GERARD CURTIS DELANO

266 GERARD CURTIS DELANO (1890–1972) New Life

GERARD CURTIS DELANO

267 GERARD CURTIS DELANO (1890–1972) Canyon Country (Canyon de Chelly), 1950 watercolor on paper 16 ⅞ x 15 ¾ in. (42.86 x 40.01 cm.) signed lower left: © DElano inscribed verso (photograph copy affixed to backing): Canyon Country 1950 / 16 ¼ x 17 ¼ Serial No / 39 / Painted & Copyright / by Provenance: Main Trail Galleries, Scottsdale, Arizona Private Collection, Arizona $12,000 – $18,000

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268 GERARD CURTIS DELANO (1890–1972) Arizona Canyon watercolor on paper 20 ⅞ x 13 ¾ in. (53.02 x 34.93 cm.) signed lower right: © DElano Provenance: Private Collection, Arizona $12,000 – $18,000

oil on canvas board 16 ⅝ x 21 ⅝ in. (42.23 x 54.93 cm.) signed lower right: © DElano Provenance: Altermann Galleries Private Collection, Arizona $15,000 – $20,000

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269 GERARD CURTIS DELANO (1890–1972) Top of the Knoll

270 WALT GONSKE (b. 1942) On Lake Creek, Colorado oil on linen 24 x 28 in. (60.96 x 71.12 cm.) signed lower right: GONSKE inscribed verso: GONSKE © “ON LAKE CREEK, COLORADO #4189” Provenance: Private Collection, Arizona $6,000 – $8,000

271 WALT GONSKE (b. 1942) Corrales Apple Orchard oil on canvas board 30 x 36 in. (76.20 x 91.44 cm.) signed lower left: Gonske Provenance: Private Collection, Arizona $8,000 – $14,000

272 LOUIS HOVEY SHARP (1874–1946) Evening Shadows (Grand Canyon) oil on canvas 24 x 36 in. (60.96 x 91.44 cm.) signed lower left: Louis Ho Sharp inscribed verso: Evening Shadows / (G.C.) / (Grand Canyon / Arizona) Provenance: Private Collection, Oregon $3,000 – $6,000

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273 CONRAD SCHWIERING (1916–1986) On the Move oil on board 29 x 36 in. (73.66 x 91.44 cm.) signed verso: Schwiering / © / NAWA verso: artist’s copyright stamp Provenance: The Collection of Mr. Raymond J. Minella $8,000 – $12,000

274 PAUL SALISBURY (1903–1973) Untitled (Two Cowboys) oil on canvas 28 x 36 in. (71.12 x 91.44 cm.) signed lower left: Paul / Salisbury Provenance: Private Collection, Arizona $4,000 – $6,000

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275 JOHN LEONE (1929–2011) Race for the Way Station

276 REMINGTON SCHUYLER (1884–1955) Montana

oil on board 28 ⅛ x 36 in. (71.44 x 91.44 cm.) signed lower right: John Leone

oil on canvas 11 ⅞ x 26 in. (30.16 x 66.04 cm.) signed lower right: [artist’s cipher] / REMINGTON SCHUYLER

Provenance: The Private Collection of Tom Whalen

Provenance: Private Collection, Virginia

$2,000 – $4,000

277 IRBY BROWN (1928–2016) Untitled (Branding Time)

278 DON STIVERS (1926–2009) Make an Offer, 1978

oil on canvas 20 x 30 in. (50.80 x 76.20 cm.) signed lower right: Irby Brown

Provenance: Private Collection, New Mexico

Provenance: Private Collection, Arizona

$2,000 – $3,000

$2,000 – $4,000

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279 R. S. RIDDICK (b. 1952) Tuker’d Partners, 2000 gouache on paper 27 ½ x 37 ½ in. (69.85 x 95.25 cm.) signed and dated lower right: R. Riddick [Cowboy Artists cipher] / © 2000 verso: signed (on label) R.S. Riddick [Cowboy Artists cipher] Provenance: Private Collection, Arizona $5,000 – $8,000

280 JOE BEELER (1931–2006) South of the Border oil on canvas 16 x 20 in. (40.64 x 50.80 cm.) signed lower left: JOE BEELER Provenance: Private Collection, New Mexico* *Proceeds support the mission and vision of the The Couse-Sharp Historic Site, Taos, New Mexico. $5,000 – $7,000

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281 OLAF WIEGHORST (1899–1988) Disputed Trail oil on canvas 30 x 40 in. (76.20 x 101.60 cm.) signed lower right: O-Wieghorst Provenance: Private Collection, New Mexico* Exhibited: Museum of Western Art, Denver, Colorado, Contemporary Artists of the American West, September 8 - October 30, 1984 *Proceeds support the mission and vision of the The Couse-Sharp Historic Site, Taos, New Mexico. $25,000 – $35,000

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282 GEORGE PHIPPEN (1915–1966) Texas Cattleman - Oil Man, 1949 oil on canvas 30 x 40 in. (76.20 x 101.60 cm.) signed and dated lower left: GEO PHIPPEN / [artist’s cipher] Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Altermann & Morris Galleries, Santa Fe, New Mexico Private Collection, New Mexico $20,000 – $30,000

283 GEORGE PHIPPEN (1915–1966) Rounding Up Cattle oil on canvas 30 x 40 in. (76.20 x 101.60 cm.) signed lower left: Geo Phippen / [artist’s cipher] Provenance: Altermann & Morris Galleries Private Collection, New Mexico* *Proceeds support the mission and vision of the The Couse-Sharp Historic Site, Taos, New Mexico. $20,000 – $30,000

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284 MARTIN GRELLE (b. 1954) Woman of the Valley, 1989 oil on canvas 30 x 48 in. (76.20 x 121.92 cm.) signed and dated lower right: [artist’s cipher] MARTiN GRELLE / 1989 / © titled verso: “WOMAN OF THE VALLEY” inscribed and signed verso: ALL REPRODUCTIONS RIGHTS ARE HELD BY MARTiN GRELLE AND HIS HEIRS. Provenance: Private Collection, Arizona $50,000 – $70,000

285 MARTIN GRELLE (b. 1954) The Wood Gatherers, 1989 oil on canvas 36 x 60 in. (91.44 x 152.40 cm.) signed and dated lower right: (artist’s cipher) MARTiN GRELLE / 1989 / © titled verso: “THE WOOD GATHERERS” inscribed verso: ALL REPRODUCTIONS RIGHTS ARE HELD BY THE ARTIST & HIS HEIRS signed and dated verso: [artist’s cipher] MARTiN GRELLE / © 1989 Provenance: Private Collection, Arizona $60,000 – $80,000

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286 GARY LYNN ROBERTS (b. 1953) Northwestern Pride, 2018 oil on canvas 40 x 34 in. (101.60 x 86.36 cm.) signed lower left: Gary Lynn Roberts © inscribed verso: “NORTHWESTERN PRIDE” 40” by 34” Gary Lynn Roberts © 2018 All RIGHTS RESERVED Provenance: Private Collection, Arizona $20,000 – $25,000

287 JAMES REYNOLDS (1926–2010) Summer Grass, 1982 oil on board 18 x 24 in. (45.72 x 60.96 cm.) signed and dated lower left: James Reynolds / 1982 © Provenance: Private Collection, Arizona $12,000 – $18,000

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288 GREG BEECHAM (b. 1954) Wolves Running, 1990

289 ROBERT LOUGHEED (1910–1982) Pronghorns in Mesa Country

oil on board 20 x 30 in. (50.80 x 76.20 cm.) inscribed verso: “PRONGHORNS IN MESSA COUNTRY” / ROBERT LOUGHEED

Provenance: Private Collection, Alaska $6,000 – $8,000

Provenance: Nedra Matteucci Galleries, Santa Fe, New Mexico Private Collection, New Mexico $7,000 – $9,000

290 ROBERT LOUGHEED (1910–1982) Waiting by the St. Croix Mill

291 ROBERT LOUGHEED (1910–1982) Mare and Foal

oil on masonite 12 x 16 in. (30.48 x 40.64 cm.) signed lower right: RELOUGHEED inscribed verso: WAITING BY THE ST CROIX MILL / ROBERT / LOUGHEED

oil on board 12 x 16 in. (30.48 x 40.64 cm.) signed lower left: R.E. LOUGHEED

Provenance: Nedra Matteucci Galleries, Santa Fe, New Mexico Private Collection, New Mexico $4,000 – $6,000

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Provenance: Watson Art Galleries, Montreal, Canada Nedra Matteucci Galleries, Santa Fe, New Mexico Private Collection, New Mexico $4,000 – $6,000

292 JOHANN HEINRICH VON ZUGEL (German, 1850–1941) Untitled (Two Cows) oil on canvas 18 x 23 ¾ in. (45.72 x 60.33 cm.) signed lower right: H Zugel Provenance: Private Collection, New Mexico $4,000 – $6,000

293 ROBERT SUMMERS (b. 1940) Texas Gold, 1981 oil on board 24 x 36 in. (60.96 x 91.44 cm.) signed and dated lower right: Robert Summers / © 1981 inscribed verso: SUMMERS TEXAS GOLD / 24 x 36 ORIG. Provenance: Private Collection, New Mexico $4,000 – $6,000

294 GARY NIBLETT (b. 1943) Late Calf oil on canvas 21 ¾ x 28 in. (55.25 x 71.12 cm.) signed lower left: GARY NIBLETT © inscribed verso: “Late Calf” Provenance: Altermann Art Gallery, Dallas, Texas Private Collection, New Mexico $3,000 – $5,000

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295 GERALD MCCANN (1916–1995) Winter Trails, 1975

296 AUSTIN DEUEL (b. 1939) Heading for Shelter

oil on board 20 x 30 in. (50.80 x 76.20 cm.) signed and dated lower left: Gerald McCann ‘75 inscribed verso: WINTER TRAILS / 18-75

oil on canvas 24 ¼ x 48 in. (61.60 x 121.92 cm.) signed lower right: Austin Deuel

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

Provenance: Private Collection, Arizona $1,000 – $2,000

297 ROBERT LOUGHEED (1910–1982) Mount Rundle

298 GORDON PHILLIPS (1927–2011) Talk of the Southern Trails, 1973

oil on board 8 x 10 in. (20.32 x 25.40 cm.) signed lower right: ROBERT / LOUGHEED inscribed verso: MT RUNDEL [sic]

Provenance: Nedra Matteucci Galleries, Santa Fe, New Mexico Private Collection, New Mexico $1,500 – $2,500

Provenance: Kennedy Galleries, Inc., New York, New York Private Collection, New Mexico* *Proceeds support the mission and vision of the The Couse-Sharp Historic Site, Taos, New Mexico. $1,000 – $2,000

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299 JAMES ROBINSON (1944–2015) Good Signs acrylic on board 16 x 20 in. (40.64 x 50.80 cm.) signed lower right: ROBinson / TA Provenance: Altermann Art Gallery. Dallas, Texas Private Collection, New Mexico $3,000 – $5,000

300 DAVID DRINKARD (1948–2016) Hunters

301 DAVID DRINKARD (1948–2016) Basket Horns

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

acrylic on board 16 x 12 in. (40.64 x 30.48 cm.) signed lower right: DRINKARD

Provenance: Private Collection, New Mexico

Provenance: Altermann & Morris Galleries, Dallas, Texas Private Collection, New Mexico

$2,000 – $4,000

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302 KEN CARLSON (b. 1937) Autumn Whitetail oil on board 16 x 24 in. (40.64 x 60.96 cm.) signed lower right: CARLSON Provenance: Altermann & Morris Galleries, Dallas, Texas Private Collection, New Mexico $15,000 – $20,000

303 RAY SEXTON (1959–1996) Out of Timber oil on board 8 x 12 in. (20.32 x 30.48 cm.) signed lower left: Ray Sexton inscribed verso: Out of Timber Provenance: Mountain Trails Gallery, Jackson Hole, Wyoming The Collection of Mr. Raymond J. Minella $1,500 – $2,500

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304 JOHN COWAN (1920–2008) Untitled (Hunting at Sunset) watercolor on paper 22 x 30 in. (55.88 x 76.20 cm.) signed lower left: Cowan Provenance: Altermann & Morris Galleries, Dallas, Texas Private Collection, New Mexico $10,000 – $20,000

305 GERHARD ZANK (Dutch, b. 1937) Untitled (Ducks in the Marsh)

306 RAY VINELLA (1933–2019) Trout Steam

oil on canvas 23 ½ x 35 ½ in. (59.69 x 90.17 cm.) signed lower right: G. Zank

oil on board 11 ⅜ x 11 ⅜ in. (28.89 x 28.89 cm.) signed lower right: R. Vinella / TAOS inscribed verso: TROUT STREAM - R. VINELLA

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

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

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307 ROGER COOKE (1941–2012) Nez Perce Crossing, 1987 oil on board 18 x 28 in. (45.72 x 71.12 cm.) signed and dated lower left: Roger Cooke © 87 inscribed verso: “NEZ PERCE CROSSING” / BY ROGER COOKE / © REPRODUCTION RIGHTS RESERVED / BY ARTIST Provenance: The Private Collection of Tom Whalen $3,000 – $6,000

308 DEAN PACKER (b. 1933) Day’s End oil on canvas 18 x 36 in. (45.72 x 91.44 cm.) signed lower right: DEAN PACKER inscribed verso: DAY’S END Provenance: The Private Collection of Tom Whalen $2,000 – $3,000

309 JOHN PAUL STRAIN (b. 1955) Indian Sunset - Winter, 1986 gouache on paper 20 x 30 in. (50.80 x 76.20 cm.) signed and dated lower left: JOHN PAUL STRAIN / 86 © Provenance: The Private Collection of Tom Whalen $4,000 – $6,000

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310 JOHN MOYERS (b. 1958) Pueblo Riders, 2002 oil on canvas 23 ½ x 32 in. (59.69 x 81.28 cm.) signed and dated lower left: JOHN MOYERS - / © 02 [Cowboy Artists cipher] inscribed verso: JOHN MOYERS [Cowboy Artists cipher] © 2002 / ALL REPRODUCTION RIGHTS RESERVED / BY ARTIST›S FAMILY Provenance: Private Collection, Washington, D.C. $9,000 – $12,000

311 JOHN MOYERS (b. 1958) The Beat of the Drum oil on canvas 16 x 12 in. (40.64 x 30.48 cm.) signed upper left: JOHN MOYERS / [Cowboy Artists cipher] © inscribed verso: “THE BEAT OF THE DRUM” / JOHN MOYERS / © [Cowboy Artists cipher] / ALL REPRODUCTION RIGHTS / RESERVED BY / ARTIST-

312 W. STEVE SELTZER (b. 1955) Native American on Horseback oil on masonite 13 ¾ x 12 in. (34.93 x 30.48 cm.) signed lower left: W.S. Seltzer Provenance: The Collection of Mr. Raymond J. Minella $3,000 – $5,000

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

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313 ROBERT PUMMILL (b. 1938) The Blue Shirt

314 HUBERT WACKERMAN (b. 1945) Untitled (Flute Player), 1981

Provenance: Buffalo Bill Art Show & Sale The Private Collection of Tom Whalen

Provenance: The Private Collection of Tom Whalen

$3,000 – $5,000

$2,500 – $3,500

315 HARVEY JOHNSON (1921–2005) The Challenge, 1974

316 ROY GRINNELL (1933–2019) Captured Treasure

oil on canvas board 22 x 28 in. (55.88 x 71.12 cm.) signed and dated lower right: harvey johnson [Cowboy Artists cipher] / © ‘74

Provenance: Private Collection, New Mexico* *Proceeds support the mission and vision of the The Couse-Sharp Historic Site, Taos, New Mexico. $1,000 – $2,000

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Provenance: Wadle Galleries, Santa Fe, New Mexico Private Collection, Colorado $3,000 – $5,000

317 MIAN SITU (Chinese-American, b. 1953) The Family oil on canvas 24 x 30 in. (60.96 x 76.20 cm.) signed lower left: Situ Mian / O.P.A. inscribed verso: 9820 / MIAN SITU Provenance: Private Collection, Texas $12,000 – $15,000

318 DAFENG MO (Chinese, b.1957) Fishing Morning oil on canvas 30 x 34 in. (76.20 x 86.36 cm.) signed lower left: Mo Dafeng inscribed verso: Ferry boat Mo Dafeng was born in Shanghai and is the son of an art professor at the Art Academy of China. Educated at the People’s Liberation Army Art Institute in Beijing, Dafeng was one of the few artists ever honored with shows at both the National Theater and the National Gallery in Beijing. He came to the U.S. in 1987 and fell in love with the beauty of the natural landscapes. Provenance: Private Collection, New Mexico $30,000 – $50,000

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319 HUIHAN LIU (Chinese-American , b. 1952) Memories oil on canvas 18 x 24 in. (45.72 x 60.96 cm.) signed lower right: © Huihan OPA inscribed verso: © Huihan Provenance: Private Collection, New Mexico $2,000 – $3,000

320 JEFF LEGG (b. 1959) Still Life with a Tangerine, 1996 oil on panel 18 x 20 in. (45.72 x 50.80 cm.) signed and dated lower left: J. Legg 1996 Provenance: Private Collection, New Mexico $2,000 – $4,000

321 WILL-AMELIA STERNS (1907–1995) Pears (Still Life) oil on canvas board 5 x 7 in. (12.70 x 17.78 cm.) signed lower right: Sterns inscribed verso: Amelia Sterns Provenance: Private Collection, New Mexico $800 – $1,200

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322 THOMAS DE DECKER (b. 1951) North Country Native American Encampment oil on board 30 x 40 in. (76.20 x 101.60 cm.) signed lower right: THOMAS deDECKER inscribed verso: “North Country Native American Encampment” / by / Thomas de Decker Provenance: The Artist $3,000 – $5,000

323 THOMAS DE DECKER (b. 1951) Peaceful Sunset oil on board 18 x 24 in. (45.72 x 60.96 cm.) signed lower left: THOMAS dEDECKER inscribed verso: “Peaceful Sunset” / by / Thomas de Decker Provenance: The Artist $2,000 – $3,000

324 NICHOLAS COLEMAN (b. 1978) Untitled (Camp at Sunset) oil on board 20 x 24 in. (50.80 x 60.96 cm.) signed lower left: NICHOLAS COLEMAN © Provenance: Private Collection, Texas $3,000 – $5,000

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325 ERIC SLOANE (1905/10–1985) Acoma Mesa, 1977 oil on panel 16 x 30 ¾ in. (40.64 x 78.11 cm.) signed lower left: Eric SLOANE / N.A. inscribed verso: ACOMA MESA Provenance: Fenn Galleries, Santa Fe, New Mexico Private Collection, Oregon $8,000 – $12,000

326 JERRY JORDAN (b. 1944) Storybook Town (Red River, New Mexico) oil on canvas 24 x 30 in. (60.96 x 76.20 cm.) signed and inscribed lower right: Jerry Jordan / T.a.o.s. inscribed verso: “Storybook Town” (Red River, NM) / 24x30 Provenance: Private Collection, New Mexico $8,000 – $12,000

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327 ANDREW DASBURG (1887–1979) Red Lands Orchard, 1960 pastel on paper 17 x 22 in. (43.18 x 55.88 cm.) signed and dated lower left: Dasburg ‘60 inscribed verso: “Red Lands Orchard” / 1960 / Andrew Dasburg Provenance: Private Collection, Massachusetts $9,000 – $12,000

328 EARL STROH (1924–2005) Untitled (Trees)

329 EARL STROH (1924–2005) Untitled (Abstraction)

mixed media on board 35 ½ x 35 ½ in. (90.17 x 90.17 cm.) signed lower left: E STROH

oil on canvas 11 ⅛ x 7 in. (28.26 x 17.78 cm.) signed lower right: E STROH

Provenance: Private Collection, Luxembourg

Provenance: Private Collection, New Mexico

$4,000 – $8,000

$2,000 – $4,000

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330 EARL STROH (1924–2005) Kouros (Nude), 1999 pastel on paper 20 ⅞ x 13 ¾ in. (53.02 x 34.93 cm.) signed and dated lower right: E STROH / ‘99 Provenance: Private Collection, New Mexico $2,000 – $4,000

331 MICHIO TAKAYAMA (Japanese-American, 1903–1994) Through the Green Veil, 1982 oil on canvas 36 x 30 in. (91.44 x 76.20 cm.) signed lower left: M. Takayama inscribed verso: “Through the Green Veil” Michio Takayama - ‘82 Provenance: Private Collection, New Mexico $3,000 – $5,000

332 MICHAEL ROQUE COLLINS (b. 1955) Volcano, 2007 oil on canvas 20 x 16 in. (50.80 x 40.64 cm.) signed, titled and dated verso: Michael Rogue Collins / “Volcano” / 2007 / oil on canvas / 20” x 16” Provenance: Lewallen Galleries, Santa Fe, New Mexico Private Collection, New Mexico $1,500 – $2,500

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333 JERRY JORDAN (b. 1944) Extraordinary Experiences Begin with Ordinary Days

334 JERRY JORDAN (b. 1944) Untitled (Aspen Ridge)

oil on canvas 14 x 14 in. (35.56 x 35.56 cm.) signed and inscribed lower right: Jerry Jordan / © T.a.o.s. inscribed verso: P1907 / 7’ / 14 x 14 / © Jerry Jordan / T.a.o.s. / Extrodanary [sic] Experiences, / begin with Ordinary / DAYS....

oil on canvas 11 x 14 in. (27.94 x 35.56 cm.) signed and inscribed lower right: Jerry Jordan / T.a.o.s.

Provenance: Private Collection, Arizona

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

$4,000 – $8,000

335 TONY EUBANKS (b. 1939) Taos Evening Sun

336 DONALD DERNOVICH (b. 1942) As a River Runs Through It

Provenance: Private Collection, Washington, D.C.

Provenance: Private Collection, Arizona

$6,000 – $9,000

$3,000 – $5,000

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337 PAUL SHAPIRO (b. 1939) Storm Over Gorge

338 OURAY MEYERS (1939–2016) Untitled (Taos Pueblo Figures)

oil on canvas 48 x 40 in. (121.92 x 101.60 cm.) signed lower right: P. Shapiro

acrylic on canvas 30 x 40 ½ in. (76.20 x 102.87 cm.) signed lower right: Ouray

Provenance: Private Collection, Texas

Provenance: Private Collection, New Mexico

$2,000 – $3,000

$2,000 – $4,000

339 LEONARDO NIERMAN (Mexican, b. 1932) Fuego Volcanio, 1968 oil on masonite 23 ½ x 31 ⅜ in. (59.69 x 79.69 cm.) signed and dated lower left: nierman 68 inscribed verso: FUEgo / VolcAnico Provenance: Private Collection, Hawaii $2,000 – $3,000

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340 DAVID BARBERO (1938–1999) Arches, 1980 oil on canvas 20 x 24 in. (50.80 x 60.96 cm.) initialed lower left: DB Provenance: Ernesto Mayans Gallery, Santa Fe, New Mexico Private Collection, Colorado $4,000 – $6,000

341 DAVID BARBERO (1938–1999) The Pool, 1985

342 DAVID BARBERO (1938–1999) Primavera

oil on canvas 24 x 20 in. (60.96 x 50.80 cm.) initialed lower left: DB inscribed verso: ‘The Pool’ David Barbero 24 x 20 OIL

oil on canvas 24 x 18 ⅛ in. (60.96 x 46.04 cm.) initialed lower left: DB inscribed verso: David Barbero ‘PRIMAVERA’ OIL

Provenance: Private Collection, Colorado

$3,000 – $5,000

$2,000 – $3,000

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343 RUSSELL HAMILTON (b. 1950) Gorge, 1987 pastel on paper 30 ¼ x 44 ¼ in. (76.84 x 112.40 cm.) signed and dated lower right: Russell Hamilton 1987 titled lower left: Gorge inscribed verso: Gorge - Russell Hamilton - Albuquerque / 266-4292 Provenance: Private Collection, New Mexico $2,000 – $4,000

344 WILLIAM HOOK (b. 1948) Mabel’s Backyard, ca. 1989 oil on canvas board 7 ½ x 5 ½ in. (19.05 x 13.97 cm.) signed lower right: W. C. Hook inscribed verso: Mabel’s Backyard, letter from artist to Mr. James Brandenburg affixed to verso Provenance: Private Collection, New Mexico $2,000 – $4,000

Lot 345 WITHDRAWN

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346 TOMMY MACAIONE (1907–1992) Untitled (Landscape), 1988 oil on board 16 ¾ x 23 ½ in. (42.55 x 59.69 cm.) signed and dated lower left: Tom S. Macaione: 88 inscribed verso: BY TOM .S. / MACAiONE / 1988 / Close To The / NATiONAL Election Provenance: Private Collection, New Mexico $2,000 – $3,000

347 JERRY JORDAN (b. 1944) Flower Fountain oil on canvas 40 x 30 in. (101.60 x 76.20 cm.) signed and inscribed lower left: .Jerry Jordan / T.a.o.s. inscribed verso: 40x30 FloweR FOUNTAIN Provenance: Private Collection, New Mexico $4,000 – $6,000

348 WALT GONSKE (b. 1942) Rio Pueblo Reflections oil on canvas 16 x 20 in. (40.64 x 50.80 cm.) signed and inscribed lower left: Gonske / TAOS inscribed verso: Rio Pueblo Reflections / by Walt Gonske Provenance: Private Collection, New Mexico* *Proceeds support the mission and vision of the The Couse-Sharp Historic Site, Taos, New Mexico. $3,000 – $5,000

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349 JOZEF BAKOS (1891–1977) Autumn River watercolor on paper 14 ⅛ x 18 ¼ in. (35.88 x 46.36 cm.) signed lower right: BAKOS Provenance: Private Collection, Texas $3,000 – $5,000

350 MATT SMITH (b. 1960) Evening Along the Wash, 1997 oil on wood 14 x 18 in. (35.56 x 45.72 cm.) signed lower left: Matt Smith inscribed verso: Matt Smith 1997 © / OIL . 14”x 18” / “EVENING ALONG THE WASH” Provenance: Trailside Gallery, Jackson Hole, Wyoming Private Collection, Washington, D.C. $2,500 – $3,500

351 JERRY JORDAN (b. 1944) Silent Stones oil on canvas 16 x 24 in. (40.64 x 60.96 cm.) signed and inscribed lower left: Jerry Jordan / T.a.o.s. inscribed verso: “Silent Stones” / JQ006 16x24 Provenance: Private Collection, New Mexico $4,000 – $6,000

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352 JERRY JORDAN (b. 1944) Ranchos Church oil on canvas 24 x 36 in. (60.96 x 91.44 cm.) signed and inscribed lower right: .Jerry Jordan / T.a.o.s. Provenance: Private Collection, New Mexico $4,000 – $6,000

353 JERRY JORDAN (b. 1944) Take the High Road to Trampas oil on canvas 16 x 24 in. (40.64 x 60.96 cm.) signed and inscribed lower right: Jerry Jordan / T.a.o.s. inscribed verso: “TAke the High RoAd to TRAMPAS” / JQ018 16x24 Provenance: Private Collection, New Mexico $2,000 – $4,000

354 BEN TURNER (1912–1966) Untitled (Mountain Stream) oil on canvas 26 x 36 in. (66.04 x 91.44 cm.) signed lower left: Ben Turner Provenance: Private Collection, New Mexico $3,000 – $5,000

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355 DOUG ATWILL (b. 1933) Cottonwood and Poplars

356 PAUL GRIMM (1891–1974) Nature’s Pattern

acrylic on canvas 32 x 32 in. (81.28 x 81.28 cm.) signed lower right: Atwill inscribed verso: COTTONWOOD & POPLARS / Acrylic on Canvas 32 x 32 / Douglas Atwill

oil on canvas 20 x 30 in. (50.80 x 76.20 cm.) signed lower right: PAUL GRIMM inscribed verso: “NATURE’S PATTERN” / - PAUL GRIMM

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

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

357 BETTY SABO (b. 1928) Untitled (Farm and Cottonwoods)

358 JOHN PHILLIP OSBORNE (b. 1951) Picking Wildflowers

oil on board 18 x 20 in. (45.72 x 50.80 cm.) signed lower right: J.P. OSBORNE inscribed verso: PICKING WILDFLOWERS

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

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Provenance: Private Collection, Texas $1,000 – $2,000

359 BEN KONIS (1924–2006) Lady of the Flowers

360 GARY CARTER (b. 1939) Lark and Sage, 2002

oil on canvas 24 x 20 in. (60.96 x 50.80 cm.) signed upper right: kONIS

Provenance: Private Collection, Texas $1,500 – $3,500

Provenance: Private Collection, New Mexico* Exhibited: Cowboy Artists of American 37th Annual Sale & Exhibition, Phoenix Art Museum, October 18 - November 17, 2002 *Proceeds support the mission and vision of the The Couse-Sharp Historic Site, Taos, New Mexico. $1,000 – $2,000

361 BOWYER (20th Century) The Church at Acoma, 1976 oil on canvas 18 x 24 in. (45.72 x 60.96 cm.) signed and dated lower right: BOWYER / 76 inscribed verso: Church at / ACOMA / N.M. / “the Sky City” Provenance: Private Collection, New Mexico $300 – $500

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362 JULIAN ROBLES (b. 1933) Harvest Dancer oil on canvas 15 x 8 in. (38.10 x 20.32 cm.) signed and dated lower right: julian Robles / TAOS 01 inscribed verso: “HARVEST DANCER” / JULIAN ROBLES / TAOS Provenance: Private Collection, New Mexico* *Proceeds support the mission and vision of the The Couse-Sharp Historic Site, Taos, New Mexico. $1,500 – $2,500

363 RAMON KELLEY (b. 1939) The Sculptor, 1983

364 RAMON KELLEY (b. 1939) Indio Viejo, 1974

oil on canvas 14 x 11 in. (35.56 x 27.94 cm.) signed and dated lower right: Ramon K 74 inscribed verso: 14 x 11 Indio Viejo / taos / oil / $925.00 / Ramon K 74

Provenance: Private Collection, New Mexico* *Proceeds support the mission and vision of the The Couse-Sharp Historic Site, Taos, New Mexico. $1,000 – $2,000

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Provenance: Concetta D. Gallery, Albuquerque, New Mexico Private Collection, New Mexico $600 – $1,200

365 TOMÁS CHÁVEZ MORADO (Mexican, 1914–2001) Untitled (Seated Woman)

366 JANET LIPPINCOTT (1918–2007) Untitled (Figure), ca. 1961

bronze with base: 9 ¾ x 4 ½ x 5 ½ in. (24.77 x 11.43 x 13.97 cm.) inscribed: Tomas Chavez Morada

bronze 11 ¾ x 4 ½ x 7 ¾ in. (29.85 x 11.43 x 19.69 cm.)

Provenance: Private Collection, Hawaii $1,000 – $2,000

Provenance: Private Collection, New Mexico $1,000 – $3,000

367 LESTER RAYMER (1907–1991) Untitled (Clowns), 1947 oil on board 14 x 13 ½ in. (35.56 x 34.29 cm.) signed and dated lower right: Raymer 47 Provenance: The Collection of Kelly Knowlton, Tulsa, Oklahoma $2,000 – $4,000

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368 WALTER BAMBROOK (1910–1984) Untitled (Grand Canyon) oil on canvas 15 x 30 in. (38.10 x 76.20 cm.) signed lower right: Bambrook Provenance: Private Collection, New Mexico $1,000 – $2,000

369 JIM NORTON (b. 1953) Glacier Mountains, Canada, 1984 oil on board 9 x 12 in. (22.86 x 30.48 cm.) signed lower left [partially obscured]: Norton inscribed verso: STudy / GlACiER MTs. CANAdA / Jim C. Norton © / 1984 #3050 Provenance: Sanders Gallery, Tuscon, Arizona Private Collection, New Mexico* *Proceeds support the mission and vision of the The Couse-Sharp Historic Site, Taos, New Mexico. $600 – $900

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370 BIRGER SANDZÉN (1871–1954) Four Prints The Silent Stream, 1930 woodcut 5 ⅛ x 3 7/16 in. (13.02 x 8.73 cm.) initialed in block lower right: B. S-n signed in pencil lower right: Birger Sandzén titled in pencil lower left: The Silent Stream Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzén, The Birger Sandzén Memorial Foundation, 1983, No. 65, p. 24. Aspen Grove After Sunset, 1919 woodcut 8 x 6 in. (20.32 x 15.24 cm.) initialed in block lower left: B.S. signed lower left: Birger Sandzén titled lower right: Aspen Grove After Sunset Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzén, The Birger Sandzén Memorial Foundation, 1983, No. 30, p. 22. Brook with Poplars, 1932 linocut 5 x 4 7/16 in. (12.70 x 11.27 cm.) initialed in block lower left: B. S-n signed in pencil lower right: Birger Sandzén titled in pencil lower left: Brook with Poplars Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzén, The Birger Sandzén Memorial Foundation, 1983, No. 68, p. 24. Smoky Hill River, 1938 linocut 6 x 7 ¾ in. (15.24 x 19.69 cm.) initialed in block lower right: B. S-n signed in pencil lower right: Birger Sandzén titled in pencil lower left: Smoky Hill River Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzén, The Birger Sandzén Memorial Foundation, 1983, No. 84, p. 26. Provenance: The Collection of Kelly Knowlton, Tulsa, Oklahoma $1,200 – $2,000

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371 BIRGER SANDZÉN (1871–1954) Hillside Brook, 1937 lithograph, edition of 100 16 x 20 in. (40.64 x 50.80 cm.) signed in the stone lower right: Birger Sandzén signed in pencil lower right: Birger Sandzén titled in pencil lower left: Hillside Brook Provenance: The Collection of Kelly Knowlton, Tulsa, Oklahoma Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzén, The Birger Sandzén Memorial Foundation, 1983, No. 157, p. 17. $600 – $800

372 BIRGER SANDZÉN (1871–1954) Two Lithographs Kansas River, 1951 lithograph, edition of 100 10 x 14 ¼ in. (25.40 x 36.20 cm.) signed in block lower center: Birger Sandzén signed in pencil lower right: Birger Sandzén titled in pencil lower left: Kansas River Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzén, The Birger Sandzén Memorial Foundation, 1983, No. 203, p. 20. Evening Clouds, 1928 lithograph, edition of 100 10 x 13 ⅞ in. (25.4 x 37.78 cm.) signed in block lower right: Birger Sandzén signed in pencil lower left: Birger Sandzén titled in pencil lower right: Evening Clouds Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzén, The Birger Sandzén Memorial Foundation, 1983, No. 121, p. 16. Provenance: The Collection of Kelly Knowlton, Tulsa, Oklahoma $800 – $1,200

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373 BIRGER SANDZÉN (1871–1954) Three Lithographs Aspens by the Lake, 1930 lithograph, edition of 100 10 x 13 ⅞ in. (25.4 x 37.78 cm.) signed in block lower right: Birger Sandzén signed in pencil lower right: Birger Sandzén titled in pencil lower left: Aspens by The Lake Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzén, The Birger Sandzén Memorial Foundation, 1983, No. 134, p. 16. A Mountain Home, 1934 lithograph, edition of 100 12 x 18 in. (30.48 x 45.72 cm.) signed in block lower right: Birger Sandzén signed in pencil lower right: Birger Sandzén titled in pencil lower left: A Mountain Home inscribed in pencil lower center: with kindest regards to Carl Larson 1935 Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzén, The Birger Sandzén Memorial Foundation, 1983, No. 144, p. 17. A Mountain Studio, 1934 lithograph, edition of 100 11 ½ x 17 ½ in. (29.21 x 44.45 cm.) signed in block lower right: Birger Sandzén signed in pencil lower right: Birger Sandzén Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzén, The Birger Sandzén Memorial Foundation, 1983, No. 143, p. 17. Provenance: The Collection of Kelly Knowlton, Tulsa, Oklahoma $1,000 – $2,000

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374 BIRGER SANDZÉN (1871–1954) Two Linocuts Blue Valley Farm, 1929 linocut 9 x 11 15/16 in. (22.86 x 30.32 cm.) initialed in block lower left: B. S-n. signed in pencil lower right: Birger Sandzén titled in pencil lower left: Blue Valley Farm Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzén, The Birger Sandzén Memorial Foundation, 1983, No. 60, p. 24. Old Powder House, Central City, 1933 linocut 8 ⅞ x 11 ⅞ in. (22.54 x 30.16 cm.) initialed in block lower right: B. S-n signed in pencil lower right: Birger Sandzén titled in pencil lower left: Old Powder House, Central City Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzén, The Birger Sandzén Memorial Foundation, 1983, No. 70, p. 25. Provenance: The Collection of Kelly Knowlton, Tulsa, Oklahoma $800 – $1,200

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THANK YOU FOR YOUR PARTICIPATION. WISHING YOU A SAFE AND HEALTHY 2021

Recently, the Santa Fe Art Auction has redefined the role and scope of a traditional Western art auction house. After nearly 30 years of providing an Annual Signature sale of historic and contemporary Western art, we now boast a year-round calendar of auctions from a variety of categories. We have also developed a strong reputation for bringing important single-owner collections to the market. Due to our early embrace of the best digital platforms, our auctions are frequented not only by North American collectors but also by a growing base of bidders in over 25 countries worldwide. Our team of specialists take pride in our ability to provide bespoke services and strategic advice for all of our client needs in the acquisition and divestment of fine collectibles. We are currently welcoming consignments for the 2021 season, including: Native Art Fine Jewelry Western Decorative Objects Photography Design Post-War + Contemporary Art Works on Paper New Mexico: Spanish Colonial to Modern Pueblo Arts Fine Timepieces Objects of Vertu Luxury Accessories SANTA FE ART AUCTION

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TIMEPIECES AND LUXURY ACCESSORIES Live Online Sunday, December 13

Omega Speedmaster Professional, Circa 1969

Santa Fe Art Auction is excited to bring a curated selection of timepieces and luxury accessories to market this December 5-13. The watch market has shown great strength over the past decade, and SFAA is delighted to be offering a variety of pieces for all collectors from vintage sports watches to modern complications, as well as pocket watches and objects of vertu. Top brands such as Rolex, Patek Philippe, Audemars Piguet and Omega will be featured. Luxury accessories will include collectible pens from Montblanc, Krone and other storied houses.

932 Railfan Road, Santa Fe, NM 87505 Preview and register at santafeartauction.com curator@santafeartauction.com 505.954.5858 DOWNLOAD OUR AUCTION APP FOR iOS + ANDROID DEVICES

INDEX BY LOT NUMBER Abeyta, Tony 104 105 106 Adams, Charles Partridge 204 Adams, Clinton 239 Armstrong, William 197 198 Arnoldi, Charles 179 184 Atwill, Doug 355 Bakos, Jozef 39 40 54 349 Bambrook, Walter 368 Barbero, David 340 341 342 Bassett-Hall, Norma 131 Baumann, Gustave 45 46 47 48 49 Bedia, Jose 191 Beecham, Greg 288 Beeler, Joe 280 Benglis, Lynda 152 Benrimo, Thomas 35 240 Bergman, Ciel 149 Berninghaus, Oscar E. 33 345 Bisttram, Emil 34 44 217 250 Blumenschein, Ernest L. 231 Blumenschein, Helen Greene 130 Bobbs, Howard 226 Borein, Edward 19 20 21 22 Botke, Cornelius 205 Bowyer 361 Bradley, David 96

Brandiff, George Kennedy 212 Brown, Irby 277 Buff, Conrad 38 Burbank, E. A. 211 Butler, James 227 Cannon, T. C. 89 Carlson, Ken 302 Carter, Gary 360 Coe, Anne 172 173 Colburn, Elanor 118 Coleman, John 84 Coleman, Nicholas 324 Collins, Michael Roque 332 Contreras, Susan 175 Cooke, Roger 307 Couse, E. I. 215 216 Cowan, John 304 Cox, Charles Brinton 200 Crisler, Richard 'Dick' 16 Curtis, Edward 31 Da, Popovi 107 108 Dasburg, Andrew 57 327 Davey, Randall 228 de Bruycker, Dirk 187 188 189 de Decker, Thomas 322 323 Deas, Charles 202 Del Valle, Juan Carlos 190 Delano, Gerard Curtis 258 259 260 261 262 263 264 265 266 267 268 269

Dellenbaugh, Frederick 196 Dernovich, Donald 336 Deuel, Austin 296 Dill, Laddie John 181 Dixon, Maynard 18 Drinkard, David 300 301 Dunton, W. Herbert 17 209 Eggenhofer, Nick 61 Ellis, Fremont 255 256 Eubanks, Tony 335 Foster, Frederick Lucas 28 Frank, Alyce 156 157 158 159 160 Fraughton, Edward 74 Frost, John 207 Frostig, The Frostig Collection 184 Gaspard, Leon 220 221 Gipe, Sandi 77 Gonske, Walt 270 271 348 Gorman, R. C. 100 101 Graham, Robert 180 Grelle, Martin 284 285 Grimm, Paul 356 Grinnell, Roy 316 Hamilton, Russell 343 Hampton, John 73 Hanau, Jean 232 Havard, James 92 93 94 95 Herms, George 185 186

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INDEX BY LOT NUMBER Hertel, Susan 154 Higgins, Victor 218 Hind, William George Richardson 24 25 26 Hรถdicke, K. H. 251 Hoffman, Frank 233 Hogner, Nils 53 Hook, William 344 Houser, Allan 87 Hullenkremer, Odon 253 Hurd, Peter 67 68 Jackson, Harry 78 James, Rebecca Salsbury 135 Jirby, Inger 162 163 164 165 166 Johnson, Harvey 315 Jonson, Raymond 247 248 Jordan, Jerry 326 333 334 347 351 352 353 Joullin, Lucile Wilcox 116 Keener, Anna 126 127 128 129 Keith, William 206 Kelley, Ramon 363 364 Kloss, Gene 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

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Konis, Ben 359 Kuhn, Walt 208 Kurman, Richard 249 Larsen, Fran 167 168 169 170 171 Legg, Jeff 320 Leone, John 275 Lippincott, Janet 141 142 143 144 145 146 147 148 366 Liu, Huihan 319 Loeffler, Gisella 119 120 121 122 123 Lรถhr, August 29 Longley, Bernique 132 Lougheed, Robert 289 290 291 297 Lumpkins, William 58 Macaione, Tommy 346 Mallary, Robert 177 Mandelman, Beatrice 136 137 138 139 140 Martin, Agnes 133 Martinez, Maria 108 Mason, Dick 178 McCann, Gerald 295 McCarthy, Kevin 76 McGary, Dave 85 86 McGivern, Peggy 174 McMillen, Michael 184

Melanie, Krystii 155 Menager, Pierre 224 225 Meyers, Ralph 210 213 252 254 Meyers, Ouray 338 Mo, Dafeng 318 Morado, Tomรกs Chรกvez 365 Moran, Peter 32 Morang, Alfred 222 238 Moyers, John 310 311 Murrill, Gywnn 184 Nash, Willard 234 Naumer, Helmuth 50 51 52 Nebeker, Bill 79 Niblett, Gary 294 Nierman, Leonardo 339 Nieto, John 91 Nilsson, Gladys 150 151 Nordfeldt, B. J. O. 42 235 236 237 Norton, Jim 369 O'Keeffe, Georgia 117 134 Osborne, Elizabeth 161 Osborne, John Phillip 358 Owen, Bill 71 Packer, Dean 308 Paxson, Edgar 199 Payne, Ken 75 Perry, John 201 Perry, Sarah 184 Phillips, Gordon 298

INDEX BY LOT NUMBER Phippen, George 282 283 Pletka, Paul 90 Price, Ken 183 184 Pummill, Robert 313 Raymer, Lester 367 Red Star, Kevin 88 Reed, Doel 36 37 Reno, Jim 80 81 82 83 Reynolds, James 287 Ribak, Louis 245 246 Riddick, R. S. 279 Roberts, Gary Lynn 286 Robinson, James 299 Robles, Julian 362 Rönnebeck, Arnold 43 Sabo, Betty 357 Salisbury, Paul 274 Sanderson, William 66 Sandzén, Birger 370 371 372 373 374 Sarkisian, Paul 182 Schleeter, Howard 59 241 Schmidt, Albert 55 56 Scholder, Fritz 97 98 99 Schuyler, Remington 276 Schwiering, Conrad 273 Seltzer, Olaf Carl 23 Seltzer, W. Steve 312 Sexton, Ray 303

Shapiro, Paul 337 Sharp, Louis Hovey 272 Shufelt, Robert 'Shoofly' 70 Shuster, Will 219 Singh, Lekha 194 195 Siqueiros, Damián 192 193 Situ, Mian 317 Sloane, Eric 325 Smith, Matt 350 Speed, Grant 72 Sterne, Maurice 229 230 Sterns, Will-Amelia 321 Stevenson, Beulah 124 125 Stewart, Charles 242 243 244 Stivers, Don 278 Strahalm, Franz 214 Strain, John 309 Stroh, Earl 328 329 330 Sully, Thomas 30 Summers, Robert 293 Takayama, Michio 331 Tobey, Gene & Rebecca 111 112 113 114 115 Toulouse-Lautrec, Henri de 41 Tracy, Michael 176 Turner, Ben 354 Tuwaletstiwa, Judy 153 Unknown 223 Van Soelen, Theodore 62 63 64 65

Velarde, Pablita [Tse-Tsan] 109 Vigil, Veloy 102 103 Vinella, Ray 306 Von Hassler, Carl 257 Von Zugel, Johann Heinrich 292 Wackermann, Hubert 314 Wells, Cady 60 Whittredge, Worthington 203 Whymper, Frederick 27 Wieghorst, Olaf 281 Wolf, Lone 110 Wyeth, Andrew 69 Zank, Gerhard 305

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TERMS & CONDITIONS OF SALE The following Terms and Conditions of Sale are the Santa Fe Art Auction Limited Co.’s (“Santa Fe Art Auction”) and its agents’ and consignors’ entire agreement with the prospective bidders, bidders and buyers relative to the lots listed in this catalogue. The lots will be offered by the Santa Fe Art Auction as agent for the consignors, unless the catalogue indicates otherwise. 1. The Santa Fe Art Auction operates as an agent of the seller only. It is not responsible in the event any buyer or seller at the auction fails to live up to their respective agreements, including failure of the seller to deliver any property to buyers. The Santa Fe Art Auction assumes no risk, liability, or responsibility beyond the limited warranty contained herein. (a) All property is sold “AS IS.” There are no representations or warranties that extend beyond these Terms and Conditions of Sale. All works shall be available for examination prior to the sale. The Santa Fe Art Auction, and its agents and consignors, make no representations or warranties as to merchantability, fitness for a particular purpose, correctness of the catalogue or description, including, but not limited to, the authenticity, the physical condition, size, quality, rarity, importance, medium, provenance, dates, exhibitions, literary or historical relevance of any property, and, no statement anywhere, whether oral or written, whether made in the catalogue, an advertisement, a bill of sale, a salesroom posting or announcement, or elsewhere shall be deemed such a warranty, representation or assumption of liability. Nor are there any representations and warranties, express or implied, as to whether the purchaser acquires any copyrights, including, but not limited to, any reproduction rights in any property. Contents of this catalogue are subject to change or supplementation before or during the sale, including the sale of any lot. 2. Prospective bidders should inspect the lots before bidding to determine condition, size and whether or not the lot has been repaired or restored and to investigate all other matters relating to the lot that is of material importance to the prospective bidder. 3. A buyer’s premium will be added to the successful bid price and is payable by the purchaser as part of the total purchase price. If paying by cash or check, the purchase price will be the sum of the final bid price plus a buyer’s premium of 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. 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).

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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 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

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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.

GUIDE FOR BIDDING ABSENTEE BIDS If you are unable to attend the auction in person, and wish to place bids, you may give the Santa Fe Art Auction Bid Department instructions to bid on your behalf. Our representatives will then try to purchase the lot or lots of your choice for the lowest price possible, and never for more than the top amount you indicate. The Santa Fe Art Auction offers this service as a convenience to clients who are unable to attend the auction. However, the Santa Fe Art Auction will not be responsible for failure to execute bids, or any errors in executing bids. PLACING ABSENTEE BIDS Absentee bids are accepted only if you have returned a signed Absentee Bid Form by mail or fax which authorizes the Santa Fe Art Auction to place bids on your behalf. The Absentee Bid Form appears in the back of this catalogue. Please complete and return to the Santa Fe Art Auction by November 14, 2020, 5 PM 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 13, 2020, 5 PM 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. 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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932 Railfan Road

ÂŠ 2020 Santa Fe Art Auction, LLC Photography: Krysta Jabczenski, Kristin Schillaci, Molly Wagoner Essays: Josh Rose Catalogue Research: Rachel Daley Graphic Design: Shane Mieske Printing: Oâ&#x20AC;&#x2122;Neil Printing, Arizona Binding: Roswell Book Binding, Arizona