CELEBRATING 30 YEARS
Welcome! Santa Fe Art Auction is honored this year to celebrate our 30th Anniversary. The very first auction was actually held in Santa Fe in 1987, under the auspices of the non-profit Santa Fe Art Foundation, with the support of Gerald Peters Gallery. Seven years later, in 1994, Santa Fe Art Auction was incorporated and held its first auction of 176 lots of “Classic Western American Art” at the El Dorado Hotel. The Vetting Committee included the late Rudolph Wunderlich and John Norton, as well as Nathaniel Owings and Gerald Peters. Today, we have evolved into a standalone, state-of-the art operation, featuring 8-10 auctions per year, handling more than 5,000 artworks annually with a customer base in the tens of thousands in more than 35 countries worldwide. The application of cutting edge technology, 16,000 square feet of warehouse and showroom premises in the contemporary Railyard district of Santa Fe, and the expansion of in-house expertise allow the auction house to welcome and service collections of increasing size and importance: Patricia Janis Broder, Joe Pytka, Charles Loloma, and Christopher Cardozo, to name just a few. This year we proudly present t he Gregory Warren Nelson Collection, the Patsy P. and William L. Hutchison Collection and some very special jewelry selections from the collection of Vickie and “Bing” Crosby. At the same time, the house has diversified beyond Classic Western Art into Photography, Contemporary Art and Design, and today stands as the largest venue in the Southwest for Native American Arts.
We are delighted to welcome you to our 30th Signature Sale live event, not only many collectors but also representatives of the great galleries of Taos and Santa Fe, who have contributed so much to the history and arts of New Mexico and the Southwest, and whose provenance you will see throughout this catalogue.
With best regards,
Gillian Blitch President
LOTS 1 – 168
Friday, November 8 1:00 PM MST
1 Gene Kloss (1903 – 1996) Deer Dance, 1969
drypoint, etching, aquatint, artist’s proof editioned and titled lower left: Artist’s Proof Deer Dance signed lower right: Gene KLoss inscribed on mat lower margin: At Taos Pueblo, Dec 25 or Jan 6 annually Etching (416) 12 7/8 x 17 7/8 in. (32.7 x 45.4 cm.)
Provenance: Private Collection, Texas
Literature:
A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 110, No. 531
$800 — $1,200
Included in the remarkable collection of Gene Kloss artworks in this catalogue is a significant group of the Artist's Proofs, discovered in pristine condition in a portfolio. The house must have once belonged to a friend of the artist since many of the more than 60 prints bear a handwritten note from her regarding the image on the mat in which she had placed them.
2 Gene Kloss (1903 – 1996) Prelude to the Gift Dance, 1984
etching, drypoint, artist’s proof editioned and titled lower left: Artist’s Proof Prelude to the Gift Dance signed lower right: Gene KLoss inscribed on mat lower margin: Indians from Oklahoma visiting Taos Pueblo / are entertained under the big Trees just beyond The pueblo / Women + children bringing gifts are followed by men dancers and singers. Etching and Drypoint GK 538 11 x 14 in. (27.9 x 35.6 cm.)
Provenance: Private Collection, Texas
Literature:
A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 203, No. 621
$800 — $1,200
Gene Kloss (1903 – 1996)
to the Earth, 1972
etching, drypoint, aquatint, artist’s proof editioned and titled lower left: Artist’s Proof Tribute to the Earth signed lower right: Gene KLoss inscribed on mat lower margin: A winter dance at Santo Domingo Pueblo Etching, Drypoint + Aquatint GK 632 14 7/8 x 11 7/8 in. (37.8 x 30.2 cm.)
Provenance: Private Collection, Texas
Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 124, No. 542
$800 — $1,200
3
Tribute
4 Gene Kloss (1903 – 1996)
Saint’s Day at Santa Clara, 1943 etching, edition of 50 titled lower left: Saint’s Day at Santa Clara
signed lower right: Gene KLoss
2 3/4 x 5 1/4 in. (7 x 13.3 cm.)
Provenance: Gene Kloss Estate
Robert L. Parsons Fine Art, Taos, New Mexico
The Gregory Warren Nelson Collection, New Mexico
Literature:
A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. I, p. 210, No. 284
$1,500 — $2,500
5 Gene Kloss (1903 – 1996) Untitled (Taos Pueblo Ceremonial Procession)
graphite on vellum 8 3/4 x 11 5/8 in. (22.2 x 29.5 cm.)
Provenance: Gene Kloss Estate
Robert L. Parsons Fine Art, Taos, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$1,500 — $2,500
6 Gene Kloss (1903 – 1996) Untitled (Pueblo Dancers) conte crayon on paper 9 3/4 x 14 in. (24.8 x 35.6 cm.)
Provenance: Gene Kloss Estate
Robert L. Parsons Fine Art, Taos, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$1,200 — $1,800
8 Gene Kloss (1903 – 1996) To a Wedding at North House, 1973
etching, drypoint, aquatint, artist’s proof editioned and titled lower left: Artist’s Proof To a Wedding at North House signed lower right: Gene KLoss inscribed on mat lower margin: Etching, Drypoint + Aquatint GK-601 11 7/8 x 15 in. (30.2 x 38.1 cm.)
Provenance: Private Collection, Texas
Literature:
A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 133, No. 551
$1,000 — $2,000
7 Gene Kloss (1903 – 1996)
San Geronimo at Taos Pueblo graphite on paper 4 x 6 1/4 in. (10.2 x 15.9 cm.)
Provenance: Gene Kloss Estate
Robert L. Parsons Fine Art, Taos, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$1,000 — $2,000
9 Gene Kloss (1903 – 1996)
Eve Fires, 1960
drypoint, aquatint, edition 22 of 50 titled and editioned lower left: Christmas Eve Fires 22/50 signed lower right: Gene KLoss Imp 12 x 17 3/4 in. (30.5 x 45.1 cm.)
Provenance: Private Collection, Arizona
Literature:
A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 61, No. 487
$2,000 — $4,000
11 Gene Kloss (1903 – 1996)
Untitled (Study for Midsummer Fiesta) ink on paper 11 3/4 x 17 5/8 in. (29.8 x 44.8 cm.)
Provenance: Gene Kloss Estate
Robert L. Parsons Fine Art, Taos, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$1,000 — $2,000
10 Gene Kloss (1903 – 1996) Corn Dancers Coming, 1975
etching, drypoint, artist’s proof editioned and titled lower left: Artist’s Proof Corn Dancers Coming signed lower right: Gene KLoss inscribed on mat lower margin: An Inner Courtyard - South House, Taos Pueblo Etching + Drypoint GK 515 11 x 13 7/8 in. (27.9 x 35.2 cm.)
Provenance: Private Collection, Texas
Literature:
A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 152, No. 569
$1,000 — $2,000
12 Gene Kloss (1903 – 1996) Corn Husking Time, 1979
etching, drypoint, artist’s proof editioned and titled lower left: Artist’s Proof Corn Husking Time signed lower right: Gene KLoss inscribed on mat lower margin: An Indian dwelling near North House, Taos Pueblo Etching + Drypoint 8 7/8 x 11 7/8 in. (22.5 x 30.2 cm.)
Provenance: Private Collection, Texas
Literature:
A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 169, No. 587
$800 — $1,200
Christmas
14 Gene Kloss (1903 – 1996)
graphite on paper
7 1/2 x 6 in. (19.1 x 15.2 cm.)
Provenance:
Gene Kloss Estate
Robert L. Parsons Fine Art, Taos, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$1,500 — $2,500
13 Gene Kloss (1903 – 1996)
Untitled (Pueblo Dancer)
charcoal, conte crayon on paper
13 1/2 x 10 1/2 in. (34.3 x 26.7 cm.)
Provenance: Gene Kloss Estate
Robert L. Parsons Fine Art, Taos, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$1,500 — $2,500
Among the great jewels in Greg Nelson’s Collection were Gene Kloss’ original sketchbooks, and scores of loose-leaf sketches, directly from her estate, many of which he had meticulously framed. Gene’s husband Phillips Kloss wrote that she always sketched “direct, never resorts to photographs or trick contrivances… believing that rhythm, design, consonances, modulations are intrinsic to all art of all ages.” Gene also observed the pueblos’ general prohibitions against photography or sketching during ceremonial rituals, relying instead on her keen visual memory. The sketches offered throughout today’s sale are also a testament to her extraordinary natural skills with line, composition and chiaroscuro that underly the power of the more than 600 prints she produced in her lifetime.
15 Gene Kloss (1903 – 1996)
Untitled (Three Generations)
graphite on paper 15 1/8 x 12 in. (38.4 x 30.5 cm.)
Provenance:
Gene Kloss Estate
Robert L. Parsons Fine Art, Taos, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$1,200 — $1,800
Untitled (Pueblo Drummer)
16 Gene Kloss (1903 – 1996) Young Navajo Mother, 1962
etching, drypoint, artist’s proof editioned and titled lower left: Artist’s Proof Young Navajo Mother signed lower right: Gene KLoss inscribed on mat lower right: 60 14 x 12 in. (35.6 x 30.5 cm.)
Provenance: Private Collection, Texas
Literature:
A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 72, No. 494
$800 — $1,200
17 Gene Kloss (1903 – 1996) Old Pueblo Road, 1975
etching, drypoint, artist’s proof editioned and titled lower left: Artist’s Proof Old Pueblo Road signed lower right: Gene Kloss N.A 9 x 12 in. (22.9 x 30.5 cm.)
Provenance: Private Collection, New Mexico
Literature:
A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 149, No. 566
$600 — $900
18 Gene Kloss (1903 – 1996) Gathering Broomgrass, 1981
etching, drypoint, artist’s proof editioned and titled lower left: Artist’s Proof Gathering Broomgrass signed lower right: Gene KLoss inscribed on mat lower margin: From a sketch made in the 1940’s Etching + Drypoint GK 640 5 7/8 x 9 in. (14.9 x 22.9 cm.)
Provenance: Private Collection, Texas
Literature:
A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 189, No. 606
$600 — $900
19 Gene Kloss (1903 – 1996)
Untitled (Taos Rabbit Hunters)
pen, ink on paper
10 1/4 x 14 in. (26 x 35.6 cm.)
Provenance:
Gene Kloss Estate
Robert L. Parsons Fine Art, Taos, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$1,200 — $1,800
20 Gene Kloss (1903 – 1996)
Untitled (Taos Landscape)
charcoal on paper
10 3/4 x 17 1/2 in. (27.3 x 44.5 cm.)
Provenance:
Gene Kloss Estate
Robert L. Parsons Fine Art, Taos, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$1,000 — $2,000
21 Gene Kloss (1903 – 1996) Riders at Sundown, 1953
drypoint, aquatint, artist’s proof
editioned and titled lower left: Artist’s Proof Riders at Sundown signed lower right: Gene KLoss
inscribed on mat lower margin: Drypoint + Aquatint (392)
8 3/8 x 11 7/8 in. (21.3 x 30.2 cm.)
Provenance:
Private Collection, Texas
Literature:
A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 22, No. 451
$800 — $1,200
22 Gene Kloss (1903 – 1996) Return of the Pack Train, 1983
etching, drypoint, aquatint, artist’s proof editioned and titled lower left: Artist’s Proof Return of the Pack Train signed lower right: Gene KLoss inscribed on mat lower margin: From a sketch made near Taos in the 1930’s Etching Drypoint + Aquatint GK 442
7 1/2 x 9 in. (19.1 x 22.9 cm.)
Provenance: Private Collection, Texas
Literature:
A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 196, No. 615
$800 — $1,200
23 Gene Kloss (1903 – 1996) Untitled (Taos Pueblo with Burros) charcoal on paper 8 3/4 x 12 in. (22.2 x 30.5 cm.)
Provenance: Gene Kloss Estate Robert L. Parsons Fine Art, Taos, New Mexico The Gregory Warren Nelson Collection, New Mexico
$1,500 — $2,500
24 Gene Kloss (1903 – 1996) Rocky Mountain Valley, 1963
etching, artist’s proof editioned and titled lower left: Artist’s Proof Rocky Mountain Valley signed lower right: Gene KLoss inscribed on mat lower margin: All Rag Mat Near Aspen, Colorado Etching GK. 580 12 x 17 7/8 in. (30.5 x 45.4 cm.)
Provenance: Private Collection, Texas
Literature: A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 74, No. 496
$800 — $1,200
25 Gene Kloss (1903 – 1996)
Windcarved, 1981
etching, drypoint, aquatint, artist’s proof editioned and titled lower left: Artist’s Proof Windcarved signed lower right: Gene KLoss inscribed on mat lower margin: All-Rag Mat In Monument Valley, Arizona Etching, Drypoint + Aquatint GK 576 10 7/8 x 17 7/8 in. (27.6 x 45.4 cm.)
Provenance: Private Collection, Texas
Literature:
A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 183, No. 600
$1,000 — $2,000
26 Gene Kloss (1903 – 1996)
Canyon Clearing from Thunderstorm, 1984
etching, drypoint, aquatint, artist’s proof editioned and titled lower left: Artist’s Proof Canyon Clearing from Thunderstorm signed lower right: Gene KLoss inscribed on mat lower margin: All Rag Mat Above Lake City, Colorado - near some of the highest peaks in the nation, some over 14,000 ft. Etching, Drypoint + Aquatint GK 647 17 1/4 x 11 7/8 in. (43.8 x 30.2 cm.)
Provenance: Private Collection, Texas
Literature:
A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 205, No. 623
$1,000 — $2,000
27 Gene Kloss (1903 – 1996)
Untitled (Walking Rain)
charcoal on paper
8 1/2 x 11 3/4 in. (21.6 x 29.8 cm.)
Provenance: Gene Kloss Estate
Robert L. Parsons Fine Art, Taos, New Mexico
The Gregory Warren Nelson Collection, New Mexico
Exhibited:
Etched in Memory, Couse Sharp Foundation, Taos, New Mexico, January - May, 2003
$1,200 — $1,800
28 Gene Kloss (1903 – 1996)
, 1981
etching, drypoint, artist’s proof editioned and titled lower left: Artist’s Proof Old Piñon Tree signed lower right: Gene KLoss inscribed on mat lower margin: near Ghost Ranch, New Mexico Etching + Drypoint (388) 9 x 6 in. (22.9 x 15.2 cm.)
Provenance: Private Collection, Texas
Literature:
A. Eugene Sanchez, Gene Kloss: An American Printmaker, Raisonné, Taos, 2009, Vol. II, p. 188, No. 605
$800 — $1,200
29 Gene Kloss (1903 – 1996) Ghost City, 1981
etching, drypoint, artist’s proof editioned and titled lower left: Artist’s Proof Ghost City signed lower right: Gene KLoss 10 7/8 x 14 in. (27.6 x 35.6 cm.)
Provenance: Private Collection, Texas
Literature:
A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 183, No. 599
$1,200 — $1,800
30 Gene Kloss (1903 – 1996)
(Mountain Road)
conte crayon on paper 10 1/2 x 13 3/4 in. (26.7 x 34.9 cm.)
Provenance: Gene Kloss Estate
Robert L. Parsons Fine Art, Taos, New Mexico The Gregory Warren Nelson Collection, New Mexico
$800 — $1,200
Old Piñon Tree
Untitled
31 Gene Kloss (1903 – 1996) Tres Orejas, 1984
etching, drypoint, artist’s proof editioned and titled lower left: Artist’s Proof Tres Orejas signed lower right: Gene KLoss inscribed on mat lower margin: A low-lying mountain west of Taos is familiarly known as Dos Orejas (two ears) / Farther north Three peaks are visible hence the name changes to Tres Orejas Etching + Drypoint GK - 566 9 x 15 in. (22.9 x 38.1 cm.)
Provenance: Private Collection, Texas
Literature:
A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 204, No. 622
$800 — $1,200
32 Gene Kloss (1903 – 1996) January Morning, 1973
etching, artist’s proof editioned and titled lower left: Artist’s Proof January Morning signed lower right: Gene KLoss inscribed on mat lower margin: Etching (384) 7 3/8 x 9 in. (18.7 x 22.9 cm.)
Provenance: Private Collection, Texas
Literature:
A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 131, No. 549
$800 — $1,200
33 Gene Kloss (1903 – 1996) Untitled (Grove of Trees)
pen, ink wash on paper signed lower left: Gene Kloss A.N.A. 11 3/4 x 17 7/8 in. (29.8 x 45.4 cm.)
Provenance: Gene Kloss Estate
Robert L. Parsons Fine Art, Taos, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$1,200 — $1,800
34 Gene Kloss (1903 – 1996)
Untitled (Entering the Kiva)
charcoal on paper
14 3/4 x 10 1/2 in. (37.5 x 26.7 cm.)
Provenance:
Gene Kloss Estate
Robert L. Parsons Fine Art, Taos, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$1,200 — $1,800
35 Gene Kloss (1903 – 1996)
Untitled (Kiva)
conte crayon on paper
11 1/2 x 8 3/4 in. (29.2 x 22.2 cm.)
Provenance:
Gene Kloss Estate
Robert L. Parsons Fine Art, Taos, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$1,000 — $2,000
36 Gene Kloss (1903 – 1996)
Untitled (Possible Study for ‘Rain Priest’)
graphite on paper
5 1/2 x 7 1/8 in. (14 x 18.1 cm.)
Provenance: Gene Kloss Estate
Robert L. Parsons Fine Art, Taos, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$1,500 — $2,500
37 Gene Kloss (1903 – 1996)
Untitled (Adobe)
graphite on paper
3 1/2 x 7 in. (8.9 x 17.8 cm.)
Provenance: Gene Kloss Estate
Robert L. Parsons Fine Art, Taos, New Mexico
The Gregory Warren Nelson Collection, New Mexico
Exhibited:
Etched in Memory, Couse Sharp Foundation, Taos, New Mexico, January - May 2003
$800 — $1,200
39 Gene Kloss (1903 – 1996)
San Francisco Yacht Harbor, 1935
etching, artist’s proof
editioned and titled lower left: Artist’s Proof San Francisco Yacht Harbor signed lower right: Gene KLoss inscribed on mat lower margin: Etching GK - 594 9 x 9 7/8 in. (22.9 x 25.1 cm.)
Provenance: Private Collection, Texas
Literature:
A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. I, p. 158, No. 323
$600 — $900
38 Gene Kloss (1903 – 1996) Jester’s Fun, 1984
etching, drypoint, artist’s proof editioned and titled lower left: Artist’s Proof Jesters Fun signed lower right: Gene KLoss inscribed on mat lower margin: On San Geronimo Day, Sept 3 annually at Taos Pueblo / The Jesters, wearing corn husks in their hair, hold sway / in the afternoon. By custom, They are privileged To help / Themselves to any article offered for sale, a Watermelon here the “booty” Etching + Drypoint GK 534 7 1/2 x 8 3/4 in. (19.1 x 22.2 cm.)
Provenance: Private Collection, Texas
Literature:
A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 201, No. 619
$500 — $700
40 Gene Kloss (1903 – 1996) Untitled (Portrait of a Dog) conte crayon on paper 5 x 6 in. (12.7 x 15.2 cm.)
Provenance: Gene Kloss Estate
Robert L. Parsons Fine Art, Taos, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$800 — $1,200
41 Gene Kloss (1903 – 1996)
graphite on paper 10 x 6 1/2 in. (25.4 x 16.5 cm.)
Provenance:
Gene Kloss Estate
Robert L. Parsons Fine Art, Taos, New Mexico
The Gregory Warren Nelson Collection, New Mexico
Exhibited:
Etched in Memory, Couse Sharp Foundation, Taos, New Mexico, January – May 2003
$800 — $1,200
– 1996)
on paper
7 x 9 3/4 in. (17.8 x 24.8 cm.)
Provenance:
Gene Kloss Estate
Robert L. Parsons Fine Art, Taos, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$1,000 — $2,000
Untitled (Self Portrait)
42 Gene Kloss (1903
Untitled (Truchas Church)
graphite
44
woodcut, edition of 50 (40 printed) signed lower right: Howard Cook imp 1927 7 7/8 x 9 7/8 in. (20 x 25.1 cm.)
Provenance:
Editions Limited Gallery, Indianapolis, Indiana Private Collection, New Mexico
Literature:
Betty and Douglas Duffy, The Graphic Work of Howard Cook: A Catalogue Raisonné, Bethesda: Bethesda Art Gallery, 1984, pl. 68
$1,200 — $1,800
etching, edition of 50 (30 printed) signed lower right: Howard Cook imp 8 7/8 x 5 7/8 in. (22.5 x 14.9 cm.)
Provenance: The Collection of Barbara Latham, early 1980s Private Collection, Florida
Literature:
Betty and Douglas Duffy, The Graphic Work of Howard Cook: A Catalogue Raisonné, Bethesda: Bethesda Art Gallery, 1984, pl. 63
$1,000 — $2,000
woodcut, edition of 75 (50 printed) titled lower left: TAOS PUEBLO MORNING SMOKES signed and dated lower right: Howard Cook 1927 8 1/2 x 8 1/2 in. (21.6 x 21.6 cm.)
Provenance: Private Collection, New Mexico
Literature:
Betty and Douglas Duffy, The Graphic Work of Howard Cook: A Catalogue Raisonné, Bethesda: Bethesda Art Gallery, 1984, pl. 50
$1,500 — $2,500
etching, edition of 50 (20 printed) signed and dated lower right: Howard Cook imp. 1930 titled on mat lower left: Wood Sawers 6 7/8 x 8 3/4 in. (17.5 x 22.2 cm.)
Provenance: The Collection of Barbara Latham, early 1980s Private Collection, Florida
Literature:
Betty and Douglas Duffy, The Graphic Work of Howard Cook: A Catalogue Raisonné, Bethesda: Bethesda Art Gallery, 1984, pl. 142
$600 — $900
43 Howard Norton Cook (1901 – 1980)
Taos Pueblo, 1927
Howard Norton Cook (1901 – 1980)
Taos Pueblo Morning Smokes, 1927
45 Howard Norton Cook (1901 – 1980)
Talpa Furrows, 1927
46 Howard Norton Cook (1901 – 1980) Sawing Wood, 1930
47 Howard Norton Cook (1901 – 1980)
Taos Pyramids, 1927
etching, edition of 50 (30 printed) signed lower right: Howard Cook imp. 9 7/8 x 7 7/8 in. (25.1 x 20 cm.)
Provenance: The Collection of Barbara Latham, early 1980s Private Collection, Florida
Literature:
Betty and Douglas Duffy, The Graphic Work of Howard Cook: A Catalogue Raisonné, Bethesda: Bethesda Art Gallery, 1984, pl. 72
$1,000 — $2,000
49 Howard Norton Cook (1901 – 1980)
Studio Bed (Barbara Latham Sleeping), 1930
etching, aquatint, edition 15 of 30 editioned lower left: 15/30 signed lower right: Howard Cook imp. titled lower margin: Studio Bed aquatint inscribed verso: Studio Bed aquatint 6 1/4 x 10 1/2 in. (15.9 x 26.7 cm.)
Provenance:
The Collection of Barbara Latham, early 1980s Private Collection, Florida
Literature:
Betty and Douglas Duffy, The Graphic Work of Howard Cook: A Catalogue Raisonné, Bethesda: Bethesda Art Gallery, 1984, pl. 143
$1,000 — $2,000
48 Howard Norton Cook (1901 – 1980)
Taos Indian (Fat John), 1927
woodcut, edition of 50 (40 printed) signed and dated lower right: Howard Cook imp 1927 7 7/8 x 9 7/8 in. (20 x 25.1 cm.)
Provenance:
The Southern Museum Collection, Kennesaw, Georgia Private Collection, New Mexico
Literature:
Betty and Douglas Duffy, The Graphic Work of Howard Cook: A Catalogue Raisonné, Bethesda: Bethesda Art Gallery, 1984, pl. 62
$800 — $1,200
50 Barbara Latham (1896 – 1989)
Stopping to Chat, ca. 1935 / 1987
hand-colored woodcut
A rare image, unnumbered, from an edition of less than 10 signed lower left: Barbara Latham inscribed lower right: Sbrush-imp 5 7/8 x 8 3/4 in. (14.9 x 22.2 cm.)
Provenance:
Robert L. Parsons Fine Art, Taos, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$1,200 — $1,800
51 Ward Lockwood (1894 – 1963)
lithograph, edition 14 of 15
editioned lower left: 14/15
signed lower right: LOCKWOOD
inscribed lower right: To Saki - a good model / and model boy Ward 12 1/2 x 16 1/2 in. (31.8 x 41.9 cm.)
Provenance:
Robert L. Parsons Fine Art, Taos, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$1,000 — $2,000
52 John French Sloan (1871 – 1951) Hombres in the Sun, 1937
etching, edition of 100
signed in plate lower left: John Sloan 37’ editioned lower left: 100 proofs titled lower center: Hombres in the Sun signed lower right: John Sloan 5 7/8 x 3 7/8 in. (14.9 x 9.8 cm.)
Provenance: Private Collection, New Mexico
Literature: Peter Morse, John Sloan’s Prints: A Catalogue Raisonné of the Etchings, Lithographs, and Posters, New Haven: Yale University Press, 1969, p. 334, pl. 301
$800 — $1,200
Taos Signs, ca. 1929
lithograph titled lower left: Mountains near Santa Fe signed lower right: Beulah Stevenson 10 x 12 3/4 in. (25.4 x 32.4 cm.)
Provenance: Private Collection, New Mexico
$800 — $1,200
watercolor on paper signed lower right: Louis
inscribed verso: 1719, AT PIC/MAT, 2/66 11 1/4 x 21 in. (28.6 x 53.3 cm.)
Provenance: The Artist, 1966
The Geir & Dorsey Bjornson Collection Private Collection, Oklahoma
$1,000 — $2,000
53 Beulah Eisle Stevenson (1890 – 1965) Mountains Near Santa Fe, ca. 1949
54 Louis Leon Ribak (1902 – 1979) Untitled, 1966
Ribak
55 Doel Reed (1894 – 1985)
New Mexico
etching, aquatint, edition 15 of 25
editioned lower left: 15/25
signed lower right: Doel Reed, n.a.
11 1/4 x 18 1/8 in. (28.6 x 46 cm.)
Provenance:
Private Collection, New Mexico
$1,500 — $2,500
56 B. J. O. Nordfeldt (1878 – 1955)
Ceremony, Laguna, ca. 1919
etching, edition #4
editioned lower left: #4
signed lower right: Nordfeldt
7 1/2 x 10 in. (19.1 x 25.4 cm.)
Provenance:
The Owings Gallery, Santa Fe, New Mexico, 2022
The Gregory Warren Nelson Collection, New Mexico
$3,000 — $5,000
Willard Ayer Nash (1898 – 1942)
etching, edition 11 of 50
editioned lower left: #11 of 50
signed and dated lower right: Willard Nash 1927 5 x 5 7/8 in. (12.7 x 14.9 cm.)
Provenance:
The Korner & Wood Co, Cleveland, Ohio
Frank Croft Fine Art, Santa Fe, New Mexico, 1998
The Gregory Warren Nelson Collection, New Mexico
$800 — $1,200
– 1976)
ink, pastel on paper dated and signed lower right: 47 / HB SCHLEETER 6 x 10 in. (15.2 x 25.4 cm.)
Provenance:
David Cook Galleries, Denver, Colorado
Addison Rowe Gallery, Santa Fe, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$1,000 — $2,000
Questa,
Penitente
57
Penitente, 1927
58 Howard Behling Schleeter (1903
New Mexico Village, 1947
59 Helen Greene Blumenschein (1909 – 1989)
Untitled (Rio Grande Gorge), 1964
ink, watercolor on paper initialed and dated lower right: HGB 64. 31 3/4 x 19 3/4 in. (80.6 x 50.2 cm.)
Provenance: Robert L. Parsons Fine Art, New Mexico The Gregory Warren Nelson Collection, New Mexico
$1,000 — $2,000
60 Dorothy Eugenie Brett (1883 – 1977) Taos Gorge
graphite, colored pencil on paper signed lower right: DEBRETT 4 x 10 3/8 in. (10.2 x 26.4 cm.)
Provenance: Hansen Gallery, Santa Fe, New Mexico, 1989 The Gregory Warren Nelson Collection, New Mexico
$500 — $700
61 Andrew Dasburg (1887 – 1979)
Untitled (Landscape), 1969
graphite on paper
signed and dated lower right: Dasburg 69 17 3/4 x 23 in. (45.1 x 58.4 cm.)
Provenance: Private Collection, Arizona
$2,000 — $3,000
62 Allan Capron Houser (Haouzous) (Chiricahua Apache, 1914 – 1994) Horses graphite on paper signed lower right: Allan Houser 14 x 15 3/4 in. (35.6 x 40 cm.)
Provenance: Altermann Galleries, Santa Fe, New Mexico Private Collection, Florida
$2,000 — $3,000
63 Gustave Baumann (1881 – 1971) Marionettes, 1931
color woodcut, edition 10 of 100 titled lower left: MARIONETTES inscribed lower margin: TO OLIVE RUSH / To Charles Eeditioned lower right: 10-100 signed lower right: Gustave [hand-in-heart chop] Baumann 7 7/8 x 8 in. (20 x 20.3 cm.)
Provenance: The Collection of Olive Rush
Susan Carman Antiques + Fine Art, Santa Fe, New Mexico, 1998 The Gregory Warren Nelson Collection, New Mexico
Literature:
Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, p. 379, No. 140.1
$1,500 — $2,500
64 Gustave Baumann (1881 – 1971) Mountain Gold, 1926
color woodcut, edition 63 of 125 titled lower left: MOUNTAIN GOLD
editioned lower right: 63 - 125 signed lower right: Gustave [hand-in-heart chop] Baumann Baumann studio sticker verso, inscribed No. 63 8 7/8 x 10 5/8 in. (22.5 x 27 cm.)
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, p. 313, No. 107.2
$8,000 — $12,000
65 Gustave Baumann (1881 – 1971)
Night of the Fiesta - Taos, 1924
color woodcut, edition 64 of 125 titled lower left: NIGHT OF THE FIESTA - TAOS editioned lower right: 64.125 signed lower right: Gustave [hand-in-heart chop] Baumann
5 5/8 x 7 1/4 in. (14.3 x 18.4 cm.)
Provenance:
Mitchell, Brown & Co., Tucson, Arizona Private Collection, Arizona
Literature: Baumann Inventory No. 48 Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, p. 285, No. 92.2
$8,000 — $12,000
66 Gustave Baumann (1881 – 1971) Night of the Fiesta woodblock, ca. 1920
carved wood with traces of ink inscribed verso: # [indecipherable] Night of the Fiesta / (Night of the Fiesta – Taos) / Color woodblock by / Gustave Baumann PURPLE 6 1/2 x 8 6 5/8 x 8 x 7/8 in. (16.8 x 20.3 x 2.2 cm.)
Provenance: Private Collection, Tennessee
Literature:
Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, p. 285, No. 92
$1,000 — $2,000
67 Gustave Baumann (1881 – 1971) The Ridge Road, 1918
color woodcut, edition of 100 titled lower left: The Ridge Road signed lower right: Gustave [hand-in-heart chop] Baumann image: 10 7/8 x 9 7/8 in. (27.6 x 25.1 cm.)
Provenance:
The Collection of Mary Annis Ferriman, New Mexico Private Collection, New Mexico, by descent in the family
Literature:
Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, p. 221, No. 59
$5,000 — $7,000
69 Gustave Baumann (1881 – 1971)
Early Spring woodblock, ca. 1927
carved wood with traces of ink
inscribed verso: #12 - Early Spring / black / Color woodblock by Gustave Baumann
10 x 11 1/2 x 1 in. (25.4 x 29.2 x 2.5 cm.)
Provenance: Private Collection, Tennessee
Literature:
Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, p. 330 - 332, No. 115
$2,000 — $4,000
68 Gustave Baumann (1881 – 1971) Winter Ceremony, 1940
color woodcut with aluminum leaf, edition 2 of 125 titled lower left: WINTER CEREMONY editioned lower right: I 2-125 signed lower right: Gustave [hand-in-heart chop] Baumann 7 7/8 x 8 in. (20 x 20.3 cm.)
[This] design, influenced by Indian potsherds, is an example of Baumann’s interest in abstraction. Close observation reveals kachinas ceremoniously dancing. (Chamberlain, p. 415)
Provenance: Private Collection, Arizona
Literature:
Baumann Inventory No. 119
Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, p. 414-415, No. 161
$5,000 — $7,000
carved wood with traces of ink inscribed verso: # [indecipherable] / (Way of the Year) / Color woodblock by Gustave Baumann cancel mark present at lower right 12 x 11 1/2 x 1 in. (30.5 x 29.2 x 2.5 cm.)
Provenance: Private Collection, Tennessee
Literature:
Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, p. 176 - 177, No. 32
$1,000 — $2,000
70 Gustave Baumann (1881 – 1971) Way of the Year woodblock, ca. 1916
71 Gustave Baumann (1881 – 1971)
Lot of Five Hardcover & Softcover Gustave Baumann Texts color woodcuts, prints
Frijoles Canyon Pictographs, 1980 color woodcuts, edition 192 of 250 printed by Patrick Reagh from the original blocks on cream Frankfurt Zerkall laid paper
8 7/8 x 8 x 1/2 in. (22.5 x 20.3 x 1.3 cm.)
Literature:
Gustave Baumann, Frijoles Canyon Pictographs, Los Angeles: William & Victoria Dailey Antiquarian Books and Fine Prints, 1980. Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, p. 544-545, No. 348.36
All the Year Round by James Whitcomb Riley, 1912 with color woodcuts by Gustave Baumann original purchase receipt included 10 3/4 x 8 3/4 x 1/2 in. (27.3 x 22.2 x 1.3 cm.)
Literature:
James Whitcomb Riley, All the Year Round, with Woodcuts in Color by Gustave Baumann, Indianapolis: The Bobbs Merrill Company, 1912 Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, p. 460-464, No. 215
Gustave Baumann: Nearer to Art by Krause, Martin F. and Madeline Carol Yurtseven, 1993 prints, edition 14 of 200 illustrated in color throughout from the prints and paintings of Gustave Baumann. leather-backed linen-covered boards with leather inlay on front cover, linen-covered slipcase with pictorial label. one of 200 deluxe copies. 11 1/4 x 9 1/2 x 1 1/8 in. (28.6 x 24.1 x 2.9 cm.)
Literature:
Krause, Martin F. and Madeline Carol Yurtseven, Gustave Baumann: Nearer to Art, Santa Fe: Museum of New Mexico Press, 1993
Pirates! or the Cruise of the Black Revenge by Kendall Banning, 1916 13 woodcuts on Kozuchi Japanese paper includes original box and purchase receipt inscribed inside cover: Pirates / Gustave Baumann Illus. 10 1/4 x 8 3/8 x 0 1/2 in. (26 x 21.3 x 1.3 cm.) original: 11 1/2 x 9 1/4 x 1/4 in. (29.2 x 23.5 x 0.6 cm.)
Pirates! or the Cruise of the Black Revenge by Kendall Banning, 1918 prints, trade edition
illustrations by Gustave Baumann, reproduced at two thirds size includes the original envelope
7 1/4 x 5 3/8 x 1/4 in. (18.4 x 13.7 x 0.6 cm.) envelope: 5 5/8 x 7 3/4 x 1/4 in. (14.3 x 19.7 x 0.6 cm.)
Literature:
Kendall Banning, Pirates! or the Cruise of the Black Revenge, Chicago: Lawrence C. Woodworth, 1918
Kendall Banning, Pirates! or the Cruise of the Black Revenge, Chicago: Brothers of the Book, 1916
Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, p. 476 - 478, No. 239
Provenance: Private Collection, Tennessee
$1,000 — $2,000
72 Gustave Baumann (1881 – 1971)
An Eagle Ceremony at Tesuque Pueblo, ca. 1932
color woodcut
signed in block lower left: G [hand in heart insignia] B 6 1/2 x 6 1/2 in. (16.5 x 16.5 cm.)
Provenance: Private Collection, New Mexico
Literature:
Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, p. 382-383, No. 142
$800 — $1,200
woodcut printed verso: Daily Events through the Fiesta 16 1/2 x 11 in. (41.9 x 27.9 cm.)
official promotional supplement produced by Santa Fe New Mexican Publishing Corporation for the 224th annual Santa Fe Fiesta, held Sept. 12 - 14, 1936.
Provenance: Private Collection, New Mexico
Literature:
Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, p. 528, No. 320
$800 — $1,200
74 Gustave Baumann (1881 – 1971)
Pair of New Year’s Greeting Cards, 1969 / 1970
color woodcut
Fuzzy New Year, 1969 inscribed: I’ve been going over / a few of Gus’ cards & / thot you might enjoy this. / With love to you best / Jane
5 3/8 x 4 1/8 in. (13.7 x 10.5 cm.)
Old Style Happy New Year, 1970 this was the last holiday greeting card that Gus made.
5 3/4 x 8 1/2 in. (14.6 x 21.6 cm.)
Provenance: Private Collection, New Mexico
Literature:
Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, p. 566, No. 385 / 386
$600 — $900
73 Gustave Baumann (1881 – 1971) Otro Toro!, 1936
Untitled (Cowboy
graphite on paper signed and dated upper right: MARK / MAGGIORI / 20 20 10 3/8 x 9 1/4 in. (26.4 x 23.5 cm.)
Provenance: Private Collection, Washington
$4,000 — $6,000
Donna Howell-Sickles
Longhorn mixed media on paper signed lower right: Donna Howell-Sickles 60 x 40 in. (152.4 x 101.6 cm.)
Provenance: Private Collection, Colorado
$5,000 — $7,000
woodcut, edition 44 of 200 editioned and titled lower left: 44/200 / Walter Cannon signed lower right: T. C. Cannon 25 1/2 x 20 in. (64.8 x 50.8 cm.)
Provenance: Reeves Antiques, Houston, Texas Private Collection, Tennessee
$4,000 — $6,000
75 Mark Maggiori (b. 1977)
Riding Horse), 2020
76
(b. 1949) Cowgirl with
77 T. C. Cannon (Kiowa/Caddo, 1946 – 1978) Woman at Window, 1978
lithograph, edition 53 of 150 signed lower center: Scholder editioned lower right: 53 . 150
29 5/8 x 21 3/4 in. (75.2 x 55.2 cm.)
Provenance:
Shiprock, Santa Fe, New Mexico Private Collection, California
Literature: Tamarind 78-686
$3,000 — $5,000
1975
lithograph on Arches paper, edition 69 of 70 editioned lower left: 69.70 signed lower right: Scholder 30 x 22 3/8 in. (76.2 x 56.8 cm.)
Provenance: Shiprock, Santa Fe, New Mexico Private Collection, California
Literature: Tamarind 75-189
$3,000 — $5,000
78 Fritz Scholder (Luiseño, 1937 – 2005) Another Deco Indian, 1978
79 Fritz Scholder (Luiseño, 1937 – 2005) Indian with Beaded Sash,
80 Fritz Scholder (Luiseño, 1937 – 2005)
The Odyssey #2 (Set of First State, Second State + Third State), 1976
The Odyssey #2, First State, 1976 lithograph, edition 14 of 50 signed lower left: Scholder editioned lower right: 14.50
30 1/8 x 22 1/2 in. (76.5 x 57.2 cm.)
The Odyssey #2, Second State, 1976 lithograph, artist’s proof editioned lower left: artist’s proof signed lower right: Scholder
30 x 22 1/4 in. (76.2 x 56.5 cm.)
The Odyssey #2, Third State, 1976 lithograph, edition 34 of 50 editioned lower left: 34.50 signed lower right: Scholder
29 x 22 3/8 in. (73.7 x 56.8 cm.)
Fritz Scholder was the first artist to work with the legendary Tamarind Press in 1970 after it moved from California to New Mexico. His command of the medium and excited exploration of the potential also became legendary among Master Printers with whom he worked. It was not uncommon for him to publish the same image in multiple states, with different colors, but it is rare to be able to offer all three, as here with The Odyssey.
Provenance: Private Collection, New Mexico
Literature:
First State: Tamarind 76-663a
Second State: Tamarind 76-663b
Third State: Tamarind 76-663
$3,000 — $6,000
lithograph, edition 32 of 75 editioned lower left: 32 . 75
signed lower right: Scholder
30 x 22 1/8 in. (76.2 x 56.2 cm.)
Provenance: Private Collection, Florida
Literature: Tamarind 75-192
$1,500 — $2,500
81 Fritz Scholder (Luiseño, 1937 – 2005)
Indian with Cat, 1973
lithograph, artist’s proof editioned lower left: Artist’s Proof signed lower right: Scholder
26 3/8 x 18 1/2 in. (67 x 47 cm.)
Provenance: The Gregory Warren Nelson Collection, New Mexico
Literature:
Clinton Adams, Fritz Scholder: Lithographs, New York Graphic Society, Boston, 1975, p. 86
$2,000 — $4,000
lithograph, edition 103 of 150 titled upper right: Sioux Chief editioned lower left: 103 . 150 signed lower right: Scholder
inscribed verso: 78-034 / Buff Arches
30 1/8 x 22 1/4 in. (76.5 x 56.5 cm.)
Provenance: Private Collection, New Mexico
$1,500 — $2,500
lithograph, edition 53 of 75 edtioned lower left: 53/75
signed lower center: Scholder
inscribed verso: 1983.130.001 / German / 70.184
Etching / Paper
29 7/8 x 22 in. (75.9 x 55.9 cm.)
Provenance: Private Collection, New Mexico
Literature: Tamarind 70-184
Clinton Adams, Fritz Scholder: Lithographs , New York Graphic Society, Boston, 1975, p. 43
$1,500 — $2,500
83 Fritz Scholder (Luiseño, 1937 – 2005) Sioux Chief, 1978
84 Fritz Scholder (Luiseño, 1937 – 2005) Indian with Feather (Indians Forever Suite), 1970
82 Fritz Scholder (Luiseño, 1937 – 2005) Buffalo Dancer: New Mexico, 1975
85 Fritz Scholder (Luiseño, 1937 – 2005)
Waiting Indian (Indians Forever Suite), 1970
lithograph, trial proof editioned lower left: Trial Proof signed lower right: Scholder 29 3/4 x 21 7/8 in. (75.6 x 55.6 cm.)
Provenance: Private Collection, New Mexico
Literature: Tamarind 70-183
Clinton Adams, Fritz Scholder: Lithographs, New York Graphic Society, Boston, 1975, p. 42
$1,000 — $2,000
87 Fritz Scholder (Luiseño, 1937 – 2005)
The Indian and the Pigeon (Indians Forever Suite), 1970
lithograph, edition 59 of 75 editioned lower center: 59/75 signed lower right: Scholder inscribed verso: 70 - 188 22 1/4 x 30 in. (56.5 x 76.2 cm.)
Provenance: Private Collection, New Mexico
Literature: Tamarind 70-188
Clinton Adams, Fritz Scholder: Lithographs, New York Graphic Society, Boston, 1975, p. 45
$800 — $1,200
86 Fritz Scholder (Luiseño, 1937 – 2005) Anpao/Owl, 1976
lithograph, edition 79 of 100 signed lower left: Scholder editioned lower right: 79 . 100 inscribed verso: 76 - 659 / buff Arches 22 3/8 x 15 in. (56.8 x 38.1 cm.)
Provenance: Private Collection, New Mexico
Literature: Tamarind 76-659
$1,000 — $2,000
88 Lon Megargee (1883 – 1960) The Drum, ca. 1920
woodcut on paper signed in block upper left: LON / MEGARGEE titled lower left: ‘The Drum’ signed lower right: Lon Megargee 11 5/8 x 11 3/8 in. (29.5 x 28.9 cm.)
Provenance: Private Collection, Arizona
$800 — $1,200
89 Jaune Quick-to-See Smith (French–Cree/Shoshone/Salish, b. 1940)
Indian Handprint, 1993
monotype, variant III of VI editioned lower left: III signed and dated lower right: JqS Smith 93 published by Smith College, Northampton, Massachusetts printed by Maurice Sanchez (of Derriere LíEtoile Studios) for Smith College 21 x 18 in. (53.3 x 45.7 cm.)
Provenance: The Artist Maurice Sanchez/Derriere L’Etoile Studios, New York, New York Private Collection, Kansas
Note: Another variant of Indian Handprint was included in the Whitney Memory Map catalog [plate 58]; the Custer image monotypes are discussed in an essay in that catalog [pages 44-48]
$3,000 — $5,000
90 Jaune Quick-to-See Smith (French–Cree/Shoshone/Salish, b. 1940)
40,000 Years of American Art, 1995
collagraph, edition 5 of 20 editioned lower left: 5/20 signed lower right: JqS Smith published by Island Press, School of Fine Arts Printmaking Workshop, Washington University, St. Louis, Missouri printed by Kevin Garber 17 x 23 3/4 in. (43.2 x 60.3 cm.)
Provenance: The Artist Collection of Kevin Garber Private Collection, Kansas
$1,000 — $2,000
91 Jaune Quick-to-See Smith (French–Cree/Shoshone/Salish, b. 1940) Wasatch Winter, 2002
lithograph, edition 30 of 75 editioned lower left: 30/75 titled and dated lower center: Wassatch Winter 2002 signed lower right: JqS Smith published by Fine Art Ltd. on behalf of the Cultural Olympiad for the 2002 Salt Lake Olympic Games printed by Michael Sims at Lawrence Lithography Workshop 28 1/2 x 21 in. (72.4 x 53.3 cm.)
Provenance: The Artist Fine Art Ltd., St. Louis, Missouri Private Collection, Kansas
$1,000 — $1,500
92 Frank Howell (1937 – 1997) Word Weaver, 1978
ink, graphite, mixed media on paper signed and dated lower right: Frank Howell 1978 38 1/2 x 28 1/2 in. (97.8 x 72.4 cm.)
Provenance:
Carlson-Black Galleries Inc., Taos, New Mexico, 1979 A Private Non-Profit Collection, Illinois*
*All proceeds of sale from this artwork benefit a (501c3) Non-Profit Institution
$3,000 — $5,000
93 Paul Pletka (b. 1946) Blackfoot Warriors
pastel, charcoal on paper signed lower center: Pletka 31 x 39 in. (78.7 x 99.1 cm.)
Provenance: Private Collection, Colorado
$5,000 — $7,000
94 Luis Jiménez (1940 – 2006) Honky Tonk, 1981
lithograph, printer’s proof inscribed and editioned lower center: Thanks / P. P. signed and dated lower right: Luis Jiménez 81 36 x 51 in. (91.4 x 129.5 cm.)
Provenance:
Private Collection, South Australia
$4,000 — $6,000
95 Luis Jiménez (1940 – 2006) American Dream, 1972
lithograph, edition 77 of 150 signed and editioned lower right: Luis Jiménez / 77/150 24 1/2 x 34 1/2 in. (62.2 x 87.6 cm.)
Provenance: Private Collection, Arizona
$3,000 — $5,000
96 Luis Jiménez (1940 – 2006) Dead Coyote, 1989
lithograph, edition 30 of 50 editioned lower left: 30/50
signed lower right: © Luis Jiménez ‘89 published by Landfall Press 28 x 34 in. (71.1 x 86.4 cm.)
Provenance: The Artist
Landfall Press, Santa Fe, New Mexico, 2007
Private Collection, New Mexico
$1,500 — $2,500
97 Ford Ruthling (1933 – 2015)
The Fifth Day of Creation #18, 1984
monotype from hand embossed painted tin titled and editioned lower left: The Fifth Day of Creation #18
signed and dated lower right: Ford Ruthling ‘84
41 1/2 x 29 1/2 in. (105.4 x 74.9 cm.)
Provenance: The Artist
Private Collection, Colorado By descent to current owner
$600 — $900
98 Aline Porter (b. 1909)
Fruit
graphite, pastel on paper
signed upper left: Aline Porter
22 1/4 x 30 1/4 in. (56.5 x 76.8 cm.)
Provenance:
The Owings Gallery, Santa Fe, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$1,200 — $1,800
99 Gina Brook Knee (1898 – 1982)
Untitled Abstraction, Santa Fe, ca. 1942
watercolor on paper
signed lower right: GiNA KNEE
6 1/8 x 9 1/4 in. (15.6 x 23.5 cm.)
Provenance:
Aaron Payne Fine Art, Santa Fe, New Mexico, 2014
The Gregory Warren Nelson Collection, New Mexico
$800 — $1,200
100 Gina Brook Knee (1898 – 1982) Desert Landscape
watercolor on tissue paper initialed lower right: gk inscribed verso: SN103 S-4 / OD 427 / Desert Landscape
8 x 11 in. (20.3 x 27.9 cm.)
Provenance:
The Owings Gallery, Santa Fe, New Mexico, 2015
The Gregory Warren Nelson Collection, New Mexico
$800 — $1,200
Summer
– 1971)
colored ink, graphite on paper signed lower right: I. RICE Pereira 13 x 11 in. (33 x 27.9 cm.)
Provenance:
Andre Zarre Gallery, New York, New York
Aaron Payne Fine Art, Santa Fe, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$3,000 — $5,000
103 Emil James Bisttram (1895 – 1976) Forest Fugue, 1955
watercolor, gouache on paper
signed and dated lower right: BISTTRAM / 55
inscribed verso: Forest Fugue / Emil Bisttram 16 x 19 in. (40.6 x 48.3 cm.)
Provenance:
Robert L. Parsons Fine Art, Taos, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$1,500 — $2,500
102 Irene Rice Pereira (1906 – 1971) Untitled (Abstraction), 1955
graphite on paper
inscribed verso: Irene Rice-Periera (1906-1971)
11 3/4 x 10 in. (29.8 x 25.4 cm.)
Provenance:
Hansen Gallery, Santa Fe, New Mexico, 1993
The Gregory Warren Nelson Collection, New Mexico
$2,500 — $3,500
104 Emil James Bisttram (1895 – 1976) Taos Mountain
watercolor on paper signed lower right: Bisttram
inscribed verso: TAOS MOUNTAIN / Emil J Bisttram estate stamp verso: [artist’s cipher] / BISTTRAM / ESTATE
18 1/2 x 23 1/2 in. (47 x 59.7 cm.)
Provenance: Matthews Gallery, Santa Fe, New Mexico
Private Collection, Arizona
$2,000 — $4,000
101 Irene Rice Pereira (1906
Red Lines, 1939
105 Jozef Bakós (1891 – 1977) River Project
watercolor on paper
signed lower left: J. G. BAKOS
26 5/8 x 19 1/8 in. (67.8 x 48.6 cm.)
Provenance: Private Collection, Arizona
$2,000 — $4,000
watercolor on paper
signed and dated lower right: Lumpkins / WL71
17 1/2 x 23 1/2 in. (44.5 x 59.7 cm.)
Provenance:
Private Collection, New Mexico
$1,000 — $2,000
watercolor on paper
signed and dated lower right: LUMPKINS 91
inscribed verso: High Desert Series / signed Lumpkins 91 / Title Silver & Orange SKY / 59 3/8 - 43 1/2 / P.85-14
43 1/2 x 58 1/2 in. (110.5 x 148.6 cm.)
Provenance: The Artist
Private Collection, New Mexico
$2,000 — $4,000
watercolor on paper
signed and dated lower right: LUMPKINS 93
inscribed verso: High Desert Series / Signed Lumpkins 93 / Title Storm beyond hills / 56- 45- / P.86.05
41 3/8 x 55 in. (105.1 x 139.7 cm.)
Provenance: The Artist
Private Collection, New Mexico
$2,000 — $4,000
106 William Thomas Lumpkins (1909 – 2000) New Mexico Landscape, 1971
107 William Thomas Lumpkins (1909 – 2000) Silver & Orange Sky (High Desert Series), 1991
108 William Thomas Lumpkins (1909 – 2000) Storm Beyond Hills (High Desert Series), 1993
109 Harold Joe Waldrum (1934 – 2003)
Adobe Church
linocut, edition 30 of 71
editioned lower left: 30/71
signed lower right: H Waldrum
23 3/4 x 23 1/2 in. (60.3 x 59.7 cm.)
Provenance: Private Collection, New Mexico
$2,000 — $3,000
111 Helmuth Naumer (1907 – 1989) Starvation Peak, New Mexico, 1965
pastel on paper
signed lower right: NAUMER
inscribed verso: Artist / Helmuth Naumer / San Sebastian Ranch / Santa Fe. New Mexico
29 7/8 x 40 in. (75.9 x 101.6 cm.)
Provenance:
The Owings Gallery, Santa Fe, New Mexico
Private Collection, Arizona
$2,000 — $3,000
pastel on paper
signed and dated lower right: fincher ‘98
29 x 21 in. (73.7 x 53.3 cm.)
Provenance: Private Collection, New York
$1,500 — $2,500
112 Helmuth Naumer (1907 – 1989) Valley in Fall
pastel on paper mounted to masonite signed lower right: NAUMER
29 1/2 x 39 1/2 in. (74.9 x 100.3 cm.)
Provenance: Private Collection, Arizona
$1,500 — $2,500
110 John H. Fincher (b. 1941) Sawmill Pastel #2, 1998
113 Carl Von Hassler (1887 – 1969) Spring in Northern New Mexico, 1935
gouache on paper
signed lower right: Von Hassler .35.35 13 x 17 1/4 in. (33 x 43.8 cm.)
Provenance: Private Collection, New Mexico
$4,000 — $6,000
114 Gerald Cassidy (1869 – 1934) Northern Arizona
watercolor on paper signed lower right: _GeraldCassidy inscribed verso: Northern Arizona 7 3/4 x 11 7/8 in. (19.7 x 30.2 cm.)
Provenance: Private Collection, Arizona
$2,000 — $3,000
115 Peter Hurd (1904 – 1984)
watercolor on paper
signed lower left: Peter Hurd 21 1/4 x 28 7/8 in. (54 x 73.3 cm.)
Provenance: Private Collection, New Mexico
$3,000 — $5,000
116 Peter Hurd (1904 – 1984) Black Mesa of San Ildefonso, 1962
watercolor on paper
signed lower left: Peter Hurd inscribed verso: Black Mesa of San IldefonsoNorth of Santa Fe / 1962 8 7/8 x 14 3/8 in. (22.5 x 36.5 cm.)
Provenance: Private Collection, Florida
$3,000 — $5,000
117 Peter Hurd (1904 – 1984)
Hurrying Home
watercolor, graphite on paper signed lower left: Peter Hurd 10 x 12 3/4 in. (25.4 x 32.4 cm.)
Provenance: Private Collection, Arizona
$2,000 — $3,000
Hondo River
118 Harry Hutchinson Shaw (1897 – 1989)
Storm in the Mountains, 1929
watercolor on paper
signed lower right: Harry Shaw 19 5/8 x 25 3/4 in. (49.8 x 65.4 cm.)
Provenance:
Gerald Peters Gallery, Santa Fe, New Mexico
Zaplin Lampert Gallery, Santa Fe, New Mexico
Mitchell Brown Fine Art, Santa Fe, New Mexico
Private Collection, New Mexico
$1,500 — $2,500
119 Stuart Walker (1904 – 1940)
Pecos New Mexico Logging, ca. 1935
watercolor on paper
signed lower right: STUART / WALKER
13 7/8 x 20 in. (35.2 x 50.8 cm.)
Provenance: Private Collection, Arizona
$1,500 — $2,500
120 Harold Von Schmidt (1893 – 1982)
Horse Auction, 1951
watercolor, gouache on paper
signed and dated upper right: HAROLD / VON / SCHMIDT / 1951 inscribed verso: 11/6/60 WILLIAM E. JOHNSON / HAROLD VON SCHMIDT. 6 3/4 x 9 1/4 in. (17.1 x 23.5 cm.)
Provenance:
The William E. Johnson Collection, 1960
Robert L. Parsons Fine Art, Taos, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$1,500 — $2,500
121 Leonard Reedy (1899 – 1956)
The Sioux Visitor
watercolor on paper signed lower right: LEONARD H. REEDY
8 1/2 x 11 3/4 in. (21.6 x 29.8 cm.)
Provenance: Private Collection, Arizona
$1,500 — $2,500
122 Byron B. Wolfe (1904 – 1973)
To Perceive - To Pursue - To Possess
watercolor on paper each image: 7 x 9 in. (17.8 x 22.9 cm.)
To Perceive signed lower center: BYRON B. WOLFE - [Cowboy Artists of America insignia] / W © WL inscribed on mat lower left: TO PERCEIVE
To Pursue
signed lower right: BYRON B. WOLFE - [Cowboy Artists of America insignia] / W © WL inscribed on mat lower left: TO PURSUE
To Possess
signed lower left: BYRON B. WOLFE - [Cowboy Artists of America insignia] / W © WL inscribed on mat lower left: TO POSSESS inscribed on mat lower right: FROM THE SKETCH BOOK OF Byron B. Wolfe
inscribed verso: TO PERCEIVE - TO PURSUE - TO POSSESS / TIME - 17th CENTURY / PLACE - WEST OF THE MISSISSIPPI / Note - The first horses acquired from Spanish Ranches / on the north side of Rio Grande, these were stolen by / Indian Stable Boys and taken to Independent Tribes / This was the beginning, later many wild herds, led by / superior stallions were sought by Indian for a war Horse. / REF: - THE MUSTANGS - by J. Frank Dobie / HOW THE INDIAN GOT THE HORSE - by Francis Haines
accompanied with ephemera, a letter from the artist
Provenance: The Patsy P. and William L. Hutchison Collection
$1,000 — $2,000
123 Elbridge Ayer Burbank (1858 – 1949) Curly Crow, 1897
conte crayon on paper titled and dated upper left: CURLEY. / CROW. / 1897 signed lower right: E.A. Burbank / Ditch. CAMP / MONTANA inscribed verso: add art / ...to your life / 20 Main St / Jackson, CA, 95642 / 209.223.3339
11 3/4 x 9 3/8 in. (29.8 x 23.8 cm.)
Provenance: Private Collection, Florida
$800 — $1,200
124 Elbridge Ayer Burbank (1858 – 1949) Navajo Indian Girl, 1945
conte crayon on paper titled upper left: NAVAJO -INDIAN. GIRL. / GANADO. / ARIZONA. signed lower right: E. A. BURBANK. / 1945. 11 1/2 x 8 3/8 in. (29.2 x 21.3 cm.)
Provenance: Private Collection, New Mexico
$800 — $1,200
125 Elbridge Ayer Burbank (1858 – 1949) Isleta Pueblo, New Mexico, 1934
mixed media on paper signed lower right: E.A. BURBANK. / 1934. Inscribed verso: ISLETA. PUEBLO. NEW. MEXICO. 10 3/8 x 12 5/8 in. (26.4 x 32.1 cm.)
Provenance: Private Collection, New Mexico
$800 — $1,200
127 Edward S. Curtis (1868 – 1952)
Vash Gon - Jicarilla (Apache), 1904
orotone on glass (goldtone)
copyright lower left: © signed in negative lower right: CURTIS original Curtis studio sticker verso in original ‘batwing’ style period frame negative date: 1904
Jicarilla, Southwest
9 1/2 x 5 5/8 in. (24.1 x 14.3 cm.)
frame: 13 1/2 x 9 3/4 x 1 1/8 in. (34.3 x 24.8 x 2.9 cm.)
126 Edward S. Curtis (1868 – 1952)
Waiting in the Forest - Cheyenne, 1910
photogravure on Holland Van Gelder paper in the plate upper left: Plate 218 titled in the plate lower left: WAITING IN THE FOREST - CHEYENNE
inscribed in the plate lower center: From Copyright Photograph 1910 by E.S. Curtis inscribed in the plate lower right: Photogravure John Andrew & Son
negative date: 1910
Cheyenne, Great Plains
15 1/2 x 11 in. (39.4 x 27.9 cm.)
Provenance:
Andrew Smith Gallery, Santa Fe, New Mexico, ca. 1986
Private Collection, New Mexico
Literature:
The North American Indian (1907-1930), Portfolio 6, pl. 218
Native Nations, Bulfinch Press, 1993, p. 125
Hidden Faces, Bulfinch/Callaway Editions, 1996, p. 55
Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, p. 51
Edward S. Curtis One Hundred Masterworks, Delmonico Books/Prestel Publishing, 2015, p. 46
$6,000 — $9,000
For over a century, this portrait has been one of Edward Curtis’ most celebrated and sought-after works. Curtis often drew inspiration from the Pictorialism movement, and this image is a prime example. Its narrowed format, softened focus, dramatic lighting, and simplified composition all contribute to its timeless, iconic appeal. Clearly one of Curtis’ favorites, he exhibited it widely, used it to illustrate numerous articles, and produced it in at least four different photographic processes. Today, it remains highly desirable, especially in the rare goldtone medium, of which this is an excellent example.
Provenance:
Private Collection, New York
Literature:
The North American Indian (1907-1930), Portfolio 1, pl. 20
Native Nations, Bulfinch Press, 1993, p. 76
Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, p. 113
Edward S. Curtis: The Great Warriors, Bulfinch Press, 2004, pl. 19
$5,000 —
$7,000
128 Edward S. Curtis (1868 – 1952) Canyon de Chelly - Navajo, 1904
orotone on glass (goldtone) signed in negative lower right: CURTIS LA © partial Canyon de Chelly studio label on frame verso inscribed on label verso: These two pictures are bequeathed to / Orphie Bruggeman upon my death. / Catherine Peters in original ‘batwing’ style period frame negative date: 1904 print date: ca. 1932 Navajo, Southwest 10 1/4 x 13 3/8 in. (26 x 34 cm.) frame: 15 5/8 x 18 5/8 in. (39.7 x 47.3 cm.)
Canyon de Chelly is one of Edward Curtis’ most recognizable and powerful photographs. Taken in 1904, at a sacred location in the heart of Navajo country, the massive scale of the ancient rock formations in comparison to the miniscule riders illustrates the insignificance of man relative to nature.
A hallmark of his studio, Curtis pioneered and popularized the rarely used goldtone process shortly after 1900, producing fewer than one print for every 500 negatives due to the costly and challenging nature of the process. Despite its rarity, it seems to have been his favorite medium, writing in his studio’s Goldtone Promotional Brochure:
“The ordinary photographic print, however good, lacks depth and transparency, or more strictly speaking, translucency. We all know how beautiful are the stones and pebbles in the limpid brook of the forest where the water absorbs the blue of the sky and the green of the foliage, yet when we take the same iridescent pebbles from the water and dry them they are dull and lifeless, so it is with the orthodox photographic print, but in the [goldtone] all the transparency is retained and they are as full of life and sparkle as an opal.”
Being bright and luminous, a unique quality of goldtones, this is an excellent example of Canyon de Chelly in that process. Coupled with the original frame and the extraordinary provenance, this will make an extremely special addition to a connoisseur’s collection.
Provenance:
Edward Curtis Studio, Los Angeles, California
J.W. Wheeler, Seattle, Washington (personal friend of Edward Curtis)
Catherine Peters (nanny to Mr. Wheeler)
Orphadel Bruggeman (niece of Catherine Peters)
Bruggeman Family Land Trust (estate beneficiaries)
Literature:
The North American Indian (1907-1930), Portfolio 1, pl. 28
Florence Curtis Graybill and Victor Boesen, Visions of A Vanishing Race (Boston, 1976), pl. 2
Barbara A. Davis, Edward S. Curtis: The Life and Times of a Shadow Catcher (San Francisco, 1985), p. 244
Native Nations, Bulfinch Press, 1993, Page 30
Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, frontispiece, 189
Timothy Egan, Short Nights of the Shadow Catcher: The Epic Life and Immortal Photographs of Edward Curtis (Boston, 2012), p. 158
Edward S. Curtis One Hundred Masterworks, Delmonico Books/Prestel Publishing, 2015, p. 53, back cover
$7,000 — $10,000
129 Edward S. Curtis (1868 – 1952)
The Vanishing Race - Navajo, 1904
orotone on glass (goldtone)
signed in negative lower right: CURTIS LA ©
original The Vanishing Race, Biltmore Hotel studio label verso original backing paper
original backing board visible with embossment verso:
Edward S. Curtis Studios Inc., Biltmore Hotel Los Angeles in original ‘batwing’ style period frame negative date: 1904
print date: ca. 1932
Navajo, Southwest
10 1/4 x 13 3/8 in. (26 x 34 cm.)
frame: 15 5/8 x 18 5/8 in. (39.7 x 47.3 cm.)
Provenance:
Edward Curtis Studio, Los Angeles
J.W. Wheeler, Seattle, Washington (personal friend of Edward Curtis)
Catherine Peters (nanny to Mr. Wheeler)
Orphadel Bruggeman (niece of Catherine Peters) Bruggeman Family Land Trust (estate beneficiaries)
$6,000 — $9,000
130 Edward S. Curtis (1868 – 1952)
The Vanishing Race - Navajo, 1904
orotone on glass (goldtone)
signed in negative lower right: CURTIS
original The Vanishing Race studio sticker verso in original period ‘bat-wing’ style frame negative date: 1904
print date: ca. 1904
Navajo, Southwest
7 3/8 x 9 3/8 in. (18.7 x 24.7 cm.)
frame: 11 1/2 x 13 1/2 in. (29.2 x 34.3 cm.)
Provenance:
Edward Curtis Studio, Seattle Private Collector(s)
Sharp’s Curio Shop, Livingston, Montana Private Collection, Montana
$5,000 — $8,000
The Vanishing Race is one of Edward Curtis’ most iconic and poignant photographs. Taken in 1904, it depicts a group of Navajo riders on horseback fading into the distance, creating a powerful sense of movement into an uncertain future, reflecting Curtis’ broader mission to document and preserve the traditions, lifestyles, and histories of Indigenous peoples before they were lost. Although modern perspectives recognize the resilience and survival of Indigenous cultures, The Vanishing Race remains a powerful artistic statement about the early 20th-century perception of Native American life.
Literature:
The North American Indian (1907-1930), Portfolio 1, pl. 1
Native Nations, Bulfinch Press publisher, 1993, p. 123
Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster publisher, 2000, p. 188
Edward S. Curtis: The Great Warriors, Bulfinch Press publisher, 2004, p. 7
The North American Indian Republication Custom Edition, Christopher Cardozo Fine Art, 2014, Portfolio Vol. 1, pl. 1
Edward S. Curtis One Hundred Masterworks, Delmonico Books/Prestel Publishing, 2015, p. 91, 166
The North American Indian Republication Reference Edition, Christopher Cardozo Fine Art, 2017, Portfolio Vol. 1, pl. 1
132 Edward S. Curtis (1868 – 1952)
The Three Chiefs - Piegan, 1900 platinum in negative lower left: Curtis Copyright 1900 52 signed lower right: Curtis titled verso: The Three Chiefs – Piegan negative date: 1900 print date: 1900 Piegan, Great Plains 11 3/4 x 15 1/2 in. (29.8 x 39.4 cm.)
Provenance: Private Collection, Colorado
Literature:
The North American Indian (1907 - 1930), Supplemental Portfolio 6, pl. 209
$3,000 — $5,000
131 Edward S. Curtis (1868 – 1952)
The Scout - Apache, 1906 orotone on glass (goldtone) copyright in negative lower left: © in original ‘batwing’ style period frame negative date: 1906 print date: ca. 1906 Apache, Southwest 7 3/8 x 9 1/2 in. (18.7 x 24.1 cm.) frame: 11 1/8 x 13 1/4 x 1 1/8 in. (28.3 x 33.7 x 2.9 cm.)
Provenance:
Private Collection, Utah
Literature:
The North American Indian (1907-1930), Portfolio 1, pl. 13
Native Nations, Bulfinch Press, 1993, p. 121
Chiefs & Warriors, Bulfinch/Callaway Editions, 1996, p. 31
Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, p. 91
Edward S. Curtis: The Great Warriors, Bulfinch Press, 2004, pl. 14
$4,000 — $6,000
133 Edward S. Curtis (1868 – 1952)
The North American Indian: Volume XX, 1930
photogravure on Holland Van Gelder featuring the Alaskan tribes of the Nunivak, Hooper Bay, King Island, Diomede, Cape Prince of Wales, Kotzebue, Noatak and Selawik tribes
The North American Indian being a Series of Volumes Picturing and Describing the Indians of the United States, the dominion of Canada and Alaska. Written, Illustrated and Published by Edward S. Curtis. Edited by Fredrick Webb Hodge. Foreward by Theodore Roosevelt. Field Research conducted under the patronage of J. Pierpont Morgan. [Cambridge, Mass.], 1930.
LIMITED EDITION:
This volume is unnumbered, printed on handmade Holland Van Gelder etching stock, quarto, top edges gilt, original 3/4 brown crushed levant, over beige linen-covered boards, original gilt lettered, raised paneled spine, ribbon bookmark, with photogravure plates by Suffolk Engraving of Boston after photographs by Edward S. Curtis, edited by Frederick Webb Hodge, Chief of the Bureau of American Ethnology, field research conducted under the patronage of J. Pierpont Morgan.
TEXT VOLUME:
75 photogravures, including 2 hand-colored plates, and over 300 pages of text and transcriptions of language. Hand letterpress printed on hand-made paper. Hand-bound. 12 3/4 x 10 x 2 3/4 in. (32.4 x 25.4 x 7 cm.)
Provenance:
The North American Indian, Inc.
Charles Lauriat Books of Boston
Private Collector(s)
Captian Frederick A. Zuesler, USCG (1890-1981) Private Collection, Illinois
$5,000 — $7,000
platinum inscribed in negative lower left: X1737-05 signed lower right: Curtis titled on mount lower left: A Breezy Day at the River - San Ildefonso inscribed on print verso: A Breezy Day at the River - San Ildefonso Tewa X1737 original studio copyright sticker on mount verso negative date: 1905 print date: 1905 San Ildefonso, Southwest 6 x 7 15/16 in. (15.24 x 20.16 cm.)
Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection, 1999
Exhibited:
Sacred Legacy: Edward S. Curtis and the North American Indian (95 print exhibit), 2000
Literature:
Edward S. Curtis, One Hundred Masterworks, Delmonico Books/Prestel Publishing, 2015, p. 31
$1,000 — $2,000
134 Edward S. Curtis (1868 – 1952) A Breezy Day at the River, 1905
135 John K. Hillers (1843 – 1925)
Dancers Rock in Walpi, ca. 1879
albumen, mammoth plate 17 x 21 in. (43.2 x 53.3 cm.)
Provenance: Private Collection, New Mexico
$2,500 — $3,500
136 Edward S. Curtis (1868 – 1952) Signal Fire to the Mountain God, 1909
photogravure on Japanese gampi tissue plate titled lower left: SIGNAL FIRE TO THE MOUNTAIN GOD plate inscribed lower center: From Copyright Photograph 1909 by E.S. Curtis signed lower right: Edward S Curtis negative date: 1909 image: 7 1/4 x 5 in. (18.4 x 12.7 cm.)
Provenance: Private Collection, Arizona
Literature:
The Flute of the Gods, Marah Ellis Ryan, Frederick A. Stokes, New York, 1909, p. 129
$1,200 — $1,800
137 Edward S. Curtis (1868 – 1952) Masked Dancer - Cowichan (Crop Variant), 1912
gelatin silver inscribed verso: SS-117 / SLI CGC negative date: 1912 print date: ca. 1912 Cowichan, Northwest
7 1/8 x 5 3/4 in. (18.10 x 14.61 cm.)
Provenance: Edward Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection, 1999
Exhibited:
Sacred Legacy: Edward S. Curtis and the North American Indian, 2000 Edward S. Curtis: 100 Masterworks, 2016
Publication History - Print: Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, p. 176
Literature:
The North American Indian (1907-1930), Portfolio 9, pl. 326
Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, p. 176
The North American Indian Republication Custom Edition, Christopher Cardozo Fine Art, 2014, Portfolio Vol. 3, pl. 326
The North American Indian Republication Reference Edition, Christopher Cardozo Fine Art, 2017, Portfolio Vol. 2, pl. 326
$1,500 — $2,500
138 Preston Monongye (Mission/Hopi, 1927 – 1987)
Fetish Jar
silver, turquoise, coral, shell, feather stamped: [artist’s cipher]
4 3/4 x 3 5/8 in. (12.1 x 9.2 cm.)
Provenance:
Goodman Collection, Covered Wagon, Albuquerque, New Mexico
The Bing and Vickie Crosby Collection, Utah
$4,000 — $6,000
140 Kirk Smith (Diné [Navajo], 1957 – 2012)
Silver Butterfly Concho Belt with Turquoise Cabochons, ca. 1998
silver, turquoise, leather accompanied with Certificate of Authenticity
length: 47 in. (119.4 cm.)
width: 4 1/4 in. (10.8 cm.)
Provenance: Private Collection, New Mexico
$3,000 — $5,000
139 Sunshine Reeves (Diné [Navajo], b. 1966) Miniature Stamped Silver Wedding Vase
sterling silver stamped: SUNSHINE REEVES / STERLING
6 1/8 x 3 3/4 in. (15.6 x 9.5 cm.)
Provenance: The Bing and Vickie Crosby Collection, Utah
$2,000 — $3,000
141 Attributed to [Dan Simplicio] (Zuni, 1917 – 1969) Turquoise and Coral Zuni Link Belt with Matching Necklace
silver, turquoise, Mediterranean coral inscribed on belt link: D S / C E belt length: 35 1/8 in. (89.2 cm.), width: 1 7/8 in. (4.8 cm.) necklace hanging length: 7 1/2 in. (19.1 cm.) centerpiece: 1 1/2 x 3 1/8 in. (3.8 x 7.9 cm.)
Provenance: Private Collection, New Mexico
$3,000 — $5,000
142 Tommy Secatero (Diné [Navajo], 20th/21st Century) Incised Silver Cuff with Inlaid Turquoise, Coral, and Lapis Lazuli, ca. 1990
sterling silver, turquoise, coral, lapis stamped: Tommy Secatero / Sterling internal circumference: 7 in. (17.8 cm.) width: 1 3/4 in. (4.4 cm.)
Provenance: The Bing and Vickie Crosby Collection, Utah
$2,000 — $3,000
143 Esther Wood (Diné [Navajo], b. 1946) Turquoise Cabochons Link Belt, ca. 1996
silver, turquoise inscribed: Esther Wood length: 48 3/4 in. (123.8 cm.) maximum width: 1 5/8 in. (4.1 cm.)
Provenance: Private Collection, New Mexico
$2,000 — $3,000
144
144 Esther Wood (Diné [Navajo], b. 1946)
Silver Necklace and Earring Set with Green Turquoise Cabochons
green turquoise, silver, malachite clasp
necklace inscribed on centerpiece: Esther wood each earring: 1 5/8 x 1 1/4 in. (4.1 x 3.2 cm.)
necklace hanging length: 9 1/2 in. (24.1 cm.)
centerpiece: 3 1/2 in. (8.9 cm.)
Provenance: Private Collection, New Mexico
$2,000 — $3,000
145 Federico Jimenez (Mexican, b. 1941)
Large Kingman Cabochon Necklace
sterling silver, Kingman turquoise stamped: JF / Sterling hanging length: 13 in. (33 cm.)
centerpiece: 3 3/4 x 2 3/4 in. (9.5 x 7 cm.)
Provenance: The Bing and Vickie Crosby Collection, Utah
$3,000 — $5,000
146 Federico Jimenez (Mexican, b. 1941)
Large Kingman Cabochon Necklace
sterling silver, Kingman turquoise clasp + centerpiece stamped: JF / STERLING hanging length: 12 1/2 in. (31.8 cm.)
centerpiece: 2 3/8 x 1 3/4 in. (6 x 4.4 cm.)
Provenance: The Bing and Vickie Crosby Collection, Utah
$2,500 — $3,500
147 Bruce Eckhardt (20th/21st Century)
Turquoise and Opal Necklace
Castle Dome turquoise, Denali turquoise, natural Opal features Opal cut from single stone hanging length: 9 1/2 in. (24.1 cm.)
pendant: 1 3/8 x 1 1/4 in. (3.5 x 3.2 cm.)
Provenance: The Bing and Vickie Crosby Collection, Utah
$6,000 — $9,000
148 Charles Loloma (Hopi, 1921 – 1991)
Silver Cuff with Gold and Multistone Inlay
silver, coral, lapis, turquoise, gold inlay stamped: lolomAinternal circumference: 5 in. (12.7 cm.) width: 2 1/4 in. (5.7 cm.)
Provenance: Private Collection, Pennsylvania
$8,000 — $12,000
149 Attributed to [Vernon Haskie] (Diné [Navajo], 20th/21st Century)
14K Gold Ring with Inlaid Mixed Stones, ca. 2000
14K gold, coral, turquoise, malachite, lapis stamped on band: 14K inscribed: [indecipherable] ring size: 6 1/4 in., length: 1 3/8 in. (3.5 cm.)
Provenance:
The Bing and Vickie Crosby Collection, Utah
$2,000 — $3,500
150 Lee + Mary Webothee (Zuni, 20th Century) Gold Cluster Pendant
14K gold, turquoise stamped: ZUNI / Lee/Mary / 14K overall: 5 3/4 x 3 in. (14.6 x 7.6 cm.) without tassels: 3 x 3 in. (7.6 x 7.6 cm.)
Provenance: Private Collection, New Mexico
$5,000 — $7,500
151 Alice Quam (Zuni, 1929 – 2003) Cluster Bracelet and Ring Set, ca. 1985
gold, turquoise each stamped: A. Q. ring size: 4 1/2 in.
centerpiece: 1 1/4 x 1 in. (3.2 x 2.5 cm.) cuff circumference: 5 in. (12.7 cm.)
centerpiece: 2 5/8 x 2 1/2 in. (6.7 x 6.4 cm.)
Provenance: Private Collection, New Mexico
$5,000 — $7,500
152 Michael Schmaltz (Algonquin, 20th/21st Century) Pendant and Earring Set
sterling silver, turquoise pendant stamped: Michael / STERLING earrings stamped: Michael + STERLING pendant: 2 1/2 x 1 1/8 in. (6.4 x 2.9 cm.) earrings: 2 x 3/4 in. (5.1 x 1.9 cm.)
Provenance: The Bing and Vickie Crosby Collection, Utah
$3,000 — $4,500
153
Coral
coral, natural fibers hanging length: 15 in. (38.1 cm.)
Provenance: Private Collection, New Mexico
$3,000 — $4,500
sterling silver, turquoise, coral stamped: G Z N / NAVAJO
internal circumference: 6 1/4 in. (15.9 cm.) width: 1 3/8 in. (3.5 cm.) centerpiece: 2 1/4 x 1 1/4 in. (5.7 x 3.2 cm.)
Provenance: Private Collection, New Mexico
$3,000 — $4,500
coral, tumbled turquoise hanging length: 15 1/2 in. (39.4 cm.)
Provenance: The Bing and Vickie Crosby Collection, Utah
$3,500 — $5,500
turquoise, silver hanging length: 15 in. (38.1 cm.) centerpiece: 3 x 3 in. (7.6 x 7.6 cm.)
Provenance: The Bing and Vickie Crosby Collection, Utah
$3,000 — $4,500
Pueblo Style
Sixteen Strand Grandmother Wrap Necklace, ca. 1965
155 Pueblo Style
Three Strand Coral and Turquoise Grandmother Wrap Necklace, ca. 1965
156 Zuni Turquoise Cabochons Squash Blossom Necklace, ca. 1950
154 Gibson Nez (Diné [Navajo]/Jicarilla Apache, 1947 – 2007)
Sterling Silver Bracelet with Large Turquoise Cabochon
158 Michael Schmaltz (Algonquin, 20th/21st Century)
Silver Cuff with Turquoise Cabochons
silver, turquoise
stamped: Michael © / COIN
internal circumference: 6 1/2 in. (16.5 cm.)
width: 1 1/2 in. (3.8 cm.)
Provenance: The Bing and Vickie Crosby Collection, Utah
$2,500 — $3,500
157 Sam Delano (Zuni, 20th/21st Century)
Mixed Stone Nine-Strand Fetish Necklace, ca. 1975
turquoise, coral, serpentine, drift shell, and jet fetishes; olive shell and turquoise heishi; bone clasps featuring 225 fetishes hanging length: 14 1/4 in. (36.2 cm.)
Provenance: Private Collection, New Mexico
$2,500 — $3,500
159 Guy Haskie (Diné [Navajo], 20th/21st Century)
Silver Cuff with Carico Lake Turquoise and Sugilite Cabochons, ca. 1995
sterling silver, Carico Lake turquoise, sugilite stamped: G sterling H internal circumference: 7 in. (17.8 cm.)
width: 1 5/8 in. (4.1 cm.)
Provenance: The Bing and Vickie Crosby Collection, Utah
$2,000 — $3,000
161 Michael Schmaltz (Algonquin, 20th/21st Century)
Multi Stone Butterfly Pendant
turquoise, carnelian, silver, inlaid shell, jet stamped: Michael 2 1/8 x 3 in. (5.4 x 7.6 cm.)
Provenance: The Bing and Vickie Crosby Collection, Utah
$1,500 — $2,500
160 Julius Ahasteen (Diné [Navajo], 20th/21st Century)
Sterling Silver Cuff with Turquoise Cabochons, ca. 1995
sterling silver, turquoise stamped: AHASTEEN / STERLING 14K internal circumference: 7 in. (17.8 cm.) width: 1 7/8 in. (4.8 cm.)
Provenance: The Bing and Vickie Crosby Collection, Utah
$2,000 — $3,000
coral, turquoise, silver hanging length: 15 1/2 in. (39.4 cm.)
Provenance: The Bing and Vickie Crosby Collection, Utah
$1,200 — $1,800
Eight Strand Coral and Turquoise Necklace with Silver Cone Clasps
164 Pueblo Style (20th/21st Century)
Heishi Jacla Necklace with Turquoise and Shell
turquoise, shell, grandmother wrap hanging length: 20 1/4 in. (51.4 cm.)
Provenance: The Bing and Vickie Crosby Collection, Utah
$2,500 — $3,500
163 Andy Cadman (Diné [Navajo], b. 1966)
Sterling Silver Cuff with Coral Cabochons
sterling silver, coral stamped: [ram cipher] A. Cadman / STERLING internal circumference: 7 1/4 in. (18.4 cm.) width: 2 in. (5.1 cm.)
Provenance: The Bing and Vickie Crosby Collection, Utah
$1,500 — $2,500
165 Harrison Bitsui (Diné [Navajo], 20th/21st Century)
Sterling Silver Navajo Old Style Necklace, ca. 1995
sterling silver, turquoise inscribed on pendant: HB hanging length: 15 3/4 in. (40 cm.) centerpiece: 2 5/8 x 2 5/8 in. (6.7 x 6.7 cm.)
Provenance: The Bing and Vickie Crosby Collection, Utah
$2,500 — $3,500
166 Zuni
Petit Point Turquoise Cuff, ca. 1955
sterling silver, turquoise stamped: STERLING / HV internal circumference: 6 7/8 in. (17.5 cm.)
width: 3 in. (7.6 cm.)
Provenance: The Bing and Vickie Crosby Collection, Utah
$1,500 — $2,500
168 Larry Moses Begay (Diné [Navajo], 20th/21st Century)
Turquoise Cluster Squash Blossom Necklace
sterling silver, turquoise stamped: LMB / STERLING
hanging length: 18 1/2 in. (47 cm.)
centerpiece: 3 3/4 in. (9.5 cm.)
Provenance: The Bing and Vickie Crosby Collection, Utah
$2,000 — $3,000
167 Diné [Navajo] (20th/21st Century)
Stamped Silver and Turquoise Cluster Cuff
sterling silver, turquoise stamped: STERLING [feather cipher] internal circumference: 7 1/8 in. (18.1 cm.)
width: 3 1/2 in. (8.9 cm.)
Provenance: The Bing and Vickie Crosby Collection, Utah
$2,000 — $3,000
SESSION II FEATURING THE PATSY P. + WILLIAM L. HUTCHISON COLLECTION
LOTS 169 – 310
Saturday, November 9 9:30 AM MST
natural wool, aniline dyes
41 3/4 x 70 in. (106 x 177.8 cm.)
Provenance: The Gregory Warren Nelson Collection, New Mexico
$2,000 — $3,000
Navajo Pictorial rug, ca. 1915
wool, natural colors
54 x 36 in. (134.6 x 91.4 cm.)
Provenance:
Turkey Mountain Traders, Scottsdale, Arizona, 2002 Private Collection, New Mexico
$2,000 — $3,000
169 Diné [Navajo]
Yei Be Chei Rug, ca. 1915
170 Diné [Navajo]
171 Diné [Navajo]
Chief’s Blanket, ca. 1935
wool, natural colors, aniline dyes 66 1/2 x 82 in. (168.9 x 208.3 cm.)
Provenance: Private Collection, California
$2,000 — $3,000
173 Diné [Navajo]
Wide Ruins Chinle Rug, ca. 1965
natural wool, vegetal dyes
88 x 62 1/2 in. (223.5 x 158.8 cm.)
Provenance: Private Collection, Arizona
$3,000 — $5,000
172 Diné [Navajo]
Germantown Blanket with Spider Woman Crosses and Whirling Logs, ca. 1885
wool, aniline dyes
90 x 73 in. (228.6 x 185.4 cm.)
Certificate of Authenticity provided by Toh-Atin Gallery
Provenance: Private Collection, Arizona
Exhibited: The Heard Museum, Phoenix, Arizona
$3,000 — $5,000
Two Grey Hills Rug, ca. 1950
natural wool, vegetal dyes
63 x 44 in. (160 x 111.8 cm.)
Provenance: Private Collection, Montana
$5,000 — $8,000
174 Diné [Navajo]
175 Diné [Navajo]
Two Grey Hills Rug, ca. 1980
natural handspun wool
67 x 48 1/2 in. (170.2 x 123.2 cm.)
Provenance: Private Collection, Arizona
$3,000 — $5,000
177 Diné [Navajo]
Germantown Blanket, ca. 1980
yarns, aniline dyes
89 1/2 x 55 in. (227.3 x 139.7 cm.)
Provenance: Private Collection, Arizona
$3,000 — $5,000
176 Diné [Navajo]
Two Grey Hills Blanket with Storm Pattern, ca. 1965
natural handspun wool
70 x 43 in. (177.8 x 109.2 cm.)
Provenance: Private Collection, New Mexico
$2,000 — $3,000
178 Diné [Navajo]
Contemporary Chief’s Blanket
wool, commercial dyes
49 5/8 x 56 1/2 in. (143.5 x 126 cm.)
Provenance: Hubble Trading Post, Ganado, Arizona Private Collection, California
$2,000 — $3,000
180 Anita Fields (Osage, b. 1951)
carved cottonwood, natural pigments and fibers inscribed: Hazel Anderson 8 1/2 x 3 3/8 x 2 3/4 in. (21.6 x 8.6 x 7 cm.)
Provenance: Private Collection, New Mexico
$2,000 — $3,000
fired clay, pigments, gold leaf features three unique and removable pottery pieces: figure, home, and stilts 32 1/4 x 14 x 14 1/4 in. (81.9 x 35.6 x 36.2 cm.)
Provenance: Private Collection, Florida
$2,000 — $4,000
182 Attributed to [Old Lady Nampeyo] (Hopi, ca. 1859 – 1942)
fired clay, natural pigments height: 5 1/2 x diameter: 10 in. (14 x 25.4 cm.)
Provenance: Private Collection, New Mexico
$4,000 — $6,000
fired clay, natural pigments height: 5 1/8 x diameter: 8 1/8 in. (13 x 20.6 cm.)
Provenance: Private Collection, New Mexico
$1,500 — $2,500
179 Hopi Katsina, ca. 1920
Untitled (Ceramic House with Figure)
181 Hopi Polychrome Flying Saucer Jar, ca. 1920
Polychrome Pottery Jar, ca. 1905
183 Zia
Polychrome Storage Jar with Bird Motif, ca. 1965
fired clay, natural pigments
height: 12 1/2 x diameter: 15 3/4 in. (31.8 x 40 cm.)
Provenance: Robert L. Parsons Fine Art, Taos, New Mexico The Gregory Warren Nelson Collection
$1,200 — $1,800
184 Zuni
Polychrome Drum Pot, ca. 1920
fired clay, natural pigments, hide (drum cover)
height: 17 x diameter: 17 in. (43.2 x 43.2 cm.)
Provenance: Private Collection, Connecticut
$15,000 — $25,000
185 Zia
Storage Jar with Five Polychrome Birds, ca. 1895
fired clay, natural pigments
height: 15 1/2 x diameter: 19 1/4 in. (39.4 cm. x 48.9 cm.)
Provenance: Private Collection, California
Professionally restored, see online listing for full condition report.
$8,000 — $12,000
186 Acoma
Polychrome Pottery Jar with Heartline Deer, ca. 1895
fired clay, natural pigments
height: 13 3/4 x diameter: 14 in. (34.9 x 35.6 cm.)
Provenance: The Silverman Museum Collection Private Collection, Connecticut
Professionally restored, see online listing for full condition report.
$15,000 — $25,000
Apache
natural fibers height 13 1/4 x diameter 10 3/4 in. (33.7 x 27.3 cm.)
Provenance: Private Collection, Arizona
$3,000 — $4,500
187 Apache Figurative Basket with Stepped Pattern, ca. 1880
natural fibers height: 6 1/8 in. (15.6 cm.) x diameter: 10 5/8 in. (27 cm.)
Provenance: Private Collection, Connecticut
$6,000 — $9,000
189 Attributed to
natural fibers height: 6 1/8 in. (15.6 cm.)
Includes ephemera: Attribution to Agnes (May) Pete by Marvin Cohodas, 1991
Provenance: Private Collection, New Mexico
$3,000 — $4,500
188
Basketry Jar, ca. 1920
[Agnes (May) Pete] (Washoe, 19th/20th Century) Washoe Three Rod Degikup Polychrome Basket, ca. 1905
190 Makah Group of Two Basketry Items: Stitched Bottle with Lid
natural fibers bottle: 3 3/4 x 2 3/4 x 1 in. (9.5 x 7 x 2.5 cm.)
butter box: 1 3/4 x 3 1/8 in. (4.4 x 7.9 cm.)
Provenance: Private Collection, Tennessee
$1,200 — $1,800
bronze, edition 15 of 30 inscribed: Larry Yazzie © / 15/30 23 7/8 x 7 x 3 3/4 in. (60.6 x 17.8 x 9.5 cm.)
Provenance: The Artist, 2004 Private Collection, New Mexico
$2,000 — $4,000
192 Ford Ruthling (1933 – 2015) Zia Pot with Three Ears of Corn, 1984 oil on linen signed and dated lower right: Ford Ruthling / ‘84 36 x 30 in. (91.4 x 76.2 cm.)
Accompanied by copy of handwritten letter from artist
Provenance: The Artist Private Collection, Colorado By descent to current owner
$2,000 — $4,000
+ Butter Box
191 Larry Yazzie (Diné [Navajo], b. 1958) Basket Weaver Pride
193 Elbridge Ayer Burbank (1858 – 1949)
Indian Mother and Children, 1908
oil on canvas dated lower left: 1908
signed lower right: E.A. BURBANK
11 3/8 x 8 5/8 in. (28.9 x 21.9 cm.)
Provenance: Fenn Galleries Ltd., Santa Fe, New Mexico Private Collection, New Mexico
$6,000 — $9,000
194 Elbridge Ayer Burbank (1858 – 1949)
Geronimo - Apache
oil on board
21 1/4 x 17 1/4 in. (54 x 43.8 cm.)
Provenance: Gerald Peters Gallery, Santa Fe, New Mexico
Private Collection, New Mexico
$10,000 — $15,000
195 Carl Von Hassler (1887 – 1969) Indian Portrait, 1936
oil on canvas
signed and dated lower right: Von Hassler ‘36 17 1/2 x 15 5/8 in. (44.5 x 39.8 cm.)
Provenance: Private Collection, New Mexico
$3,000 — $5,000
196 Vladan Stiha (1908 – 1992) Navajo Girl Named “Clara”, 1970
oil on canvas
signed and dated lower right: V. Stiha / 1970
inscribed verso: NAVAJO Girl Named “Clara” / From Chinle, Arizona - 1970 / Original Painting by Vladan Stiha / [artist’s signature]
artist’s copyright stamp verso 20 x 16 in. (50.8 x 40.6 cm.)
Provenance: Private Collection, Texas
$2,000 — $4,000
197 Ramon Kelley (b. 1939)
(Little Girl in Red Shawl)
oil on canvas
signed lower left: © / Ramon K / NAWA inscribed verso: 12 x 9 PopitA / “Little Girl in Red Shawl” / oil / Ramon Kelley / NAWA / © 12 x 9 in. (30.5 x 22.9 cm.)
Provenance:
Altermann Galleries, Santa Fe, New Mexico
Biltmore Galleries, Scottsdale, Arizona
Private Collection, Florida
$800 — $1,200
Popita
198 Attributed to
oil on canvas
34 3/4 x 57 3/4 in. (88.3 x 146.7 cm.)
Provenance: Private Collection, New Mexico
$2,000 — 4,000
Calvin Fenley Chavez was a an Arizona based artist born to a San Felipe father and Laguna Pueblo mother. He got his start as a sign painter and commercial artist before becoming a full time artist in his own right.
In Lot 198, Chavez illustrates the annual Pueblo Rabbit Hunt which takes place with the appearance of the first full moon in September. The hunt is preceded by a ceremonial dance, then twenty men are selected to ride in the hunt starting in the east at sunrise and ending at sunset. The skulls of the hunted rabbits are then placed in a ceremonial shrine until the next year's hunt. In Lot 199, the artist depicts the Pueblo Rooster Pull, which involved burying a live rooster up to the neck in the ground and greasing its head. The horseman's skill is tested as he gallops at a fast clip and leans over to dislodge the greased rooster from his trappings. Once captured, the winner must keep his catch from his competitors and then gifts it to his partner as a symbol of his virility.
199 Calvin Fenley Chavez (San Felipe/Laguna, b. 1924 )
oil on canvas
signed lower right: CALVIN / FENLEY / CHAVEZ
30 x 36 in. (76.2 x 91.4 cm.)
Provenance: Private Collection, New Mexico
$3,000 — $5,000
[Calvin Fenley Chavez] (San Felipe/Laguna, b. 1924 )
Pueblo Rabbit Hunt, ca. 1945
Pueblo Rooster Pull, ca. 1945
200 W. Steve Seltzer (b. 1955) The Migration
oil on panel
signed lower left: W. S. SELTZER 23 1/2 x 29 1/2 in. (59.7 x 74.9 cm.)
Provenance: Private Collection, New Mexico
$2,000 — $4,000
201 W. Steve Seltzer (b. 1955) Indian on Horseback
oil on board
signed lower right: W. S. SELTZER
8 3/8 x 11 1/2 in. (21.3 x 29.2 cm.)
Provenance: Private Collection, New Mexico
$1,000 — $2,000
202 John Moyers (b. 1958) Pow
oil on board
signed lower right: _J. MOyERS_ / © inscribed verso: “Pow - Wow DRESS” / - ALL REPRODUCTION RIGHTS / RESERVED BY THE ARTIST - / JoHN MoyERS
6 x 8 in. (15.2 x 20.3 cm.)
Provenance: Private Collection, Arizona
$1,000 — $2,000
Wow Dress
203 Ila Mae McAfee (1897 – 1995) Elijah
oil on canvas
titled and signed lower margin: ELIJAH ILA MAE
23 1/8 x 29 1/8 in. (58.7 x 74 cm.)
This painting tells the supposedly true story of a horse (Elijah) who became stranded in the mountains. Food was dropped down to him which was shared by a group of coyotes who went on to lead the horse down the mountain to safety.
Provenance:
Private Collection, New Mexico
$1,500 — $2,500
205 Marjorie Jane Reed (1915 – 1996) Danger! Smoke Signals
oil on canvas
signed lower right: MARJORIE REED -
23 3/4 x 29 3/4 in. (60.3 x 75.6 cm.)
Provenance: Private Collection, Arizona
$2,000 — $4,000
204 Marjorie Jane Reed (1915 – 1996)
Chow Time on The Cattle Train
oil on canvas
signed lower right: MARJORIE REED –inscribed verso: “CHOW TIME ON THE / CATTLE TRAIN” - / By / MARJORIE REED23 7/8 x 48 in. (60.6 x 121.9 cm.)
Provenance: Private Collection, Arizona
$6,000 — $9,000
206 Marjorie Jane Reed (1915 – 1996)
Sam Takes ‘Em to Water (Apache Pass), ca. 1955
oil on board
signed lower right: MARJORIE REED –inscribed verso: SAM TAKES ‘EM TO THE / WATER” / (APACHE PASS) / By MARJORIE REED - / 8 x 10 CANVAS PAPER / BOARD
9 1/2 x 7 1/2 in. (24.1 x 19.1 cm.)
Provenance: Eric Firestone Gallery, Tucson, Arizona Private Collection, Arizona
$1,000 — $2,000
207 Rosa Curtis (1894 – 1960)
oil on canvas board
signed lower right: RM Curtis 11 1/2 x 15 1/4 in. (29.2 x 38.7 cm.)
Provenance: Private Collection, New Mexico
$1,000 — $2,000
208 Harold Harrington Betts (1881 – 1951) Navajo Traders, ca. 1910
oil on canvas signed lower left: H Betts 21 1/4 x 35 in. (54 x 88.9 cm.)
Provenance: Private Collection, New Mexico
$5,000 — $7,000
209 James Guilford Swinnerton (1875 – 1974)
oil on linen
signed lower right: SWiNNERTON29 1/2 x 39 3/8 in. (74.9 x 100 cm.)
Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Private Collection, Arizona
$4,000 — $6,000
Navajo Camp
Ruins of Hopi Trading Post
oil on canvas
signed lower left: LouisAkin
inscribed verso: 9P . 11 . 1 / 26x22 / Louis AKIN / 1909 / GRAND CANYON
25 3/8 x 21 in. (64.5 x 53.3 cm.)
Provenance: Private Collection, Arizona
Exhibited:
The Museum at Texas Tech University, Lubbock, Texas, January - March 1976
$5,000 — $7,000
oil on linen
signed lower right: SWINNERTON_
inscribed verso: DRY SINK WASH / NEAR COW SPRINGS
23 5/8 x 17 5/8 in. (60 x 44.8 cm.)
Provenance: Altermann Galleries, Santa Fe, New Mexico
Private Collection, Arizona
$2,000 — $3,000
211 James Guilford Swinnerton (1875 – 1974)
(Desert and Sky)
oil on linen
signed lower right SWiNNERTON29 3/4 x 14 5/8 in. (75.6 x 37.1 cm.)
Provenance: Private Collection, Arizona
$2,000 — $3,000
213 Donald Blagge Barton (1903 – 1990)
oil on canvas signed lower left: Don. Barton 25 1/8 x 30 1/8 in. (63.8 x 76.5 cm.)
Provenance: Private Collection, Arizona
$3,000 — $5,000
210 Louis Benton Akin (1868 – 1913) Grand Canyon, 1909
Untitled
212 James Guilford Swinnerton (1875 – 1974) Dry Sink Wash
Grand Canyon, Arizona
214 Merrill Dean Mahaffey (b. 1937) Inner Canyon Stillness (Lake Powell Suite), 1981
acrylic on canvas inscribed verso: Merrill Mahaffey / “Inner / Canyon Stillness” / Lake Powell Suite / Ed Shipp inspired this / with a photo of Davis Gulch. / I’ve not been there . / 48 x 36 acrylic / 1981 48 x 36 x 1 3/4 in. (121.9 x 91.4 x 4.4 cm.)
Provenance: Private Collection, Colorado
$2,000 — $4,000
215 Carlos Vierra (1876 – 1937) Untitled (Badlands)
oil on canvas signed lower left: CARLOS VIERRA9 1/2 x 17 1/4 in. (24.1 x 43.8 cm.)
Provenance: Private Collection, New Mexico Private Collection, Texas
$2,500 — $3,500
216 Carl Von Hassler (1887 – 1969) Springtime in Tres Ritos, New Mexico, ca. 1942
oil on canvas signed lower left: Von Hassler inscribed verso: Harris Hampton / Canyon TX / asked for this / (Sangre de Cristo Mountains) / Springtime in Tres Ritos (NM) / by Von Hassler - 42 / Price 400 21 3/8 x 27 3/8 in. (54.3 x 69.5 cm.)
Provenance: Private Collection, Arizona
$7,000 — $10,000
oil on canvas mounted to masonite signed lower left: E. Lawson
7 1/2 x 8 3/4 in. (19.1 x 22.2 cm.)
Provenance: Private Collection, Pennsylvania
$4,000 — $6,000
oil on linen
signed lower right: CF. Von Hassler
27 3/4 x 31 1/2 in. (70.5 x 80 cm.)
Provenance: Altermann Galleries, Santa Fe, New Mexico Private Collection, Arizona
$2,000 — $4,000
oil on linen signed lower right: SWiNNERTONinscribed verso: C1443
29 5/8 x 39 1/2 in. (75.2 x 100.3 cm.)
Provenance: Altermann Galleries, Santa Fe, New Mexico Private Collection, Arizona
$4,000 — $6,000
217 Ernest Lawson (1873 – 1939) Sangre de Cristo, ca. 1910
218 Carl Von Hassler (1887 – 1969) Home at the Base of the Mountain
219 James Guilford Swinnerton (1875 – 1974) Desert Scene
220
oil on canvas
signed lower right: Heine Hartwig © 23 1/2 x 35 1/2 in. (59.7 x 90.2 cm.)
Provenance: Private Collection, New Mexico
$2,500 — $3,500
oil on board
signed lower right: Heine Hartwig © 19 3/4 x 29 3/4 in. (50.2 x 75.6 cm.)
Provenance: Private Collection, New Mexico
$2,500 — $3,500
222
oil on board
signed lower right: Heine Hartwig © 18 x 24 in. (45.7 x 61 cm.)
Provenance: Private Collection, New Mexico
$1,500 — $2,500
Heine Hartwig (b. 1937)
Sundown
221 Heine Hartwig (b. 1937)
Sundown
Heine Hartwig (b. 1937)
Buffalo Prayer
THE PATSY P. AND WILLIAM L. HUTCHISON COLLECTION
“I grew up dreamin’ of bein’ a cowboy and loving those cowboy ways. Pursuin’ the life of my high ridin’ heroes I burned-up my childhood days. My heroes have always been cowboys and they still are it seems…”
These words, sung by Willie Nelson, describe William L. Hutchison better than can any biography. From a teenager learning Western Swing in the dance halls of Red River, New Mexico, to a young man purchasing New Mexico ranch land with his father in the late 1950s, Mr. Hutchison was always influenced by the romance and heroes of the Old West. For nearly 75 years, Mr. Hutchison built upon the ranch first shared with his father and expanded it into a large working cattle ranch, Arabian horse breeding facility, and mountain sanctuary for his ever-growing family. He could talk endlessly about the love and wonderment of ranching, a true cowboy at heart. A voracious reader, Bill loved non-fiction books on cowboys, Native Americans, explorers, and the history of the American West.
Hutchison made his living in the oil and gas business in Dallas as the President, CEO, and Chairman of the Board of Texas Oil and Gas, as well as the Chairman of the Board of Governors and Trustee Emeritus of Southern Methodist University and was instrumental in founding the SMU campus in Taos, New Mexico.
Bill and his wife of almost 70 years, Patsy, left Dallas for Santa Fe in 2002 so that they could be closer to the ranch and the place he found most magical. A known regular at many of the art galleries in Santa Fe, Dallas, Scottsdale, Jackson Hole, he loved nothing more than competing for a great treasure. From the 1960’s onward, William L. and Patsy P. Hutchison developed an impressive collection of Western painting and sculpture, a passion they carried with them to their home in New Mexico.
It is within this context that Mr. Hutchison’s love of southwestern, cowboy, and Native American art becomes clear. His lifelong collection highlights his love of the places, people, history, and romance of the American West. Historic paintings and bronzes from the Cowboy Artists of America spoke to him in a way that only a person of his experiences might fully understand. While his collection boasted many recognizable names, it was always the piece’s mood that caught his eye. He was fascinated by works that could absorb his thoughts and allow his mind to escape to that place and that time.
We are proud to present this collection and its history for auction, and the man behind its story.
oil on board
signed lower right: McCarthy [Cowboy Artists of America insignia] © 77
inscribed verso: #389 “Blackfoot Captive” - Based on Joe Meek’s capture by the Blackfeet - / all reproduction rights held by artist / Frank C. McCarthy 23 1/2 x 35 1/2 in. (59.7 x 90.2 cm.)
Frank McCarthy was a renowned American illustrator and painter, known for his dynamic depictions of the American West. Born in 1924, McCarthy trained at the Art Students League of New York and the Pratt Institute, developing a distinctive style that combined precision and drama. He began his career illustrating for magazines, book covers, and movie posters, including Louis L’Amour novels and the infamous James Bond movie posters. He later gained recognition as a fine artist, becoming a member of the acclaimed Cowboy Artists of America, where he captured the action-packed, heroic spirit of the West in his vivid paintings. McCarthy’s work is known for its attention to detail and storytelling power.
McCarthy's art can be found in several prominent museums, including the Gilcrease Museum in Tulsa, Oklahoma, and the Booth Western Art Museum in Cartersville, Georgia.
Provenance:
The Patsy P. and William L. Hutchison Collection
$30,000 — $50,000
223 Frank C. McCarthy (1924 – 2002) Blackfoot Captive, 1977
224 David Mann (b. 1948) Victory to the Swift oil on canvas
signed lower right: D. Mann
39 3/8 x 59 1/2 in. (100 x 151.1 cm.)
Provenance: Altermann & Morris Galleries
The Patsy P. and William L. Hutchison Collection
$10,000 — $15,000
225 David Mann (b. 1948) To the Morning Star oil on canvas
signed lower left: DAVID / MANN
39 5/8 x 29 1/2 in. (100.6 x 74.9 cm.)
Provenance:
Altermann Galleries, Santa Fe, New Mexico
The Patsy P. and William L. Hutchison Collection
$6,000 — $9,000
oil on canvas
signed lower right: John Moyers / [Cowboy Artists of America insignia] inscribed verso: “NAVAJO SUNSET” / JOHN MOYERS [Cowboy Artists of America insignia]
38 x 40 in. (96.5 x 101.6 cm.)
Provenance:
Altermann & Morris Galleries
The Patsy P. and William L. Hutchison Collection
$8,000 — $12,000
227 Marilyn Bendell (1921 – 2003)
High Mountain Harvest
oil on canvas
signed lower right: Bendell / ©
59 5/8 x 29 3/8 in. (151.4 x 74.6 cm.)
Provenance: Altermann Galleries, Santa Fe, New Mexico
The Patsy P. and William L. Hutchison Collection
$4,000 — $6,000
228 Frank C. McCarthy (1924 – 2002)
The Sioux, 1971
oil on canvas
signed lower left: McCarthy / © 71
inscribed verso: #77 / “the Sioux” / all reproduction rights held by / artist - Frank McCarthy 14 5/8 x 11 5/8 in. (37.1 x 29.5 cm.)
Provenance:
Connally & Altermann Art Gallery, Houston, Texas
The Patsy P. and William L. Hutchison Collection
$4,000 — $6,000
226 John Moyers (b. 1958)
Navajo Sunset
229 Charles Marion Russell (1864 – 1926)
Untitled (Blackfoot Warrior), from The Oregon Trail, ca. 1920
watercolor, pen, ink on paper signed lower left: CMP [bison skull cipher]
5 1/8 x 4 1/2 in. (13 x 11.4 cm.)
Provenance:
The Patsy P. and William L. Hutchison Collection
Literature:
Francis Parkman, Jr., The Oregon Trail, New York: Farrar & Rinehart, 1931, p. 288.
B. Byron Price, Anna Morand, et al., Charles M. Russell: A Catalogue Raisonné, 2007, Oklahoma, Montana: Charles M. Russell Center for the Study of Art of the American West + The C. M. Russell Museum, No. 592
$8,000 — $12,000
231 Charles Marion Russell (1864 – 1926)
230 Charles Marion Russell (1864 – 1926)
Untitled (Bison), from The Oregon Trail, ca. 1920
watercolor, gouache on paper 3 5/8 x 4 7/8 in. (9.2 x 12.4 cm.)
Provenance:
The Patsy P. and William L. Hutchison Collection
Literature:
Francis Parkman, Jr., The Oregon Trail, New York: Farrar & Rinehart, 1931, p. 383. B. Byron Price, Anna Morand, et al., Charles M. Russell: A Catalogue Raisonné, 2007, Oklahoma, Montana: Charles M. Russell Center for the Study of Art of the American West + The C. M. Russell Museum, No. 596
$6,000 — $9,000
Untitled (Indian Woman with Painted Cheeks), from The Oregon Trail, ca. 1920
watercolor on paper
4 1/4 x 4 1/8 in. (10.8 x 10.5 cm.)
Provenance: The Patsy P. and William L. Hutchison Collection
Literature: Francis Parkman, Jr., The Oregon Trail, New York: Farrar & Rinehart, 1931, p. 305. B. Byron Price, Anna Morand, et al., Charles M. Russell: A Catalogue Raisonné, 2007, Oklahoma, Montana: Charles M. Russell Center for the Study of Art of the American West + The C. M. Russell Museum, No. 595
$6,000 — $9,000
232 Cyrus Afsary (b. 1940) Apache Man
oil on canvas signed lower left: Cyrus Afsary 13 1/2 x 10 1/2 in. (34.3 x 26.7 cm.)
Provenance: Altermann Galleries
The Patsy P. and William L. Hutchison Collection
$1,000 — $2,000
233 Bill Anton (b. 1957) Who’s There?, 2004
oil on board
signed lower right: BillAnton
inscribed verso: “WHO’S THERE?” / 36x24 OIL / Bill Anton / © / ‘04
35 5/8 x 23 5/8 in. (90.5 x 60 cm.)
Provenance:
Altermann Galleries, Santa Fe, New Mexico
The Patsy P. and William L. Hutchison Collection
$7,000 — $10,000
29
Provenance: The Patsy P. and William L. Hutchison Collection
$2,000 — $4,000
234 Robert Summers (b. 1940)
Untitled (Canyon Nocturne with Horses), 1986 oil on board
signed lower right: Robert Summers / ©1986
1/2 x 47 1/2 in. (74.9 x 120.7 cm.)
oil on canvas
signed lower right: RHagan
39 x 37 1/2 in. (99.1 x 95.3 cm.)
Provenance: The Patsy P. and William L. Hutchison Collection
$3,000 — $5,000
oil on canvas
signed lower left: Brackett inscribed verso: VIEW FROM / CRUZ ALTA - TAOS / DON BRACKETT © 1990
19 5/8 x 29 5/8 in. (49.8 x 75.2 cm.)
Provenance: The Patsy P. and William L. Hutchison Collection
$2,000 — $4,000
acrylic on canvas signed lower left: W. C. Hook
23 1/2 x 23 1/2 in. (59.7 x 59.7 cm.)
Provenance: The Patsy P. and William L. Hutchison Collection
$2,000 — $4,000
oil on canvas
signed lower left: GARY KAPP 29 3/8 x 23 3/8 in. (74.6 x 59.4 cm.)
Provenance: Altermann & Morris Galleries
The Patsy P. and William L. Hutchison Collection
$1,500 — $2,500
235 Robert Hagan (Australian, b. 1947) Untitled (Cowboy Herding Cattle)
236 Don Brackett (b. 1932) View from Cruz Alta - Taos, 1990
237 William Cather Hook (b. 1948) Aspen Stream
238 Gary Kapp (b. 1942) A Quiet Afternoon
239 Oleg Stavrowsky (1927 – 2020)
The Shadow
oil on canvas
signed lower right: Oleg Stavrowsky
27 3/8 x 20 3/8 in. (69.5 x 51.8 cm.)
Provenance:
Altermann Galleries, Santa Fe, New Mexico
The Patsy P. and William L. Hutchison Collection
$1,500 — $2,500
241 Cyrus Afsary (b. 1940)
Memories of San Juan Capistrano
oil on canvas
signed lower left: CYRUS AFSARY NAWA
23 1/2 x 19 1/2 in. (59.7 x 49.5 cm.)
Provenance: Altermann & Morris Galleries
The Patsy P. and William L. Hutchison Collection
$1,500 — $2,500
240 Byron B. Wolfe (1904 – 1973) Wagon Watchers, 1965
oil on canvas
signed and dated lower right: BYRON B. WOLFE / W 1965 / © inscribed verso: WAGON WATCHES. / Small war party of Cheyenne and Arapaho / watching the crossing of their hunting / grounds by wagon trainsthese hunting / grounds were given to the Indians by treaty. / PLACE: Along the Santa Fe Trail / TIME: Post Civil War / REF: The Santa Fe Trail - Colo. Henry Inman / Pioneer History of Kansas - Adolph Roenigk / Kansas in the 60’sGovenor Crawford.
16 x 24 1/4 in. (40.6 x 61.6 cm.)
Provenance:
The Patsy P. and William L. Hutchison Collection
$1,000 — $2,000
242 Kim Mackey (b. 1953) Comedy of Errors
oil on linen
signed lower right: Mackey O. P. A. / © signed verso: COMEDY OF ERRORS / © Kim Mackey O. P. A.
23 1/2 x 35 1/2 in. (59.7 x 90.2 cm.)
Provenance: Altermann Galleries, Santa Fe, New Mexico
The Patsy P. and William L. Hutchison Collection
$1,000 — $2,000
243 John Wade Hampton (1918 – 1999)
Race for the Wagon, 1982
bronze, edition 3 of 50
inscribed: JWHAMPTON © / [Cowboy Artists of America insignia] 1982 3/50
25 1/2 x 38 x 19 in. (64.8 x 96.5 x 48.3 cm.)
with base: 29 x 38 x 19 in. (73.7 x 96.5 x 48.3 cm.)
John Wade Hampton was a distinguished artist and sculptor known for his authentic depictions of frontier life and ability to capture the essence of the American West. Significantly he co-founded the Cowboy Artists of America (CAA) in 1965 and is celebrated as a leading figure in Western art history.
Provenance:
The Patsy P. and William L. Hutchison Collection
$6,000 — $9,000
244 Bill Nebeker (b. 1942)
The Defender, 1990
bronze, edition 6 of 25
inscribed: [Cowboy Artists of America insignia] 1990 / BILL / NEBEKER / 6/25
42 x 16 x 15 1/2 in. (106.7 x 40.6 x 39.4 cm.)
with base: 44 1/2 x 16 x 19 in. (113 x 40.6 x 48.3 cm.)
Provenance: The Patsy P. and William L. Hutchison Collection
$3,000 — $5,000
245 Mehl Lawson (b. 1942) The Mystic Trail, 1993
bronze, edition 6 of 25 inscribed: MEHL LAWSON [Cowboy Artists of America insignia] / 93 / The Mystic / Trail / © / 6/25
44 1/2 x 33 1/2 x 20 in. (113 x 85.1 x 50.8 cm.)
with base: 46 x 33 1/2 x 20 in. (116.8 x 85.1 x 50.8 cm.)
Provenance: The Patsy P. and William L. Hutchison Collection
$3,000 — $5,000
246 Robert Summers (b. 1940) Texas Legacy, 1986
bronze, edition 3 of 40
inscribed: © 1986 / Robert Summers / 3/40 S 17 1/2 x 39 x 18 in. (44.5 x 99.1 x 45.7 cm.) with base: 20 1/2 x 41 x 20 in. (52.1 x 104.1 x 50.8 cm.)
Provenance:
The Patsy P. and William L. Hutchison Collection
$7,000 — $10,000
247 Gerald Harvey Jones (1933 – 2017) Pullin’ Leather, 1989
bronze, edition 2 of 50
inscribed: GHarvey___ © / 2-50 / ‘Pullin’ Leather’ 1989 / © / G Harvey___
27 1/2 x 20 x 7 in. (69.9 x 50.8 x 17.8 cm.) with base: 29 1/2 x 21 1/2 x 8 in. (74.9 x 54.6 x 20.3 cm.)
Provenance:
The Patsy P. and William L. Hutchison Collection
$6,000 — $9,000
248 Daniel Ray Parker (b. 1959) Southfork Crossing
bronze, edition 6 of 75
inscribed: SouThFork Crossing / 6/75 / Daniel Parker
37 x 60 x 36 in. (94 x 152.4 x 91.4 cm.)
Provenance: The Patsy P. and William L. Hutchison Collection
$5,000 — $7,000
249 Herb Mignery (b. 1937) Check Mate, 1985
bronze, edition 5 of 20
inscribed: © HERB MIGNERY [Cowboy Artists of America insignia] 1985 / 5/20
18 1/2 x 22 x 17 in. (47 x 55.9 x 43.2 cm.) with base: 21 x 22 x 17 in. (53.3 x 55.9 x 43.2 cm.)
Provenance:
The Patsy P. and William L. Hutchison Collection
$2,500 — $3,500
251 Grant Speed (1930 – 2011)
Twisters and Outlaws, 1981
bronze, edition 1 of 30
inscribed: 1/30 / UG / U G Speed / © 1981 / [Cowboy Artists of America insignia]
28 3/4 x 20 3/4 x 12 in. (73 x 52.7 x 30.5 cm.) with base: 30 1/2 x 20 3/4 x 13 in. (77.5 x 52.7 x 33 cm.)
Provenance: The Patsy P. and William L. Hutchison Collection
$1,500 — $2,500
250 Grant Speed (1930 – 2011) Wild Horses and Reckless Men, 1982
bronze, edition 1 of 30
inscribed: 1/30 / UG Speed / © 1982 [Cowboy Artists of America insignia]
28 1/4 x 17 1/2 x 10 1/2 in. (71.8 x 44.5 x 26.7 cm.)
with base: 30 x 17 3/4 x 12 in. (76.2 x 45.1 x 30.5 cm.)
Provenance:
The Patsy P. and William L. Hutchison Collection
$2,000 — $3,000
252 Grant Speed (1930 – 2011) In the Wake of the Mountain Men, 1977
bronze, edition 5 of 30
inscribed: 5-30 / UG Speed / © 1997 [Cowboy Artists of America insignia]
31 3/4 x 33 3/4 x 21 3/4 in. (80.6 x 85.7 x 55.2 cm.) with base: 34 x 34 1/4 x 21 3/4 in. (86.4 x 87 x 55.2 cm.)
Provenance: The Patsy P. and William L. Hutchison Collection
$2,000 — $3,000
254
bronze, edition 16 of 25
inscribed: 1993 [Cowboy Artists of America insignia] / BILL NEBEKER / © 16/25
22 x 17 1/2 x 7 3/4 in. (55.9 x 44.5 x 19.7 cm.)
with base: 25 x 18 x 8 3/4 in. (63.5 x 45.7 x 22.2 cm.)
Provenance: The Patsy P. and William L. Hutchison Collection
$1,500 — $2,500
255 Grant Speed (1930 – 2011)
One Caught and Lookin’ For More, 1980
bronze, edition 27 of 30
inscribed: U G Speed / © 1980 / [Cowboy Artists of America insignia] / 27/30
25 1/2 x 34 1/8 x 8 1/2 in. (64.8 x 86.7 x 21.6 cm.) with base: 26 1/2 x 34 1/8 x 8 1/2 in. (67.3 x 86.7 x 21.6 cm.)
Provenance: The Patsy P. and William L. Hutchison Collection
$2,000 — $3,000
bronze, edition 11 of 20
inscribed: Spring Mountain Trail / © / ‘75’ by Duke Sundt 11/20 17 3/4 x 15 1/2 x 8 in. (45.1 x 39.4 x 20.3 cm.)
with base: 18 3/4 x 15 1/2 x 9 3/4 in. (47.6 x 39.4 x 24.8 cm.)
Provenance: The Patsy P. and William L. Hutchison Collection
$1,000 — $2,000
256
tooled leather, stamped silver seat size: 15 1/2 in. (39.4 cm.)
skirt width: 26 in. (66 cm.)
skirt length: 29 1/4 in. (74.3 cm.)
Provenance: The Patsy P. and William L. Hutchison Collection
$3,000 — $5,000
253 Bill Nebeker (b. 1942) Hitchin’ A Ride, 1993
Duke Sundt (b. 1948) Spring Mountain Trail, 1975
Keyston Brothers Silver Western Show Saddle Set, ca. 1930
257 Gib Singleton (1936 – 2014) Santa Fe Trail, 2001
bronze, edition 10 of 25
inscribed: Singleton / 2001 / 10/25
23 1/4 x 59 x 34 in. (59.1 x 149.9 x 86.4 cm.) with base: 27 1/4 x 59 x 38 in. (69.2 x 149.9 x 96.5 cm.)
Gib Singleton was a classically trained artist who earned a Fulbright Scholarship to study at the Accademia di Belle Arti in Florence, Italy. He became renowned for both his devotional work as well as his Western bronzes. His remarkable oeuvre is represented in multiple permanent collections globally, including the Vatican, Yad Vashem (State of Israel), the Museum of Biblical Art, the Museum of Modern Art in New York, the Pro Rodeo Hall of Fame and the National Cowboy and Western Heritage Museum. "What matters about art isn't how it looks," he said. "It's how it makes us feel. THAT it makes us feel. That it gets our attention and draws us in and opens us up. And in a world where so much of the stuff going on around us just hurts and makes us numb, that's a damn good thing.
Provenance: Private Collection, New Mexico
$30,000 — $40,000
258 Gib Singleton (1936 – 2014)
bronze, edition 20 of 25
inscribed: © / SiNgletoN / 20/25 / 2010
27 1/4 x 26 x 16 in. (69.2 x 66 x 40.6 cm.) with base: 31 1/2 x 27 x 15 1/2 in. (80 x 68.6 x 39.4 cm.)
Provenance: Private Collection, New Mexico
$30,000 — $40,000
259 Gib Singleton (1936 – 2014)
bronze, edition 22 of 25
inscribed: 22/25 1998 Singleton / AUSTIN CITY LIMITS
28 1/2 x 9 x 13 1/2 in. (72.4 x 22.9 x 34.3 cm.) with base: 31 1/4 x 10 1/2 x 13 1/2 in. (79.4 x 26.7 x 34.3 cm.)
Provenance: Private Collection, New Mexico
$15,000 — $20,000
Black Jack Ketchum, 2010
Austin City Limits, 1998
260 Dave McGary (1958 – 2013) Hearts of Conviction, 1998
bronze, pigments, edition ACV of 50 inscribed: Dave McGary / ACV/50
26 3/4 x 28 1/2 x 8 in. (67.9 x 72.4 x 20.3 cm.) with base: 31 x 28 1/2 x 10 3/4 in. (78.7 x 72.4 x 27.3 cm.)
Provenance: Private Collection, New Mexico
$10,000 — $15,000
261 Dave McGary (1958 – 2013) Rain in the Face, 1990
bronze, pigments, edition 9 of 75 inscribed: 9/75 / Dave McGary / 1990 [artist’s thumbprint]
11 x 9 1/2 x 10 1/2 in. (27.9 x 24.1 x 26.7 cm.) with base: 18 7/8 x 9 1/2 x 10 1/2 in. (47.9 x 24.1 x 26.7 cm.)
Provenance: Private Collection, California
$2,000 — $4,000
262 George Arthur Carlson (b. 1940)
Tarahumara Indian, 1986
bronze, edition 14 of 25
inscribed: CARLSON / 1986 © 14-25
10 1/2 x 11 3/4 x 8 in.
with base: 15 x 11 3/4 x 8 in. (38.1 x 29.8 x 20.3 cm.)
Provenance: The Gregory Warren Nelson Collection, New Mexico
$3,000 — $5,000
264 Nicolai Ivanovich Fechin (Russian, 1881 – 1955)
Large Pilgrim, cast 1997
bronze, edition 3 of 21
inscribed: N.F. 3/21 © Gerald Peters Gallery 1997 SF
26 1/2 x 9 1/4 x 7 in. (67.3 x 23.5 x 17.8 cm.) with base: 29 x 9 1/2 x 9 1/2 in. (73.7 x 24.1 x 24.1 cm.)
Provenance: Private Collection, Florida
$3,000 — $5,000
263 Scott Rogers (b. 1961) We Chase the Wind & Shoot at Shadows, 2000
bronze, edition 9 of 30
inscribed: D.S.ROGERS / © ‘00 / IN DESCRIBING THE / MILITITARYS EFFORTS / TO CAPTURE THE APACHE / ONE SOLDIER SAID, / “WE CHASE THE WIND AND / SHOOT AT SHADOWS” / 9/30
22 1/2 x 13 x 15 in. (57.2 x 33 x 38.1 cm.)
with base: 24 x 13 x 15 in. (61 x 33 x 38.1 cm.)
Provenance: The Gene Worrell Collection
*All proceeds of sale from this artwork benefit the William King Museum of Art, Abingdon, Virginia
$4,000 — $6,000
265 Nicolai Ivanovich Fechin (Russian, 1881 – 1955)
Small Pilgrim, cast 1997
bronze, edition 3 of 21
inscribed: N.F. 3/21 SF © Gerald Peters Gallery 1997
21 x 6 x 5 3/4 in. (53.3 x 15.2 x 14.6 cm.) with base: 22 3/4 x 8 1/2 x 8 1/2 in. (57.8 x 21.6 x 21.6 cm.)
Provenance: Private Collection, Florida
$3,000 — $5,000
carved wood, hand-forged iron
18 1/2 x 36 1/2 x 17 1/2 in. (47 x 92.7 x 44.5 cm.)
Provenance: Private Collection, New Mexico
$35,000 — $45,000
carved wood, gesso, pigments
22 1/4 x 13 1/2 x 1 in. (56.5 x 34.3 x 2.5 cm.)
Provenance:
Private Collection, Arizona
Private Collection, New Mexico
$2,500 — $4,500
267 Laguna Santero (Active 1795 – 1810)
San Juan Nepomuceno Retablo
266 Spanish Colonial Hand Carved Chest, ca. 1800
signed lower right: William Acheff inscribed verso: “Blue Corn” William Acheff
14 x 22 in. (35.6 x 55.9 cm.)
Provenance: Private Collection, Florida
$6,000 — $9,000
oil on canvas
signed lower left: Hulings 2002
8 x 11 7/8 in. (20.3 x 30.2 cm.)
Provenance: Altermann Galleries, Santa Fe, New Mexico Private Collection, Florida
$8,000 — $12,000
268 William Acheff (b. 1947) Blue Corn
oil on linen
269 Clark Hulings (1922 – 2011) Burro, 2002
oil on linen
signed lower left: Charles Vickery
inscribed verso: BREEZING UP / SCHOONER “ELSIE” 16 x 20 in. (40.6 x 50.8 cm.)
Provenance:
Private Collection, Colorado
$2,000 — $4,000
oil on panel 7 1/2 x 5 5/8 in. (19.1 x 14.3 cm.)
Provenance: Private Collection, New Mexico
$2,000 — $4,000
oil on board
signed lower right: Edgar Forkner 28 x 22 in. (71.1 x 55.9 cm.)
Provenance: Private Collection, Colorado
$6,000 — $9,000
271 Charles Henry Gifford (1839 – 1904) Sailboat at Sunset
270 Charles Vickery (1913 – 1998) Breezing Up (Schooner “Elsie”)
272 Edgar Forkner (1867 – 1945) Yellow Sail and Hillside
273 Gordon Brown (b. 1962) Sun Breaks Through, 1998
oil on masonite
signed lower right: GORDON BROWN 36 x 60 in. (91.4 x 152.4 cm.)
Provenance: The Meyer Gallery, Santa Fe, New Mexico Private Collection, Arizona
$4,000 — $8,000
274 John French Sloan (1871 – 1951) Blue Rocks, Gloucester, 1915
oil on canvas
signed lower right: -John Sloaninscribed verso: BlUE RocKs Gloucester 1915 J.S 20 1/8 x 24 1/4 in. (51.1 x 61.6 cm.)
Provenance: The Artist
The Collection of Helen Farr Sloan Private Collection Private Collection, New Mexico
Exhibited:
John Sloan: Exhibition of Painting, Museum of New Mexico, Santa Fe, New Mexico, June 1 - 15, 1941, #38 Famous American Paintings, Dallas Museum of Fine Arts, The State Fair of Texas, October 9 - November 7, 1948
Literature: John Sloan, Diaries, 1943-1951, October 15, 1948
$15,000 — $25,000
, ca. 1930
oil on canvas
inscribed verso: WALT KUHN
30 x 25 in. (76.2 x 63.5 cm.)
Provenance: Private Collection, Arizona
$3,000 — $5,000
–
watercolor, oil on mounted paper inscribed verso: F. I. - Ward / For Dr. Woodman University of Nebraska Blakelock Inventory No. 1473
4 1/2 x 2 3/8 in. (11.4 x 6 cm.)
Provenance: The Artist Mrs. Robert Woodman (gift of the artist) Mrs. John N. (Elizabeth) Eckert, by descent Private Collection, New Mexico
Exhibited: Blakelock: Visionary in Context, Cornell Fine Arts Museum, Rollins College, Winter Park, Florida, November 1, 1997 - January 4, 1998
$3,000 — $6,000
oil on canvas
signed lower left: Groll
24 1/2 x 9 1/2 in. (62.2 x 24.1 cm.)
Provenance:
Nedra Matteucci Galleries, Santa Fe, New Mexico Private Collection, New Mexico
$1,500 — $2,500
oil on canvas
signed lower right: DANA BARTLETT
inscribed verso: “ARIZONA LANDSCAPE” by DANA BARTLETT
25 1/4 x 30 1/8 in. (64.1 x 76.5 cm.)
Provenance: Private Collection, Arizona
$1,500 — $2,500
275 Walt Kuhn (1877 – 1949) Cabin in the Pines
276 Ralph Albert Blakelock (1847
1919) Forest Scene
277 Albert Lorey Groll (1866 – 1952) Springtime in the Desert
278 Dana Bartlett (1882 – 1957) Arizona Landscape
279 Lloyd Moylan (1893 – 1963) Untitled (Desert Scene)
oil on canvas
signed lower left: lloyd Moylan 14 x 14 in. (35.6 x 35.6 cm.)
Provenance: Private Collection, Texas
$2,000 — $4,000
280 James Guilford Swinnerton (1875 – 1974) Smoke Tree, ca. 1950
oil on linen
signed lower right: SWiNNERTONinscribed verso: [artist’s thumbprint] / MY THUMBPRINT (RIGHT) / James Swinnerton / SWiNNERTON 17 x 27 1/2 in. (43.2 x 69.9 cm.)
Provenance: Private Collection, Arizona
$2,000 — $3,000
281 James Guilford Swinnerton (1875 – 1974) Palm Springs California, ca. 1950
oil on linen
signed lower right: SWiNNERTON___ inscribed verso: [artist’s thumbprint] / MY THUMBPRINT (RIGHT) / James Swinnerton / SWiNNERTON 17 1/2 x 27 1/2 in. (44.5 x 69.9 cm.)
Provenance: Private Collection, Arizona
$2,000 — $3,000
282 Warren Eliphalet Rollins (1861 – 1962) Christmas Eve. Taos, 1924
oil on canvas signed lower right: W Rollins13 3/4 x 17 3/4 in. (34.9 x 45.1 cm.)
Provenance: Private Collection, District of Columbia
$1,500 — $2,500
283 Warren Eliphalet Rollins (1861 – 1962) New Mexico Landscape
oil on canvas signed lower left: W E Rollins9 x 13 in. (22.9 x 33 cm.)
Provenance: Private Collection, District of Columbia
$1,000 — $2,000
284 Ray Swanson (1937 – 2004) Autumn Valley
oil on canvas
signed lower right: Ray Swanson
11 5/8 x 15 3/4 in. (29.5 x 40 cm.)
Provenance: Private Collection, Arizona
$800 — $1,200
285 Carl Von Hassler (1887 – 1969) Untitled (Winter Pueblo), 1939
oil on board signed and dated lower right: Von Hassler 39 18 x 21 3/8 in. (45.7 x 54.3 cm.)
Provenance: Fisher Galleries, Albuquerque, New Mexico Private Collection, New Mexico
$6,000 — $8,000
286
oil on panel
signed lower right: -WE-Roll insinscribed verso: Brothers Walk 17 x 10 in. (43.2 x 25.4 cm.)
Provenance: Nedra Matteucci Galleries, Santa Fe, New Mexico Private Collection, New Mexico
$6,000 — $8,000
oil on board
signed
9
Provenance: Private Collection,
$2,000 — $4,000
288
oil on board signed lower right: DEBRETT / 1964
32 x 10 1/2 in. (81.3 x 26.7 cm.)
Provenance: Private Collection, Colorado
$2,000 — $4,000
Warren Eliphalet Rollins (1861 – 1962)
Brothers Walk
287 Sheldon Parsons (1866 – 1943) Taos Adobes
lower right: Sheldon Parsons
3/8 x 10 1/4 in. (23.8 x 26 cm.)
New Mexico
Dorothy Eugenie Brett (1883 – 1977) Taos Aspens, 1964
289 School of Southwest Modernism
Window Rock Gathering
oil on canvas
25 x 30 in. (63.5 x 76.2 cm.)
Provenance: Private Collection, New York
$3,000 — $5,000
290 Pierre Menager (1894 – 1973)
Santa Fe Scene, 1944
oil on linen signed and dated lower right: P. Menager / 44 26 1/4 x 44 in. (66.7 x 111.8 cm.)
Provenance: Private Collection, Arizona
Exhibited:
The Colorado Historical Society, Denver, Colorado The Harmsen Collection of Western Art: Celebrating the Taos Influence, Phippen Museum of Western Art, Prescott, Arizona, April 22 - August 2, 1994
$2,000 — $4,000
oil on board
signed lower right: Paul K Smith
15 7/8 x 19 7/8 in. (40.3 x 50.5 cm.)
Provenance:
David Cook Galleries, Denver, Colorado
Private Collection, Arizona
$1,000 — $2,000
291 Paul Kauver Smith (1893 – 1973) Chapel, ca. 1935
292 Elbridge Ayer Burbank (1858 – 1949)
oil on board
signed lower right: E.A. BURBANK
9 1/2 x 11 5/8 in. (24.1 x 29.5 cm.)
Provenance: Private Collection, New Mexico
$1,500 — $2,500
293 Elbridge Ayer Burbank (1858 – 1949)
Old Adobe Mission Church at Cochiti, New Mexico
oil on board
5 1/4 x 3 3/4 in. (13.3 x 9.5 cm.)
Provenance: Private Collection, New Mexico
$800 — $1,200
294 Elbridge Ayer Burbank (1858 – 1949)
San Juan Indian Village
oil on board
signed lower right: E.A. BURBANK
3 1/2 x 4 in. (8.9 x 10.2 cm.)
Provenance: Private Collection, New Mexico
$800 — $1,200
Hopi House
295 Cyrus Leroy Baldridge (1889 – 1975) Sanctuario
oil on board
signed lower right: Baldridge 20 1/2 x 19 7/8 in. (52.1 x 50.5 cm.)
Provenance: Private Collection, Arizona
$1,200 — $1,800
296 James Butler (b. 1925) In the Aspen oil on linen
signed lower left: Butler 23 1/4 x 29 3/8 in. (59.1 x 74.6 cm.)
Provenance: Private Collection, Texas
$4,000 — $8,000
297 Howard Behling Schleeter (1903 – 1976) New Mexico Contours, 1955
casein, oil, wax on board
dated and signed lower left: 55 / HB SCHlEETER inscribed verso: 13 CASEIN / OIL-WAX} SERIES / “New Mexico Contours.” / HOWARD B SCHlEEtER. / ALBUQUERQUE, New Mexico / DATE: MARCH 22 1955 / 20” - 28” 55/6 / {casein / oil / wax} 19 3/8 x 27 5/8 in. (49.2 x 70.2 cm.)
Provenance: Nedra Matteuci Galleries, Santa Fe, New Mexico Private Collection, New Jersey
$3,000 — $5,000
298 Frank G Applegate (1881 – 1931)
watercolor on paper signed lower right: F.G Applegate inscribed verso: 4 Mesa of Rio Grande window: 5 1/2 x 7 7/8 in. (14 x 20 cm.)
Provenance: Private Collection, Tennessee
$2,500 — $3,500
Mesa of Rio Grande
watercolor on paper
signed left margin: Pletka
9 1/2 x 13 1/2 in. (24.1 x 34.3 cm.)
Provenance: Private Collection, Arizona
$1,000 — $2,000
oil on masonite
estate stamp lower left 23 1/2 x 29 1/2 in. (59.7 x 74.9 cm.)
Provenance: Private Collection, New Mexico
$1,500 — $2,500
oil on linen
signed lower right: P. Shapiro
inscribed verso: “Red Clouds, Yellow Mesa” / Paul Shapiro / c.1968 / 18 x 2 oil
17 1/2 x 23 1/2 in. (44.5 x 59.7 cm.)
Provenance:
Janus Galleries, Santa Fe, New Mexico
Private Collection, New Mexico
$1,500 — $2,500
oil on linen
signed lower left: Alyce Frank inscribed verso: #610 / Turbulent Clouds / From the West / Alyce Frank
30 x 40 1/8 in. (76.2 x 101.9 cm.)
Provenance: Private Collection, New Mexico
$6,000 — $9,000
299 Paul Pletka (b. 1946) Penitente Morada (Abiquiu)
300 Eliot Candee Clark (1883 – 1980) Mesa, ca. 1935
301 Paul Shapiro (b. 1939) Red Cloud, Yellow Mesa #1, ca. 1968
302 Alyce Frank (1932–2024) Turbulent Clouds from the West
303 Inger Jirby (b. 1947)
Full Moon Over Alamos, Mexico, 2004
oil on canvas
signed lower right: Inger Kirby
inscribed verso: Alamos March 10 2004 / 38 x 48” / © Inger Jirby / FULL MOON OVER ALAMOS - / MEXICO / March 10 2004 / ALAMOS, MEXICO
38 x 48 in. (96.5 x 121.9 cm.)
Provenance: Private Collection, Tennessee
$3,000 — $5,000
– 2004)
oil on board
signed lower right: JEAN PARRISH © 1981
10 3/4 x 9 in. (27.3 x 22.9 cm.)
Provenance: Private Collection, Tennessee
$1,000 — $2,000
304 Tim
(20th/21st Century) Deep into the Aspens, 2023
oil on canvas
signed lower right: Tim Kenney 60 x 70 x 1 1/2 in. (152.4 x 177.8 x 3.8 cm.)
Provenance: The Artist
$3,000 — $5,000
oil on canvas board
11 5/8 x 15 5/8 in. (29.5 x 39.7 cm.)
Provenance: Spanierman Gallery, New York, New York
Private Collection, Arizona
$800 — $1,200
Kenney
305 Jean Parrish (1911
Untitled (Landscape and Clouds), 1981
306 Frederick William Becker (1888 – 1974) Lavender Meadow
307 Michael Coleman (b. 1946) Yellowstone Thermal Pool, 1981
gouache on watercolor board
signed lower right: © Michael Coleman inscribed verso: Title “Yellowstone Thermal Pool” / Black Bears / Medium Gouache / Size 10 x 14 1/2 / Ins. Value / Cat. No. #17 / Date Aug 1981 / REPRODUCTION RIGHTS / RESERVED BY ARTIST / MICHAEL COLEMAN / PROVO, UTAH USA 10 x 14 1/2 in. (25.4 x 36.8 cm.)
Provenance: Private Collection, New Mexico
$1,000 — $2,000
308 Patricia Rose (1934 – 2008) Winter Scene
oil on board signed lower right: PATRICIA ROSE 17 3/8 x 23 3/8 in. (44.1 x 59.4 cm.)
Provenance: Private Collection, New Mexico
$1,000 — $2,000
309 Theodore J. Richardson (1855 – 1914) Muir Glacier
watercolor on paper signed lower left: TJRichardson. 14 1/8 x 24 1/2 in. (35.9 x 62.2 cm.)
Provenance: Private Collection, New Mexico
$1,500 — $2,500
310 Theodore J. Richardson (1855 – 1914) Taku Glacier
watercolor on board signed lower right: TJRichardson. 13 3/8 x 20 5/8 in. (34 x 52.4 cm.)
Provenance: Private Collection, New Mexico
$1,000 — $1,500
THE GREGORY WARREN NELSON COLLECTION
381 William Penhallow Henderson (1877 – 1943)
Portrait of a Northern New Mexico Man
oil on board
signed lower left: [artist’s signature]
inscribed on frame verso: W Penhallow Henderson 23 3/4 x 15 1/8 in. (60.3 x 38.4 cm.)
Provenance:
Susan Tarman Antiques & Fine Art, Santa Fe, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$10,000 — $15,000
382 Joseph Amadeus Fleck (1892 – 1977)
Dona Teresa of Taos, ca. 1920
oil on canvas
signed lower right: Jos. Fleck 30 1/8 x 25 3/8 in. (76.5 x 64.5 cm.)
features Carrig-Rohane frame, ca. 1920, hand carved by Feliciano Nemiccolo
Provenance:
Robert L. Parsons Fine Art, Taos, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$7,000 — $12,000
383 Mary Chilton Gray (Mendenhall) (1888 – 1969)
Untitled (Girl with Dog), 1938
oil on canvas
signed lower left: MARY CHILTON GRAY MENDENHALL / TAOS 1938
37 7/8 x 26 3/8 in. (96.2 x 67 cm.)
Provenance:
The Gregory Warren Nelson Collection, New Mexico
$4,000 — $6,000
384 Ernest Leonard Blumenschein (1874 – 1960)
Isadora Duncan, 1900
watercolor, ink on paper
titled and dated upper center: Isadora Dunacan Paris / about 1900 Opera
dated and signed lower right: 1900 / E. BLUMENSCHEIN
9 3/4 x 6 3/4 in. (24.8 x 17.1 cm.)
Provenance:
Zaplin Lambert Gallery, Santa Fe, New Mexico
Hirsch Fine Arts, Taos, New Mexico
Robert L. Parsons Fine Art, Taos, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$3,000 — $5,000
glazed ink wash on paper signed lower right: DE BRETT inscribed verso: To my - Willed to Zebb Conley in case of my death-11-7-1974 for $275.00 DL [indecipherable] 13 1/2 x 6 in. (34.3 x 15.2 cm.)
Provenance:
Manchester Gallery, Taos, New Mexico
Addison Rowe Gallery, Santa Fe, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$2,000 — $4,000
385 Nicolai Ivanovich Fechin (Russian, 1881 – 1955)
Dorothy Brett, 1933
charcoal on paper
initialed lower right: N. F.
inscribed verso: Dorothy Brett / by Nicolai Fechin 1933. / Property of Alexandra Fechin 15 1/2 x 12 1/4 in. (39.4 x 31.1 cm.)
Provenance:
Collection of Alexandra Fechin
Nedra Matteucci Galleries, Santa Fe, New Mexico, 2001
The Gregory Warren Nelson Collection, New Mexico
$8,000 — $12,000
graphite on paper signed lower right: DE BRETT 13 5/8 x 6 1/8 in. (34.6 x 15.6 cm.)
Provenance: The Gregory Warren Nelson Collection, New Mexico
$1,500 — $2,500
387 Dorothy Eugenie Brett (1883 – 1977) Self Portrait
386 Dorothy Eugenie Brett (1883 – 1977) Self Portrait
oil on board
inscribed verso: TAOS NEW MEXICO / BrETT / 1927
17 5/8 x 21 3/8 in. (44.8 x 54.3 cm.)
Created while Brett lived at the D.H. Lawrence Ranch in 1927, “Indian Women Watching Horse Race” offers a glimpse into the communal life and ceremonial events of the Native people. The horse race, a symbol of both entertainment and spiritual vitality, becomes the focal point through the attentive gaze of the women. Brett’s use of vibrant colors and flowing forms underscores her interest in capturing the rhythmic movement and communal energy of such events.
Provenance:
Robert L. Parsons Fine Art, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$10,000 — $20,000
389 Dorothy Eugenie Brett (1883 – 1977)
Changing Woman with Hero Twins / “Walking Beauties”, 1940
oil on board
signed and dated lower right: DEBRett / 1940
inscribed verso (not hand of artist): “Walking Beauties” from the Estate of Frank & Barbara Waters / Changing / Woman / with Hero / Twins / 11 1/2 x 15 10 3/4 x 14 1/4 in. (27.3 x 36.2 cm.)
Provenance:
The Frank Waters Estate, New Mexico
Robert L. Parsons Fine Art, Taos, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$8,000 — $12,000
388 Dorothy Eugenie Brett (1883 – 1977) Indian Women Watching Horse Race, 1927
oil on board
signed and dated lower right: DEBRETT / 1942
18 3/8 x 24 3/8 in. (46.7 x 61.9 cm.)
Provenance:
The Owings Gallery, Santa Fe, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$10,000 — $20,000
oil on board
signed lower right: DEBRETT / 1937
17 1/2 x 23 3/8 in. (44.5 x 59.4 cm.)
Provenance: Robert L. Parsons Fine Art, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$8,000 — $12,000
390 Dorothy Eugenie Brett (1883 – 1977) Rainbow Landscape, 1942
391 Dorothy Eugenie Brett (1883 – 1977) Untitled (Apache Camp with Covered Wagons), 1937
392 Dorothy Eugenie Brett (1883 – 1977)
Untitled (Indian Family with Pinto Horse), 1946
oil on board
signed and dated lower right: DEBRETT / 1946
9 1/2 x 7 1/2 in. (24.1 x 19.1 cm.)
Provenance:
Collection of Malcolm Brown, New Mexico
By descent in the family
Robert L. Parsons Fine Art, Taos, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$4,000 — $8,000
oil on board
inscribed, signed, and dated lower margin: My First Indian in Buffalo Bill’s Show in London in the “Long Ago and Faraway” DEBRETT / 1949
12 x 11 1/2 in. (30.5 x 29.2 cm.)
Provenance:
Robert L. Parsons Fine Art, Taos, New Mexico
Owings-Dewey Fine Art, Santa Fe, New Mexico, 2009
The Gregory Warren Nelson Collection, New Mexico
$4,000 — $6,000
oil on panel
signed and dated lower right: DEBRETT / 1949 12 x 12 in. (30.5 x 30.5 cm.)
Provenance:
Clark Funk Estate, New Mexico
Robert L. Parsons Fine Art, Taos, New Mexico, 2011
The Gregory Warren Nelson Collection, New Mexico
$2,000 — $4,000
393 Dorothy Eugenie Brett (1883 – 1977) My First Indian (from Buffalo Bill’s Long Ago and Faraway), 1949
394 Dorothy Eugenie Brett (1883 – 1977) Untitled (Nature Dancers), 1949
395 Dorothy Eugenie Brett (1883 – 1977)
Untitled (Five Indian Riders), 1969
oil on canvas board signed and dated lower right: DEBRETT / 1969
5 x 7 in. (12.7 x 17.8 cm.)
Provenance: The Gregory Warren Nelson Collection, New Mexico
$1,500 — $2,500
396 Dorothy Eugenie Brett (1883 – 1977) WWII Fighters, 1943
mixed media, collaged glass fragments on paper signed and dated lower right: DEBRETT / 1943
39 1/4 x 14 3/8 in. (99.7 x 36.5 cm.)
Provenance: Collection of Saki Karavas, La Fonda Hotel, Santa Fe, New Mexico
Robert L. Parsons Fine Art, Taos, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$3,000 — $5,000
397 Robert Donald Ray (1924 – 2002)
The Brett, 1956
color woodcut, edition 3 of 20
titled lower left: The Brett inscribed and editioned lower center: Woodcut 3/20
signed and dated lower right: RRay 56
21 1/4 x 16 1/4 in. (54 x 41.3 cm.)
Provenance:
Mission Gallery, Taos, New Mexico, 2007
The Gregory Warren Nelson Collection, New Mexico
$1,200 — $1,800
398 Gustave Baumann (1881 – 1971)
Waiting to be Counted, 1954
woodcut with aluminum leaf, edition 56 of 125
titled lower left: WAITING TO BE COUNTED
editioned and dated lower right: II 56-125 1954
signed lower right: Gustave [hand-in-heart chop] Baumann
12 1/2 x 15 3/4 in. (31.8 x 40 cm.)
Provenance:
Annex Galleries, California, 1988
The Gregory Warren Nelson Collection, New Mexico
Literature:
Baumann Inventory No. 148 (variant)
Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, p. 450, No. 188.1.
$6,000 — $9,000
399 Barbara Latham (1896 – 1989) Goat Herd, ca. 1920
oil on canvas
signed lower right: LATHAM
inscribed verso: Goat Herd 25 x 34 in. (63.5 x 86.4 cm.)
Provenance:
Owings Fine Art, Santa Fe, New Mexico
The Gregory Warren Nelson Collection, New Mexico
Exhibited:
New Mexico Art Museum, Santa Fe, New Mexico, December 1960 - March 1961
Literature:
Ronald Latimer, “About the Arts,” The Santa Fe New Mexican, Santa Fe, NM, December 11, 1960, p. 29
“Art Notes,” The Taos News, Taos, NM, March 23, 1961, p. 10
“Rental, Sales Show Hung at Museum: From the Journal’s Santa Fe Bureau,” Albuquerque Journal, Albuquerque, NM, p. B1
$12,000 — $18,000
400 Barbara Latham (1896 – 1989)
oil on board
signed lower left: LATHAM
inscribed verso: Patchwork Barbara Latham 24 x 18 in. (61 x 45.7 cm.)
Provenance:
Robert L. Parsons Fine Art, Taos, New Mexico, 2021
The Gregory Warren Nelson Collection, New Mexico
$3,000 — $5,000
Patchwork
401 Barbara Latham (1896 – 1989) Sphinx Moth on Flowers
oil on canvas
signed lower right: LATHAM
18 x 26 1/8 in. (45.7 x 66.4 cm.)
Provenance:
Gerald Peters Gallery, Santa Fe, New Mexico
Robert L. Parsons Fine Art, Taos, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$2,000 — $4,000
403 Michio Takayama (Japanese, 1903 – 1994) Flowering, 1983
oil on canvas
signed lower left: M. Takayama
inscribed verso: “Flowering” / Michio Takayama ‘83 / Growing / old we / study / more and / more / Rich but / not / proud / (boastful) / 8/6/83
16 x 14 in. (40.6 x 35.6 cm.)
Provenance:
Robert L. Parsons Fine Art, Taos, New Mexico, 2016
The Gregory Warren Nelson Collection, New Mexico
$1,000 — $2,000
402 Barbara Latham (1896 – 1989) Western Tanangers
oil on canvas
signed lower right: LATHAM
27 x 20 in. (68.6 x 50.8 cm.)
Provenance:
Gerald Peters Gallery, Santa Fe, New Mexico Gallery A, Taos, New Mexico
Robert L. Parsons Fine Art, Taos, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$2,000 — $4,000
404 Beatrice Mandelman (1912 – 1998) Untitled (Still Life with Fruit)
oil on canvas
signed lower right: MANDELMAN
inscribed verso: MANDELMAN TAOS N.MEX
12 x 20 in. (30.5 x 50.8 cm.)
Provenance:
Robert L. Parsons Fine Art, Taos, New Mexico, 2003
The Gregory Warren Nelson Collection, New Mexico
$2,000 — $4,000
405 Howard Norton Cook (1901 – 1980)
Prismatic Night #1, 1951
oil on canvas
signed lower right: HOWARD COOK
inscribed verso: PRISMATIC NIGHT / (#1) / OIL- Howard Cook / 1951
24 x 40 1/4 in. (61 x 102.2 cm.)
Painted in 1951, "Prismatic Night #1" by Howard Cook is a striking representation of New York City’s dynamic energy which exemplifies Cook’s fascination with urban architecture and the constant motion of the metropolis. Born in Springfield, Massachusetts, Cook moved to New York in 1919 to study at the Art Students League, and the city’s ever-changing skyline had a significant role in his artistic development.
In this painting," Cook transforms the towering skyscrapers of New York into angular, geometric forms, using prismatic colors to evoke the vibrancy and rhythm of the city at night. Architecture is broken down into a series of fragmented shapes and vibrant hues, with the vibrant color palette and fractured forms reflecting the city’s pulse and ultimately capturing its ceaseless motion and the contrasts between light and shadow.
The painting first appeared in the exhibition "Howard Cook: Paintings of New York," which ran at the Grand Central Moderns Gallery in New York City in 1951. A New York Times critic noted that in “Prismatic Night, “the artist has turned to horizontals and given the effect of lights and color as if the facets of crystals with brilliant effect."
He goes on to describe the works in the show as "some of the best work of his career, making his graphic training stand him in good stead in adapting it to the semi abstract approach of the paintings." The painting would go on to appear in an exhibition at the prominent Stables Gallery in Taos, New Mexico in 1959.
Provenance:
Robert L. Parsons Fine Art, Taos, New Mexico
The Gregory Warren Nelson Collection, New Mexico
Exhibited:
Howard Cook: Paintings of New York, Grand Central Moderns Gallery, New York City, New York, October 17 – November 7, 1951 Stables Gallery, Taos, New Mexico, September 1959
Taos Art Museum, Taos, New Mexico, 2022 (label verso)
Literature:
Martin Elkort, “About the Arts | Cook,” The Santa Fe New Mexican, September 20, 1959, p. 26 Art Notes, “The Taos News,” Taos, New Mexico, September 24, 1959, p. 5
Howard Devree, “Diverse Modernism: Semi-Abstract in Approach,” New York Times, October 21, 1951, p. 105 “Howard Cook’s Work Impresses N.Y. Critic,” The Gazette, Montreal, Quebec, October 27, 1951, p. 18
$30,000 — $50,000
406 Howard Norton Cook (1901 – 1980)
oil on board
signed lower right: Howard Cook
9 1/2 x 28 1/2 in. (24.1 x 72.4 cm.)
Provenance: Private Collection
Owings-Dewey Fine Art, Santa Fe, New Mexico, 1988
The Gregory Warren Nelson Collection, New Mexico
Exhibited: Taos Art Museum, Taos, New Mexico (label verso)
$8,000 — $12,000
407 Howard Norton Cook (1901 – 1980)
fixed pastel on board
signed lower right: Howard Cook / HOWARD COOK
8 5/8 x 39 5/8 in. (21.9 x 100.6 cm.)
Provenance: Stewart’s Fine Art
Fenn Galleries Ltd., Santa Fe, New Mexico
Robert L. Parsons Fine Art, Taos, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$6,000 — $9,000
New Mexico Village
Processional
408 Howard Norton Cook (1901 – 1980)
Taos Mountains
ink on gessoed board
signed lower right: Howard Cook
inscribed verso: Taos Mountains / Ink on gesso - / > needs no glass < 16 1/2 x 30 3/4 in. (41.9 x 78.1 cm.)
Provenance:
Owings-Dewey Fine Art, Santa Fe, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$4,000 — $8,000
409 Howard Norton Cook (1901 – 1980)
The Three Musketeers (Christmas Gift to Doel Reed Family), ca. 1940
ink and watercolor on paper
inscribed upper margin: THE THREE MUSKETEERS - FOR JANE REED FROM BUGEY COOK
8 1/2 x 10 in. (21.6 x 25.4 cm.)
Provenance:
Robert L. Parsons Fine Art, Taos, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$2,000 — $4,000
410 Howard Norton Cook (1901 – 1980) White Mountain
mixed media on board
signed lower right: Howard Cook
inscribed verso: White Mountain - / Howard Cook / Surface is fixed - needs no glass
7 1/4 x 14 7/8 in. (18.4 x 37.8 cm.)
Provenance:
Owings-Dewey Fine Art, Santa Fe, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$1,200 — $1,800
411 William Penhallow Henderson (1877 – 1943) Study for ‘Old Santa Fe’, ca. 1935
oil on canvas
18 x 30 in. (45.7 x 76.2 cm.)
Provenance:
Owings-Dewey Fine Art, Santa Fe, New Mexico, 1991
The Gregory Warren Nelson Collection, New Mexico
$8,000 — $12,000
413 William Penhallow Henderson (1877 – 1943) New Mexican
oil on canvas
46 1/8 x 32 in. (117.2 x 81.3 cm.)
Provenance:
Owings-Dewey Fine Art, Santa, Fe, New Mexico, 1992
The Gregory Warren Nelson Collection, New Mexico
$8,000 — $12,000
412 William Penhallow
(1877 – 1943) Study for ‘Cabezon’, ca. 1935
oil on canvas
16 1/8 x 20 1/8 in. (41 x 51.1 cm.)
Provenance: The Artist
Owings-Dewey Fine Art, Santa Fe, New Mexico, 1991
The Gregory Warren Nelson Collection, New Mexico
$6,000 — $8,000
William Penhallow Henderson's studies for “Old Santa Fe” and "Cabezon" are preparatory works for his larger murals currently located at the Santiago E. Campos U.S. Courthouse in Santa Fe. They reflect Henderson’s deep connection to the Southwestern landscape, depicted in its iconic reddish-brown hues.
Henderson's work was an important contribution to the New Deal Art Program, and his ability to blend traditional Southwestern imagery with avant-garde techniques made him a key figure in the region's art scene in the early part of the 20th Century.
414 William Penhallow Henderson (1877 – 1943) Study for Santa Fe Courthouse Mural
graphite on vellum 16 1/4 x 20 in. (41.3 x 50.8 cm.)
Provenance:
Owings-Dewey Fine Art, Santa Fe, New Mexico, 2000
The Gregory Warren Nelson Collection, New Mexico
$1,000 — $2,000
Henderson
Landscape
415 William Penhallow Henderson (1877 – 1943)
Four Women Gossiping on Portal, Taos, ca. 1920
oil on board
4 3/4 x 7 5/8 in. (12.1 x 19.4 cm.)
Provenance:
Owings-Dewey Fine Art, Santa Fe, New Mexico, 1999
The Gregory Warren Nelson Collection, New Mexico
$3,000 — $5,000
416 William Penhallow Henderson (1877 – 1943)
Nude Study on Red Bed, ca. 1916
oil on canvas board initialed lower right: WPH 10 1/8 x 13 7/8 in. (25.7 x 35.2 cm.)
Provenance:
Montgomery Gallery, San Francisco, California
Owings-Dewey Fine Art, Santa Fe, New Mexico The Gregory Warren Nelson Collection, New Mexico
$6,000 — $9,000
Lunch at the Blackstone (Alice and Alice), 1915
pastel on paper
signed lower left: Henderson 9 x 12 in. (22.9 x 30.5 cm.)
Provenance:
The Owings Gallery, Santa Fe, New Mexico, 2010
The Gregory Warren Nelson Collection, New Mexico
$2,000 — $4,000
418 William Penhallow Henderson (1877 – 1943)
Herding Cows, ca. 1920
pastel on paper affixed verso: Certification from Alice H. Rossin, daughter of William Penhallow Henderson 3 3/8 x 6 in. (8.6 x 15.2 cm.)
Provenance:
Owings-Dewey Fine Art, Santa Fe, New Mexico, 1999 The Gregory Warren Nelson Collection, New Mexico
$1,500 — $2,500
417 William Penhallow Henderson (1877 – 1943)
signed and dated lower left: HAROLD / VON / SCHMIDT / 1930
33 x 45 in. (83.8 x 114.3 cm.)
Provenance:
Illustration House Inc., New York, New York
The Gregory Warren Nelson Collection, New Mexico
$6,000 — $9,000
420 Rudolf ( + V. Bing) Schmid (b. 1896) Telephone Workers, 1929
oil on board
signed and dated upper right: V. Bing + R. Schmid 1929
39 1/2 x 37 1/2 in. (100.3 x 95.3 cm.)
This rare collaborative painting, by Rudolf Schmid and the otherwise unidentified V. Bing, depicts cowboys installing new telephone infrastructure in the Western United States. The artists employ a bird’s-eye perspective to craft a dynamic composition, emphasizing both the scenic beauty of the American West and the workers’ critical role in the nation’s expansion.
Provenance:
Peter Eller Gallery, Albuquerque, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$4,000 — $6,000
419 Harold Von Schmidt (1893 – 1982) Stampeding Cattle, 1930
oil on canvas
421 Donald C. Hewitt (1904 – 1998)
Don’t Let the Sun Go Down on You Here - This Means You, Horsewrangler, 1932
oil on canvas
signed lower right: DON / HEWITT
inscribed verso: COMPLETE - Aug15, 1932 due 5/13
30 x 21 in. (76.2 x 53.3 cm.)
Provenance:
The Gregory Warren Nelson Collection, New Mexico
$2,000 — $4,000
422 Louie Ewing (1908 – 1983)
Sat. Nite, 1939
oil on masonite
signed lower center: L. Ewing
inscribed verso: “SAT. NITE” / LOUIE EWING / PERIOD ENDING MARCH 20 ‘39
11 7/8 x 14 1/8 in. (30.2 x 35.9 cm.)
Provenance: Owings-Dewey Fine Art, Santa Fe, New Mexico, 1998
The Gregory Warren Nelson Collection, New Mexico
$2,000 — $4,000
watercolor, gouache on paper
signed lower right: Walter Popp 21 x 15 1/8 in. (53.3 x 38.4 cm.)
Provenance: The Gregory Warren Nelson Collection, New Mexico
$1,200 — $1,800
423 Walter Popp (1920 – 2002) Untitled (Standoff)
424 Frank B. Hoffman (1888 – 1958) September
oil on canvas
signed lower right: Hoffman / [artist’s cipher] inscribed verso: SEPTEMBER 18 x 24 in. (45.7 x 61 cm.)
Frank B. Hoffman was a renowned Western illustrator and painter, celebrated for his dynamic depictions of cowboys, horses, and the Western landscape. "September" exemplifies Hoffman’s bold, energetic style, marked by broad brushstrokes and vibrant color. This scene captures a quintessential Western hunting moment, with riders and their dogs in pursuit of game across an expansive, windswept landscape. Hoffman's early experiences around his father's racing stables in New Orleans, combined with his time living among cowboys and Native tribes in New Mexico, greatly influenced his work, bringing authenticity and movement to his depictions of life in the American West.
Provenance:
Robert L. Parsons Fine Art, Taos, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$20,000 — $30,000
425 Elmer Page Turner (1890 – 1966) Mountain Farms (Marino Valley NM)
oil on canvas
signed lower left: Elmer P. Turner
inscribed verso: Mountain Farms (Marino Valley) N. Mex
24 1/8 x 26 1/4 in. (61.3 x 66.7 cm.)
Provenance:
Lineberry Private Collection
Owings-Dewey Fine Art, Santa Fe, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$6,000 — $9,000
427 Elmer Page Turner (1890 – 1966)
oil on board
signed lower right: Elmer Turner
inscribed verso: Valdez Village / Elmer P. Turner Taos / Nmex
24 x 18 in. (61 x 45.7 cm.)
Provenance:
Owings-Dewey Fine Art, Santa Fe, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$4,000 — $8,000
426 Elmer Page Turner (1890 – 1966)
The Mountain Beyond (Bryce Canyon) - Escalante Mt., 1928
oil on canvas
signed and dated lower left: Elmer Paige Turner / E. P Turner 2
inscribed verso: The Mountain Beyond (Bryce Canyon) by Elmer P. Turner / of Taos - New Mexico / 25 7/8 x 29 7/8 in. (65.7 x 75.9 cm.)
Provenance:
Robert L. Parsons Fine Art, Taos, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$6,000 — $9,000
428 Elmer Page Turner (1890 – 1966)
Cactus Blooms, ca. 1930
oil on canvas
signed lower right: Elmer Turner
inscribed verso: Elmer Page Turner Taos N. Mex / Box 297
30 x 26 in. (76.2 x 66 cm.)
Provenance:
Robert L. Parsons Fine Art, Taos, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$5,000 — $7,000
Valdez Village
oil on canvas
signed lower left: BEN TURNER inscribed verso upper left on frame: RIO GRANDE CANYON / BEN TURNER
26 1/4 x 27 in. (66.7 x 68.6 cm.)
Provenance: Robert L. Parsons Fine Art, Taos, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$3,000 — $5,000
oil on canvas
signed lower right: CARL WOOLSEY
32 x 40 1/8 in. (81.3 x 101.9 cm.)
Provenance: Addison Rowe Gallery, Santa Fe, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$3,000 — $5,000
431
oil on canvas
signed lower right: HAROLD / VON / SCHMIDT
24 1/8 x 33 1/8 in. (61.3 x 84.1 cm.)
Provenance: The Gregory Warren Nelson Collection, New Mexico
$6,000 — $9,000
432 Hermann Dudley Murphy (1867 – 1945) Sunrise on the Coast, 1913
oil on canvas board
signed lower right: [artist’s cipher]
Carrig Rohane frame #1101 12 x 15 3/4 in. (30.5 x 40 cm.)
Provenance: Owings-Dewey Fine Art, Santa Fe, New Mexico
The Gregory Warren Nelson Collection, New Mexico
$2,000 — $4,000
429 Ben Turner (1912 – 1966) Rio Grande Canyon
430 Carl Woolsey (1902 – 1965) Mid Afternoon
Harold Von Schmidt (1893 – 1982) Burial on the Plains
433
oil on canvas
2021)
signed and dated lower margin: g. Kondos 2018
inscribed verso: 1/2 Dome, / Yosemite / 2018 / G. Kondos
9 7/8 x 7 3/4 in. (25.1 x 19.7 cm.)
Provenance:
Caldwell Snyder, San Francisco, California, 2018
The Gregory Warren Nelson Collection, New Mexico
$2,000 — $4,000
435 Ronald Wendell Davis (b. 1937) Pink and Purple Convex, 1996
encaustic on birch plywood
titled, dated and signed verso: PTN 1002 / “PINK and PURPLE CONVEX” / 1996 / Ronald Davis
18 1/4 x 15 7/8 x 3 in.
Provenance:
203 Fine Art, Taos, New Mexico, 2021
The Gregory Warren Nelson Collection, New Mexico
$6,000 — $9,000
434 Lee Mullican (1919 – 1998) Turning, 1962
oil on canvas
25 x 15 in. (63.5 x 38.1 cm.)
Provenance:
Aaron Payne Fine Art, Santa Fe, New Mexico, 2015
The Gregory Warren Nelson Collection, New Mexico
$10,000 — $15,000
436 Oli Sihvonen (1921 – 1991)
Leaf #2, 1963
oil on canvas
inscribed verso: OLI SIHVONEN 1963 “Blue / Leaf / #2” / 1963
22 x 28 in. (55.9 x 71.1 cm.)
Provenance:
Aaron Payne Fine Art, Santa Fe, New Mexico, 2012
The Gregory Warren Nelson Collection, New Mexico
$3,000 — $5,000
Gregory Kondos (1923 –
Half Dome, Yosemite, 2018
Blue
437 Jeremy Thomas (b. 1973)
Nova Blue, 2014
forged mild steel and powder coat inscribed: Jeremy Thomas / 2014
24 x 19 x 10 in.
Steel, Jeremy Thomas says, is quite malleable and actually a lot like clay (though admittedly it only exhibits those characteristics at upwards of 2800 degrees Fahrenheit). Thomas welds forms together then he can heat and inject with pressurized air, inflating, of "growing" them into their final shape. The final pieces contain paradox: metal molded by air, sensual forms in forceful fetish-finish primary colors gleaned from tractor manufacturers. These sculptures are changeable (as one continuously finds new approaches in their creases, angles, and wrinkles); they allow a dialogue between viewer and work much in the way Thomas says he engages in an ongoing dialogue, a give and take, with his materials. (www.AskArt.com)
Provenance:
Charlotte Jackson Fine Art, Santa Fe, New Mexico, 2014
The Gregory Warren Nelson Collection, New Mexico
$2,000 — $4,000
PETER BERNARDY
MARISA DE LA PEÑA
ROBERT GALLEGOS
MADISON HAGEY
CATHARINE HOLMES
HAYDEN HUNT
SHANE MIESKE
HARVEY MORGAN
MARSHALL PALACIOS
JONAH PAYNE
AVA SATO
OLIVIA SHERMAN
MOLLY WAGONER
JANDA WETHERINGTON
GILLIAN A. BLITCH
THANK YOU
Specialist, Photography + Works on Paper
Coordinator
Head of Native American + New Mexican Arts
Executive Assistant
Specialist, American Paintings
Specialist, American Paintings
Marketing + Design Director
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Art Handler
Specialist, Western Art + Sculpture
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Specialist, Contemporary + Modern
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