Santa Fe Art Auction: Signature Live Sale 2022

Live Auction

Friday and Saturday, November 4 – 5, 2022 932 Railfan Road, Santa Fe, NM 87505

Session I | (Lots 1 – 99)

Works on Paper American Sculpture

Friday, November 4, 3:00 PM MDT

Session II | (Lots 100 – 170)

Cardozo Collection of Edward S. Curtis Sonett Historic Pottery Collection

Saturday, November 5, 10:00 AM MDT

Break for Lunch | 11:30 AM MDT

Session II | (Lots 171 – 384)

Loloma Collection: Selections

19th – 21st Century Fine Paintings

Saturday, November 5, 1:00 PM MDT

Session I Preview Reception + Lecture

Wednesday, November 2, 5:00 – 7:00 PM MDT

Session II Preview + Cocktail Reception

Friday, November 4, 5:00 – 7:00 PM MDT

General Previews

November 1 – November 5, 2022

10:00 AM – 7:00 PM MDT and by appointment

Online Bidding

santafeartauction.com invaluable.com bidsquare.com liveauctioneers.com

Telephone and Absentee bidding arrangements must be made no later than

Session I: 5:00 PM MDT on November 3, 2022

Session II: 5:00 PM MDT on November 4, 2022

Telephone bidders are encouraged to leave absentee bids in the case of technical difficulties. Please direct all inquiries to 505.954.5858

Register online at santafeartauction.com

SESSION

1 GENE KLOSS (1903 – 1996)

Carding Wool The Old Spanish Way, 1985

etching, drypoint, edition 6 of 50 8 ⅞ x 10 ½ in. (22.54 x 26.67 cm.)

editioned and titled lower left: 6/50 Carding Wool The Old Spanish Way signed lower right: Gene KLoss

Literature:

A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 208, No. 626.

$800 – $1,200

2 GENE KLOSS (1903 – 1996) Keresan Dancers, 1962

etching, drypoint, edition 6 of 50 14 x 11 in. (35.56 x 27.94 cm.)

titled and editioned lower left: Keresan Dancers 6/50 signed lower right: Gene KLoss lmp

Literature:

A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 67, No. 490.

$600 – $800

3 GENE KLOSS (1903 – 1996) Corn Husking Time, 1979

etching, drypoint, Artist’s Proof, edition of 50 9 x 12 in. (22.86 x 30.48 cm.)

editioned and titled lower left: Artist’s Proof Corn Husking Time signed lower right: Gene KLoss

Literature:

A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 169, No. 587.

$800 – $1,200

4 GENE KLOSS (1903 – 1996)

Horseplay of Indian Jesters, 1954

drypoint, edition of 35 10 ¾ x 14 in. (27.31 x 35.56 cm.)

titled and editioned lower left: Horseplay of Indian Jesters Ed 35 signed lower right: Gene KLoss Imp

Literature:

A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 25, No. 454.

$1,000 – $2,000

6 GENE KLOSS (1903 – 1996)

In Ranchos de Taos, 1973

etching, Artist’s Proof, edition of 75 5 ¾ x 8 in. (14.61 x 20.32 cm.)

editioned and titled lower left: Artist’s Proof In Ranchos de Taos signed lower right: Gene KLoss

Literature:

A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 128, No. 546.

$1,000 – $2,000

5 GENE KLOSS (1903 – 1996)

Pueblo Leader, 1966

drypoint, etching, edition 18 of 50 13 ¾ x 10 ⅞ in. (34.93 x 27.62 cm.)

editioned and titled lower left: 18/50 Pueblo Leader signed lower right: Gene KLoss N.A.

Literature:

A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 84, No. 506.

$1,000 – $2,000

8 GENE KLOSS (1903 – 1996)

Taos Mountain and The Penitentes, 1948

drypoint, aquatint, edition of 35 11 ¾ x 14 ¾ in. (29.85 x 37.47 cm.)

titled and editioned lower left: Taos Mountain and The Penitentes Ed 35 signed lower right: Gene KLoss lmp

Literature:

A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. I, p. 242, No. 427.

$9,000 – $12,000

7 GENE KLOSS (1903 – 1996) Night Ceremony of the Penitentes, 1932

drypoint, edition of 35 6 x 8 ½ in. (15.24 x 21.59 cm.) titled lower left: Night Mass of The Penitentes signed lower right: Gene KLoss

Literature:

A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. I, p. 119, No. 258.

9 GENE KLOSS (1903 – 1996)

All Saints Day Mass - Taos Pueblo, 1934

drypoint, aquatint, edition of 30 9 ¾ x 13 ¾ in. (24.77 x 34.93 cm.)

titled lower left: All Saints Day Mass signed lower right: Gene KLoss

“Beginning in the 1930s, Kloss began creating some of the most compelling prints of her career, inspired by the Taos Pueblo, the Native people, the lively ceremonial dancers and pristine southwest landscape,” (Gene Kloss: An American Printmaker, A Raisonné, 2009.) It is in these depictions of ceremonies where Kloss is at her best. “From her attention to the details in the traditional clothing to the mesmerizing rhythms of the dance, Kloss was a welcome and acute observer of pueblo life. Her dance images are distinguished by the rhythm of alternating blacks and whites, graduated grays and sparkling whites.” (ibid.)

Kloss and her husband, the poet Phillips Kloss, immediately fell in love with Taos. According to Phillips, “We were fortunate in seeing Taos in its primeval glory, the great Taos Mountain dominating the high crescent valley lifting the entire landscape skyward and you with it, green fields irrigated by the waters of seven mountain streams, sheep grazing the grass and sagebrush plain, Indians riding horseback singing as they rode, adobe house and cottonwood groves, a quaint little plaza with hitching rails for horses and shade trees for people.” (Gene Kloss and Phillips Kloss, Gene Kloss Etchings, Sunstone Press, 1981.)

All Saints Day Mass depicts the ruins of the Church of San Geronimo at Taos Pueblo as it appeared to Kloss in 1934. The church was ruined during a rebellion that followed the murder of New Mexico’s first governor, Charles Bent of Taos in 1847.

Literature:

A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. I, p. 139, No. 302.

$14,000 – $16,000

10 GENE KLOSS (1903 – 1996)

San Felipe Buffalo Dancers, 1962

etching, Artist’s Proof, edition of 50 13 ⅜ x 13 in. (33.97 x 33.02 cm.) editioned and titled lower left: Artists Proof San Felipe Buffalo Dancers signed lower right: Gene KLoss N.A.

Literature:

A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 70-71, No. 493.

$1,500 – $2,500

12 GENE KLOSS (1903 – 1996)

End of the Dance - Cochiti, 1979

drypoint, edition 9 of 25 9 x 14 ⅞ in. (22.86 x 37.78 cm.) editioned and titled lower left: 9/25 End of The Dance – Cochiti signed lower right: Gene KLoss N.A.

Literature:

A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 160, No. 578.

$1,500 – $2,500

11 GENE KLOSS (1903 – 1996)

Buffalo - Deer Dance at Jemez, 1959

drypoint, aquatint, edition 22 of 35 9 ¾ x 14 ¾ in. (24.77 x 37.47 cm.) editioned and titled lower left: 22/35 Buffalo - Deer Dance at Jemez signed lower right: Gene KLoss N.A.

Literature:

A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 42, No. 471.

$2,000 – $3,000

13 GENE KLOSS (1903 – 1996)

Wintertime Dance - Cochiti, 1978

etching, drypoint, edition 2 of 25 10 ⅞ x 14 in. (27.62 x 35.56 cm.)

editioned, titled and inscribed lower left: 2/25 Wintertime DanceCochiti / For William Morrison signed lower right: Gene KLoss N.A.

Literature:

A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 161, No. 579.

$1,500 – $2,500

14 ALEXANDRE HOGUE (1898 – 1994)

Cap Rock Ranch, 1945

lithograph, edition of 250 7 x 11 ⅞ in. (17.78 x 30.16 cm.) titled lower left: Cap Rock Ranch signed lower right: Alexandre Hogue

$1,500 – $2,500

15 THOMAS HART BENTON (1889 – 1975)

Prodigal Son, 1939

lithograph, edition of 250 10 ⅛ x 13 ⅛ in. (25.72 x 33.34 cm.) signed lower right: Benton

$1,500 – $2,500

16 CHARLES BURCHFIELD (1893 – 1967)

Untitled (Tree), 1916

graphite on paper

16 ½ x 10 ⅝ in. (41.91 x 26.99 cm.) signed lower right: Chas Burchfield

$1,800 – $2,400

17 PETER HURD (1904 – 1984)

The Pecan Grove

ink wash on paper

10 ¼ x 14 ¼ in. (26.04 x 36.20 cm.) signed and titled lower left: Peter Hurd The Pecan Grove

Provenance: The Collection of Mary Lou and John Paxton Private Collection, New Mexico

$1,000 – $2,000

18 EDWARD BOREIN (1872 – 1945)

Longhorns

etching

3 ¼ x 6 in. (8.26 x 15.24 cm.) signed lower right: Edward Borein

$1,000 – $2,000

20 JAMES BOREN (1921

Untitled (Saddle), 1969

on paper

1990)

x 12 in. (40.64 x 30.48 cm.)

19 NICK EGGENHOFER (1897 – 1985)

(Visitor)

and ink on paper

¼ x 15

in. (26.04 x 39.37 cm.)

lower center:

21 NED JACOB (b. 1938)

Untitled (Three Riders on Horseback)

tip pen on paper

x

in. (12.07 x 19.05 cm.)

lower

22 R. BROWNELL MCGREW (1916 – 1994)

Navajo Girl

charcoal on paper

24 ¾ x 19 in. (62.87 x 48.26 cm.) signed lower left: R Brownell McGrew

$800 – $1,200

24 MIGUEL MARTINEZ (b. 1951)

Untitled (Dusk), 1985

pastel, mixed media on paper

24 ½ x 40 ½ in. (62.23 x 102.87 cm.) signed and dated lower right: Miguel Martinez © 85

$3,000 – $5,000

23 R. C. GORMAN (Diné [Navajo], 1931 – 2005) Study for Cocheta #1, 1980

charcoal, pastel on paper 28 ¼ x 22 ¼ in. (71.76 x 56.52 cm.) signed and dated lower left: R.C. Gorman 1980 $2,000 – $4,000

25 FORD RUTHLING (1933 – 2015)

Cows Have an Inner Light, 1989 monotype from hand embossed painted tin 29 ½ x 41 ½ in. (74.93 x 105.41 cm.) titled and inscribed lower center: “Cows have an Inner Light” #7.F. Remembering my Grandmother - Frida Maurer. signed and dated lower right: Ford Ruthling ‘89 $600 – $900

27 JOHN NIETO (1936 – 2018) Group of Three Fancy Dancers

lithograph each: 35 ¼ x 27 ¼ in. (89.54 x 69.22 cm.)

Purple Fancy Dancer editioned lower left: 18/25 signed lower right: Nieto

Green Fancy Dancer editioned lower left: 52/75 signed lower right: Nieto

Pink Fancy Dancer editioned lower left: 10/25 signed lower right: Nieto $1,800 – $2,800

26 JOHN NIETO (1936 – 2018)

Rabbit (After Durer)

serigraph, edition 335 of 395 17 ½ x 22 in. (44.45 x 55.88 cm.) editioned lower left: 335/395 signed lower right: Nieto

28 JOHN NIETO (1936 – 2018)

Courtship Blanket, 1981

color etching, edition 17 of 65 19 ¼ x 15 ¾ in. (48.90 x 40.01 cm.) editioned lower left: 17/65 signed lower right: Nieto

$1,000 – $2,000

29 BILLY SCHENCK (b. 1947) Goin’ South, 1987

serigraph, edition 20 of 59 27 ⅞ x 22 ½ in. (70.80 x 57.15 cm.) titled and editioned lower left: Goin’ South 20/59 signed and dated lower right: Schenck Jan. 87

$1,000 – $2,000

30 PAUL PLETKA (b. 1946)

Taos Turtle Dancer, ca. 1979

multi-color lithograph, edition 41 of 80 25 x 19 ⅛ in. (63.50 x 48.58 cm.)

editioned lower left: [Stephen Britko chop] 41/80 signed lower right: Pletka [artist chop]

$1,000 – $2,000

31 T. C. CANNON (Kiowa, 1946 – 1978)

Woman at Window, 1978

woodblock print, edition 108 of 200 17 x 15 in. (43.18 x 38.10 cm.)

editioned and signed lower left: 108/200 / Walter Cannon stamped lower right: T C Cannon

Literature: T. C. Cannon: At the Edge of America, Peabody Essex Museum, 2018, figure 33.

$4,000 – $6,000

32 T. C. CANNON (Kiowa, 1946 – 1978)

Self Portrait in the Studio

woodblock print, Artist’s Proof 21 ¾ x 16 ⅛ in. (55.25 x 40.96 cm.)

editioned lower left: A/P VIII signed lower center: Joyce Cannon Yi stamped lower right: T C Cannon

$4,000 – $6,000

34 MAYNARD DIXON (1875 – 1946)

Cover Shield & Bow Case, ca. 1943

pen and ink on paper 8 x 7 in. (20.32 x 17.78 cm.) initialed upper left: MD

In 1943, Mason Wade of E.L. Hildreth & Company published a Limited Edition of Francis Parkman’s 1846 travel journal, The Oregon Trail, and hired Maynard Dixon to complete the illustrations. This drawing was famously used as the cover. Dixon signed and numbered each of the edition of 500 books.

Originally titled The Oregon Trail: Sketches of Prairie and Rocky-Mountain Life, Parkman’s story of his journey West was serialized in twenty-one installments in Knickerbocker’s Magazine and then published as a book in 1849. It is a first-person account of a two-month summer tour of Nebraska, Wyoming, Colorado and Kansas that the author made when he was 23 years old.

Literature: Francis Parkman. The Oregon Trail, 1943, cover image. $3,000 – $5,000

35 MAYNARD DIXON (1875 – 1946)

Sioux Camp Crier, ca. 1943

pen and ink on paper 8 ¾ x 5 ½ in. (22.23 x 13.97 cm.) initialed lower left: MD inscribed lower center: for James C Skake / and the Oregon Trail signed lower right: Maynard Dixon verso: inscribed

$4,000 – $6,000

36 LLOYD MOYLAN (1893 – 1963)

Pueblo Ceremony, ca. 1935

watercolor on paper

18 x 13 in. (45.72 x 33.02 cm.) signed lower right: Lloyd Moylan

Lloyd Moylan was from St. Paul, Minnesota, but specialized in Southwest Native American subjects. He studied at the Minneapolis Art Institute, and the Arts Students League in New York City. In Santa Fe, he became curator of the Museum of Navajo Ceremonial Art (now the Wheelwright Museum of the American Indian). He has several WPA Federal Art Project murals around New Mexico, including the Administration Building in Portales, Rodgers Hall in Las Vegas, and the McKinley County Courthouse in Gallup.

Provenance:

The Pauline and Raimund Wurlitzer Collection

The Howard Wurlitzer Collection

Private Collection, New Mexico

$3,000 – $5,000

37 FRITZ SCHOLDER (Luiseño, 1937 – 2005)

Hopi Dancers (Second State), 1974

lithograph touche, edition 64 of 75 22 ½ x 30 in. (57.15 x 76.20 cm.) signed lower left: Scholder editioned lower right of center: 64/75

Literature: Clinton Adams, Fritz Scholder Lithographs, New York Graphic Society, 1975, page 112.

$1,200 – $1,800

38 FRITZ SCHOLDER (Luiseño, 1937 – 2005)

Indian at Crow Fair, 1979

lithograph, edition 16 of 20 33 ¾ x 44 ¼ in. (85.73 x 112.40 cm.)

edition lower left: 16.20 signed lower right: Scholder

$1,500 – $2,500

39 WANDERING ELK (19th/20th century)

The Battle of The Little Big Horn, 1915

colored pencil ledger drawing

8 x 12 ½ in. (20.32 x 31.75 cm.)

signed and dated lower right: Wandering Elk 1915

This Native American colored pencil ledger drawing depicts the carnage of The Battle of The Little Big Horn. It shows General George A. Custer in the upper left corner with the yellow shoulder bars of an officer.

$1,500 – $2,500

gouache on paper

22 ¾ x 18 ¾ in. (57.79 x 47.63 cm.)

signed lower right: Pop Chalee / [feather cipher]

$6,000 – $9,000

41 ALLAN HOUSER (Chiricahua Apache, 1914 – 1994)

Three Antelope, 1938

gouache on paper

10 ½ x 16 ½ in. (26.67 x 41.91 cm.)

signed and dated lower right: Houser / 38

$5,000 – $10,000

40 MERINA LUJAN [POP CHALEE] (1908 – 1993) Peyote Medicine

42 PABLITA VELARDE [TSE TSAN] (Santa Clara, 1918 – 2006) Santa Clara Mother & Child, 1941 gouache on paper 11 ¼ x 10 ⅛ in. (28.58 x 25.72 cm.) signed and dated lower right: Pablita VelardE / 1941

$1,500 – $2,500

43 NORMA HOWARD (Choctaw-Chickasaw, b. 1958) Goin’ Fishing, 1997

watercolor on paper 4 ⅝ x 7 ½ in. (11.75 x 19.05 cm.) signed and dated lower right: Norma Howard / 1997

$2,000 – $4,000

44 DAN NAMINGHA (Hopi-Tewa, b. 1950)

Sunset Creator Kachina, 1985

acrylic, collage on paper 24 ¼ x 17 in. (61.60 x 43.18 cm.)

signed and dated lower right: Namingha / 1985 $1,500 – $2,500

45 DAN NAMINGHA (Hopi-Tewa, b. 1950)

Untitled (Abstract Katsinam)

colored pencil on paper

5 ½ x 8 ⅛ in. (13.97 x 20.64 cm.) signed lower left: Namingha $500 – $1,000

46 RAYMOND JONSON (1891 – 1982)

Tempera No. 8, 1955

casein on paper

11 ¼ x 14 ¼ in. (28.58 x 36.20 cm.) signed and dated lower right: Jonson 55 $3,000 – $5,000

47 R. C. ELLIS (1923 – 1979)

Jonacatepec Hills, 1958

oil pastel on paper 7 ¾ x 22 ½ in. (19.69 x 57.15 cm.) signed and dated lower right: R.C. Ellis 1958

Robert C. (RC) Ellis first began studying art through The University of New Mexico, Taos Summer Field School in 1942, where he met Andrew Dasburg (lot 62). Between 1947 and 1953, he lived intermittently with the Tarahumara Indians of Mexico’s Sierra Madre and was unique among the Taos Moderns for pursuing his career in two countries. He returned to Taos in 1961 as a resident of the Wurlitzer Foundation and again briefly in 1964, before finally settling in Taos in 1965. The Taos Moderns, an eponym first used at a 1956 exhibition curated by Raymond Jonson (Lot 46), “were driven and struggled to define the method of how to interpret the light, landscape and ancient culture of the geography in an abstract form.” (David L. Witt, Taos Moderns: Art of the New. 1992.)

$1,500 – $2,500

48 R. C. ELLIS (1923 – 1979)

Roma 2 3 Cinco (Triptych), 1960

mixed media on paper each: 10 ½ x 16 ½ in. (26.67 x 41.91 cm.) each signed lower right: R.C. Ellis 1960

$1,000 – $2,000

49 R. C. ELLIS (1923 – 1979)

Untitled, 1962

oil pastel on paper 5 ½ x 13 in. (13.97 x 33.02 cm.) signed and dated lower right: R.C. Ellis 1962

$800 – $1,200

50 R. C. ELLIS (1923 – 1979) Mar Numero Cinco, 1960

oil pastel on paper 8 ¼ x 10 ¼ in. (20.96 x 26.04 cm.) signed and dated lower right: R.C. Ellis 1960

$400 – $600

Literature:

51

52 GUSTAVE BAUMANN (German-American, 1881 – 1971) Night Ceremony, 1948

color woodcut with aluminum leaf, edition 9 of 125 9 ⅜ x 9 in. (23.81 x 22.86 cm.)

titled lower left: Night Ceremony signed lower right: Gustave [hand in heart chop] Baumann editioned and dated lower right: I 9/125 48

Literature:

Baumann Inventory No. 119

Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 156.

$4,000

53 GUSTAVE BAUMANN (German-American, 1881 – 1971) Ranchos de Taos, 1948

color woodcut, edition 77 of 125 9 ½ x 11 in. (24.13 x 27.94 cm.) titled lower left: RANCHOS DE TAOS signed lower right: Gustave [hand-in-heart chop] Baumann editioned lower right: II 77-125

Literature:

Baumann Inventory No. 99

Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 133.

$10,000 – $15,000

54 GUSTAVE BAUMANN (German-American, 1881 – 1971)

Night of The Fiesta Taos, 1931–32

color woodcut, edition 112 of 125 5 ⅞ x 7 ½ in. (14.92 x 19.05 cm.) titled lower left: NIGHT OF THE FIESTA TAOS signed lower right: Gustave [hand-in-heart chop] Baumann editioned lower right: 112 125

Literature: Baumann Inventory No. 48 Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 92.

55 GUSTAVE BAUMANN (German-American, 1881 – 1971)

Sanctuario Chimayo, 1929

color woodcut, edition 96 of 125 7 ½ x 6 ¼ in. (19.05 x 15.88 cm.) titled lower left: SANCTUARIO – CHIMAYO signed lower right: Gustave [hand in heart chop] Baumann editioned lower right: 96 125

Literature:

Baumann Inventory No. 44 Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 88.

watercolor on paper

21 x 29 ¾ in. (53.34 x 75.57 cm.)

signed lower left: Peter Hurd

The following note is hand-typed by Hurd on a small index card affixed to the verso of this painting and addressed to the artist’s good friends.

“For Woody and John:

In past years in our village, four saints’ days were always singled out for special celebrations: San Ysidro on May 17, San Juan on June 24, Santa Ana on July 26, and of course Christmas.

San Ysidro is the Patron Saint of farmers and ranchers and is represented in sculpture and paintings as a Spanish farmer plowing with a yoke of oxen—as a reminder of his Hispanic origin he is usually shown wearing a Cordovan hat flat of brim and crown. Unlike many mortals, saintly or otherwise, he had a saint for a wife.

The celebration of an honored Saint began inside the church—in this painting it is the old church at San Patricio—and ended with the procession which I have depicted in this painting. The fires are made of stacks of pinon wood laid in squares like a log cabin. These illuminate the celebrants as, singing hymns of praise, they follow the priests and acolytes in the procession. The fragrance of pinon smoke evokes a special nostalgia for us who remember it from early infancy.”

2 June 1977 (signed: Peter Hurd)

Provenance:

The Artist

Woodruff Lochausen

By descent in the family to current owner

$8,000 – $12,000

56 PETER HURD (1904 – 1984) Fiesta del San Ysidro (San Patricio NM), 1977

57 WARD LOCKWOOD (1894 – 1963)

Watering The Herd

watercolor on board

13 ½ x 22 in. (34.29 x 55.88 cm.) signed lower right: LOCKWOOD $3,000 – $4,000

58 FREMONT F. ELLIS (1897 – 1985)

On the Holman Road, 1973

watercolor on paper

11 x 8 in. (27.94 x 20.32 cm.) signed lower right: FFE $2,000 – $4,000

61 DOROTHY N. STEWART (1891 – 1955)

The Acequia

casein watercolor on board 21 ¼ x 26 ½ in. (53.98 x 67.31 cm.)

$1,000 – $2,000

59 FRAN LARSEN (b. 1937)

Gentle Dawn

watercolor on paper in artist’s custom, hand-painted frame

20 x 44 in. (50.80 x 111.76 cm.)

signed lower right: Larsen

$2,000 – $4,000

60 BARBARA LATHAM (1896 – 1989)

Winter Scene, ca. 1930

watercolor, gouache on paper 11 ⅛ x 15 ½ in. (28.26 x 39.37 cm.)

signed lower right: Barbara Latham

$1,000 – $2,000

62 ANDREW DASBURG (1887 – 1979)

Untitled (Harbor Mid-Day)

watercolor on paper

16 x 10 in. (40.64 x 25.40 cm.)

signed lower left: Dasburg

$1,500 – $2,500

63 B. J. O. NORDFELDT (1878 – 1955) Newburyport, 1936

conte crayon, charcoal on paper 11 ⅜ x 15 ⅜ in. (28.89 x 39.05 cm.) signed, titled and dated lower right: Nordfeldt Newburyport 36

$800 – $1,200

64 LOUIS RIBAK (1902 – 1979) Untitled (Seascape)

watercolor on paper 14 x 20 ¾ in. (35.56 x 52.71 cm.) signed lower right: Louis RIBAK

$800 – $1,200

65 B. J. O. NORDFELDT (1878 – 1955)

Untitled (Seascape)

watercolor on paper 17 x 21 ½ in. (43.18 x 54.61 cm.) signed lower left: Nordfeldt $800 – $1,200

66

67

68 GLENNA GOODACRE

of Taos

watercolor

69 GLENNA GOODACRE (1939 – 2020) Pueblo Dancer, 1989

multiple patina bronze with granite base, edition 1 of 1 17 x 13 ½ x 11 in. (43.18 x 34.29 x 27.94 cm.) inscribed: G. Goodacre / 1989 1/1

70 GLENNA GOODACRE (1939 – 2020) Pawna (Feeding Bandit the Raccoon), 1983

multiple patina bronze with walnut and granite base and integral turntable accompanied by custom walnut pedestal, Foundry Proof 39 ¾ x 15 ¼ x 14 in. (100.97 x 38.74 x 35.56 cm.) inscribed: G. Goodacre / F.P.

Provenance: Collection of the Artist’s Estate

Literature: Glenna Goodacre, Daniel R. Anthony, Glenna Goodacre: Sculpture, Encantado Press LLC, 2009, p. 169. $10,000 – $20,000

71 GLENNA GOODACRE (1939 – 2020)

Waiting to Dance, 2006

multiple patina bronze with walnut and granite base and integral turntable accompanied by custom walnut pedestal, edition 32 of 35 37 ½ x 16 ¾ x 13 in. (95.25 x 42.55 x 33.02 cm.) inscribed: G. Goodacre / 2006 / 32/35

Provenance: Collection of the Artist’s Estate

Literature: Glenna Goodacre, Daniel R. Anthony, Glenna Goodacre: Sculpture, Encantado Press LLC, 2009, p. 185.

$6,000 – $9,000

72 JOHN COLEMAN (b. 1949) Creation Passing, 1996

polychrome bronze, edition 29 of 125 18 x 9 x 6 ½ in. (45.72 x 22.86 x 16.51 cm.) inscribed: JOHN COLEMAN / © 96 / 29/125

$1,500 – $2,500

73 JAMES EARLE FRASER (1876 – 1953)

End of the Trail, modeled 1915, cast 1967

bronze

34 ½ x 9 ½ x 28 in. (87.63 x 24.13 x 71.12 cm.) inscribed: J E Fraser © SU 22

The original plasters for these sculptures were bequeathed to Syracuse University by the estate of Laura Gardin Fraser, the widow of James Earle Fraser. Her Estate authorized limited castings to be made from these original plasters. James Earle Fraser worked as an assistant to Augustus SaintGaudens on the Sherman Monument (1892 - 1903), for the Grand Army Plaza in New York. His sculptural entries in major early twentieth century expositions, such as the 1904 Louisiana Purchase Exposition in St. Louis, the 1915 Panama-Pacific Exposition in San Francisco, and the 1939 New York World’s Fair, earned him medals, as well as public and critical acclaim. The design of the Indian head and buffalo nickel for the United States Treasury in 1912, the figure of Theodore Roosevelt on horseback for the entry to the American Museum of Natural History, and numerous other public sculptures, including the Department of the Treasury, the Commerce Building, the National Archives, and the Supreme Court, in Washington D.C., are among the sculptor’s most notable public commissions. The sculptor was also one of the organizers of and contributors to the famous, avant-garde International Exhibition of Modern Art, known as the Armory Show, of 1913.

Fraser’s most acclaimed sculpture neither evokes his European academic training, nor the influence of the East Coast cities where he worked; End of the Trail is a romanticized and nostalgic image of the vanishing West. It is a powerful yet poetic work that is resoundingly clear in its sympathy to the subject matter. While in Paris he had worked on the theme (the plaster is now lost) and the work was awarded a gold medal in 1910. By the end of 1913, he had cemented his vision of “an Indian on a horse” and the work was accepted for the Pan Pacific exhibition which opened in February 1915 in San Francisco. End of the Trail was awarded the gold medal as the outstanding sculptural work at the fair. This monumental plaster, which measures eighteen feet high, (National Cowboy Hall of Fame, Oklahoma City) was subsequently cast for sites in public parks, in Wisconsin and California. This image was so popular that the artist issued reductions in various sizes and all were cast at the Roman Bronze works foundry. Fraser at his death bequeathed all of his models and archives to the Syracuse University and they were permitted by the Estate to cast posthumous bronzes from the artist’s original plasters.

Comparative Literature:

Dean Krakel, End of the Trail: The Odyssey of a Statue, University of Oklahoma Press, Norman, Oklahoma, 1973.

Martin H. Bush, James Earle Fraser: American Sculptor, Kennedy Galleries, Inc., New York, 1969.

Alfred T. Colette and Donald M. Lantzy (exhibition catalogue essay), James Earle Fraser: The American Heritage in Sculpture, The Thomas Gilcrease Institute of American History and Art, January 12-April 21, 1985.

$10,000 – $15,000

74 JAMES EARLE FRASER (1876 – 1953)

End of the Trail, modeled 1915, cast 1982

bronze 12 ¾ x 12 x 4 in. (32.39 x 30.48 x 10.16 cm.) inscribed: FRASER / SYRACUSE UNIVERSITY #19 [foundry mark] 1982

Comparative Literature:

Dean Krakel, End of the Trail: The Odyssey of a Statue, University of Oklahoma Press, Norman, Oklahoma, 1973.

Martin H. Bush, James Earle Fraser: American Sculptor, Kennedy Galleries, Inc., New York, 1969.

Alfred T. Colette and Donald M. Lantzy (exhibition catalogue essay), James Earle Fraser: The American Heritage in Sculpture, The Thomas Gilcrease Institute of American History and Art, January 12-April 21, 1985.

$1,200 – $1,800

76 DAVE MCGARY (1958 – 2013)

Four Bears, 1991

polychrome bronze, edition 23 of 50 26 ¾ x 18 x 8 in. (67.95 x 45.72 x 20.32 cm.) inscribed: Dave McGary 23/50 [thumbprint]

$10,000 – $15,000

75 JAMES EARLE FRASER (1876 – 1953)

White Eagle, modeled 1919, cast 1967

bronze 14 ⅜ x 8 ¾ x 10 ⅞ in. (36.51 x 22.23 x 27.62 cm.)

inscribed: J.E. FRASER © S. U. #7

Comparative Literature:

Dean Krakel, End of the Trail: The Odyssey of a Statue, University of Oklahoma Press, Norman, Oklahoma, 1973.

Martin H. Bush, James Earle Fraser: American Sculptor, Kennedy Galleries, Inc., New York, 1969.

Alfred T. Colette and Donald M. Lantzy (exhibition catalogue essay), James Earle Fraser: The American Heritage in Sculpture, The Thomas Gilcrease Institute of American History and Art, January 12-April 21, 1985.

$3,000 – $5,000

77 DAVE MCGARY (1958 – 2013)

Trophy Hunters, 2013

polychrome bronze, edition 18 of 30 30 1/2 x 23 1/2 x 20 in. (77.47 x 59.69 x 50.80 cm.) inscribed: [thumbprint] Dave McGary 18/30

$10,000 – $15,000

78 DAVE MCGARY (1958 – 2013) American Horse, 1992

polychrome bronze, edition 33 of 75 25 1/2 x 11 x 9 1/2 in. (64.77 x 27.94 x 24.13 cm.) inscribed: [thumbprint] Dave McGary / 1992 / 33/75 / [S foundry mark]

$5,000 – $7,000

79 DAVE MCGARY (1958 – 2013)

Bounty of Gray Hawk, 1998

polychrome bronze, edition 41 of 75 12 ¼ x 12 ¾ x 8 in. (31.12 x 32.39 x 20.32 cm.) inscribed: [thumbprint] Dave McGary 41/75 1998

$4,000 – $6,000

80 DAVE MCGARY (1958 – 2013)

Symphonies of The Heart, 1999

polychrome bronze, edition 46 of 50 15 ½ x 14 x 16 ½ in. (39.37 x 35.56 x 41.91 cm.)

inscribed: Dave McGary 1999 [thumbprint] 46/50

$3,000 – $5,000

81 DAVE MCGARY (1958 – 2013)

The Gatekeeper, 2006

polychrome bronze, edition 10 of 50 15 x 22 x 32 in. (38.10 x 55.88 x 81.28 cm.)

inscribed: [thumbprint] Dave McGary / 10/50

$2,000 – $4,000

84 ALLAN HOUSER (Chiricahua Apache, 1914 – 1994)

Chiricahua Medicine Man, 1982

bronze, edition 6 of 20 9 ½ x 8 ½ x 9 in. (24.13 x 21.59 x 22.86 cm.) inscribed: 82 ©ALLAN HOUSER 6/20

Literature: Perlman, Barbara H., and Allan Houser. Allan Houser: Ha-o-Zous. Washington, D.C.: Glenn Green Galleries, 1992, p. 88. $5,000 – $7,000

85 NELSON TSOSIE (Diné [Navajo], b. 1961) Canyon Courtship

polychrome bronze, edition 8 of 20 31 ½ x 37 x 22 in. (80.01 x 93.98 x 55.88 cm.) inscribed: Tsosie / © 8/20

$6,000 – $8,000

86 RICHARD GREEVES (b. 1935)

The Storyteller, 1976

bronze, edition 2 31 x 29 x 21 in. (78.74 x 73.66 x 53.34 cm.)

inscribed: RV GREEVES 1976 2

Provenance: Collection of the Genesee Country Village & Museum, Mumford, NY

$4,000 – $8,000

87 ED NATIYA (Diné [Navajo], b. 1972) Quanah

bronze, edition 4 of 35 21 x 16 x 12 in. (53.34 x 40.64 x 30.48 cm.) inscribed: NATIYA 4/35

$4,000 – $6,000

88 ED NATIYA (Diné [Navajo], b. 1972) Red Cloud

bronze, edition of 35 29 x 17 x 14 in. (73.66 x 43.18 x 35.56 cm.) inscribed: NATIYA /35

$4,000 – $6,000

89 GARY LEE PRICE (b. 1955)

Three Eagles, 1981

bronze, edition 7 of 19

38 ½ x 21 ½ x 13 ½ in. (97.79 x 54.61 x 34.29 cm.)

inscribed: Three / Eagles / Gary Price / 81 / 7/19

$4,000 – $6,000

90 FRITZ WHITE (1930 – 2010) Magic of Great Bear

bronze, edition 7 of 36

14 ¾ x 20 ¾ x 14 ½ in. (37.47 x 52.71 x 36.83 cm.)

inscribed: © Fritz White CA / 7/36

$3,000 – $5,000

91 ORELAND JOE SR. (Diné [Navajo], b. 1958)

The Mystic One, 2002

polychrome bronze, edition 4 of 30 23 x 11 ½ x 6 ½ in. (58.42 x 29.21 x 16.51 cm.)

inscribed: O C JoE CA © ‘02 WHITEHORNE / 4/30 L

$3,000 – $5,000

92 ORELAND JOE SR. (Diné [Navajo], b. 1958)

Way of the Eagle, 2000

alabaster

14 x 10 ¾ x 5 ⅜ in. (35.56 x 27.31 x 13.65 cm.)

inscribed: O C Joe CA 2000 ©

$2,000 – $4,000

93 DOUG HYDE (b. 1946) Southwest Potter

bronze, Artist’s Proof

7 ¾ x 7 x 5 ½ in. (19.69 x 17.78 x 13.97 cm.)

inscribed: D Hyde [artist’s cipher] © AP

$1,000 – $2,000

94 GRANT SPEED (1930 – 2011)

In the Wake of the Mountain Men, 1977 bronze

31 ½ x 34 ½ x 21 ½ in. (80.01 x 87.63 x 54.61 cm.) inscribed: U G Speed / © 1977 CA AC-30

$3,000 – $5,000

95 GIB SINGLETON (1936 – 2014) Bronco Buster, 1995

bronze, edition 13 of 25 23 x 9 x 21 ½ in. (58.42 x 22.86 x 54.61 cm.) inscribed: Singleton 1995 © 13/25

$6,000 – $9,000

96 GIB SINGLETON (1936 – 2014) Days End

bronze, edition 8 of 25 17 x 15 x 6 ½ in. (43.18 x 38.10 x 16.51 cm.) inscribed: Singleton © 8/25 $3,000 – $5,000

97 GIB SINGLETON (1936 – 2014)

Self Portrait, 1994

bronze, edition 30 of 77 14 ½ x 6 x 7 in. (36.83 x 15.24 x 17.78 cm.) inscribed: Singleton © 1994 30/77

$2,000 – $4,000

99 GIB SINGLETON (1936 – 2014) Dead Ringer

bronze, edition 3 of 25 14 x 14 ¾ x 7 in. (35.56 x 37.47 x 17.78 cm.) inscribed: Singleton 3/25

$1,000 – $2,000

98 GIB SINGLETON (1936 – 2014)

Lawman From Winslow

bronze, edition 9 of 25 14 ½ x 4 x 4 in. (36.83 x 10.16 x 10.16 cm.) inscribed: Singleton © 9/25

$2,000 – $4,000

SESSION II

CARDOZO COLLECTION OF EDWARD S. CURTIS

CHRISTOPHER CARDOZO (1948 – 2021)

Christopher Cardozo was the world’s leading authority on Edward Curtis. Author of nine books, and curator of over 100 exhibitions in 42 countries and 6 continents, Chris was devoted to the promotion, exhibition, publication and study of the photographer’s life work, bringing the legacy Curtis created, in collaboration with some 10,000 Native Americans, to contemporary audiences.

Cardozo first discovered the work of Edward Curtis in 1973 after a friend saw Cardozo’s own sepia-toned photographs of indigenous people taken during an extended period in Mexico. He took photos in somber, sepia tones. He made friends. He was held at gunpoint. He knew that the experience was changing his life. Heading home to St. Paul, MN, he stopped in Albuquerque, where he first encountered some of Curtis’ prints and experienced a “shock of recognition.” As his sister, Julie, now tells it, “Our dad had given him a credit card for emergencies, but Chris went to Boulder and bought a Curtis photogravure with the card. “This is an emergency,’ he said. “And that was it. That was how he discovered Curtis.”

Cardozo returned to his hometown of St. Paul and voraciously consumed everything he could find about Curtis’ life and work. He then began speaking with dealers, traveling to auctions and learning and buying as many of the photographs as he could find. After a brief stint with a gallery in Minneapolis, Cardozo headed to Aspen, Colorado, and opened a gallery there in the late 1980s. The gallery remained for about ten years until Chris decided to return home to Minnesota and continue collecting and selling Curtis material.

In a 2018 interview with the Minneapolis Star Tribune, Cardozo said “I was led to this. This is my soul’s purpose. Why I ended up on Earth at this particular time was to make this work available to people.” Cardozo also served as a consultant/ curator for many private Curtis collections as well as public institutions, including the J. Pierpont Morgan Library.

100 ADOLPH F. MUHR (1860 – 1913)

Edward S. Curtis Portrait - Formal Attire, 1907

photogravure on Japanese tissue mounted to Holland Van Gelder 7 ¼ x 4 ¾ in. (18.42 x 12.07 cm.) sheet: 12 ⅝ x 9 ½ in. (32.07 x 24.13 cm.)

Before working for Edward Curtis, Adolph Muhr was the assistant of Frank Rinehart (1861-1928), another celebrated photographer of Native American life.

Provenance: Edward S. Curtis Studio, Seattle Private Collection(s)

The Christopher G. Cardozo Collection, 1998

Exhibited: Sacred Legacy: Edward S. Curtis and the North American Indian (95 print exhibit), 2000

$750 – $1,000

101 EDWARD S. CURTIS (1868 – 1952)

Edward S. Curtis Self Portrait - Field Attire, ca. 1899

photogravure on Holland Van Gelder 10 ⅛ x 6 ⅞ in. (25.72 x 17.46 cm.) sheet: 18 ¾ x 10 ⅞ in. (47.63 x 27.62 cm.) inscribed in plate, lower left: Photogravure inscribed in plate, lower right: John Andrew & Son, Boston

Provenance: Edward S. Curtis Studio, Seattle Private Collection(s)

The Christopher G. Cardozo Collection, 2009

Publication History - Image: Native Nations, Bulfinch Press, 1993, Page 18

Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, Page 18

Edward S. Curtis One Hundred Masterworks, Delmonico Books/ Prestel Publishing, 2015, Page 9

$2,000 – $3,000

CARDOZO COLLECTION OF EDWARD S. CURTIS

103 EDWARD S. CURTIS (1868 – 1952)

The Lost Trail - Apache, 1903

platinum print 10 ⅞ x 14 ⅞ in. (27.62 x 37.78 cm.) inscribed in negative, lower left: 117-03 inscribed lower left: COPYRIGHTED 1903 BY E.S. CURTIS signed in brown ink, lower right: Curtis

Provenance: Edward S. Curtis Studio, Seattle Private Collection(s)

The Christopher G. Cardozo Collection, 2002

Exhibited: Sacred Legacy: Edward S. Curtis and the North American Indian (64 print exhibit), 2009, Crossman Gallery, Whitewater, WI (Curtis’ birthplace)

Literature:

The North American Indian (1907-1930), Portfolio 1, Plate 19

The North American Indian Republication Custom Edition, Christopher Cardozo Fine Art, 2014, Portfolio Volume 1, Plate 19

$2,000 – $4,000

104 EDWARD S. CURTIS (1868 – 1952)

By the Arrow I Have Said It, 1909

silver gelatin border print 7 ⅝ x 5 ½ in. (19.37 x 13.97 cm.) signed in black ink, lower right: Curtis LA dated lower left: -09 verso: titled

Provenance: Edward S. Curtis Studio, Seattle Private Collection(s)

Four Winds Gallery

The Christopher G. Cardozo Collection 2005

Literature:

The Flute of the Gods, Marah Ellis Ryan, Edward S Curtis, Frederick A. Stokes, NY 1909, Cover

$2,000 – $3,000

105 EDWARD S. CURTIS (1868 – 1952)

The Potter - Santa Clara, 1905

photogravure on Japanese vellum 15 ⅝ x 11 ⅝ in. (39.69 x 29.53 cm.) sheet: 21 ¾ x 17 ⅞ in. (55.25 x 45.40 cm.) numbered in plate, upper left: Plate 602 titled in plate, lower left: THE POTTER - SANTA CLARA inscribed in plate, lower center: From Copyright Photograph 1905 by E.S. Curtis inscribed in plate, lower right: Photogravure Suffolk Eng. Co. Cambridge, Mass.

Provenance: Mitchell Brown Fine Art Private Collection, Arizona

$2,000 – $4,000

106 EDWARD S. CURTIS (1868 – 1952)

Jicarilla Matron, 1904

platinum print 16 ¼ x 11 ⅞ in. (41.28 x 30.16 cm.) inscribed in negative, lower left: 454-04 inscribed lower left: COPYRIGHTED 1904 BY E.S. CURTIS

Provenance: Edward S. Curtis Studio, Seattle Private Collection(s) The Christopher G. Cardozo Collection, 2000

Literature:

The North American Indian (1907-1930), Portfolio 1, Plate 23

The North American Indian Republication Custom Edition, Christopher Cardozo Fine Art, 2014, Portfolio Volume 1, Plate 23

$2,000 – $3,000

CARDOZO COLLECTION OF EDWARD S. CURTIS

platinum print

14 ⅞ x 11 ⅝ in. (37.78 x 29.53 cm.)

inscribed in negative, lower left: 41 signed in negative, lower left: CURTIS signed in black ink, lower right: Curtis inscribed lower left: COPYRIGHTED 1899 BY E.S. CURTIS

Curtis made photographs of Native Americans in his adopted Pacific Northwest several years before formally starting The North American Indian project. “Suquamish Woman”, photographed in 1899, is one of those early images and is an excellent example of the evocative and singularly unique visual record of North American Indian women that Curtis created during the project. A very unusual example in large platinum, this print has a more open crop than the image that was published in Portfolio IX. This print also includes Curtis’ signature in the negative at the left margin, which is characteristic of Curtis’ very early prints. Depicting women in intimate portraits is a testament to Curtis’ strong relationship with Native Americans and the great trust they placed in him.

Provenance:

Edward S. Curtis Studio, Seattle Private Collection(s)

The Christopher G. Cardozo Collection 1998

Literature:

By Her Hand: Native American Women, their Art and the Photographs of Edward S. Curtis, 2016

Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, Page 169

Edward S. Curtis: The Women, Bulfinch Press, 2005, Plate 90

The North American Indian (1907-1930), Portfolio 9, Plate 305

$5,000 – $7,000

107 EDWARD S. CURTIS (1868 – 1952) Suquamish Woman, 1899

To supplement this original set of books is a Reference Edition Republication Set of TNAI, published by Christopher Cardozo Fine Art. The Reference Edition is an exact reproduction of the original books and includes all 2,234 photographs.

The North American Indian being a Series of Volumes Describing the Indians of the United States and Alaska. Edited by Fredrick Webb Hodge. Foreword by Theodore Roosevelt. Field Research conducted under the patronage of J. Pierpont Morgan. [Cambridge, Mass.], 1907-1930.

hand-set letterpress text on Holland Van Gelder paper 12 ½ x 9 ½ in. (31.75 x 24.13 cm.) signed in black ink on page xvii: Edward S Curtis 1907

20 Volumes - Quarto (313 x 239 mm): In publisher’s original brown half morocco gilt and buckrum, top edges gilt, others uncut, stamp-signed by H. Blackwell or Whitman Bennett. Each numbered 76 in ink on the verso of the half-title page.

Text Volumes - *Special Note: All photogravures have been carefully removed from volumes I-XX. Over three thousand pages of text and transcriptions of language and music. Still present are the following prints/illustrations:

Volume 3, pg. 44, the foldout “Custer Battlefield map”

Volume 5, pg. 64, “Ground Plan of Arikara Medicine-lodge”

Volume 8, pgs. 160 and 182, “Map of Nez Percé Territory” and “Map of Chinook Territory”, respectively

Volume 20, pg. 3, “Map Showing the Dialects and Hunting Territories of the Coast Eskimo of Alaska Village”

Limited Edition: Number 76 of 500 proposed sets of which only 214 were originally subscribed to, and only 272 sets ultimately produced, this copy on India Proof Paper (“tissue”) tipped-in on Dutch Van Gelder. The exact number of original subscriber sets that were printed on tissue is not known but it is estimated to be fewer than 15. Edward Curtis, J.P. Morgan, E.H. Harriman and the King of England were among the few who received this premium version. The original subscriber to this set was the Peabody Institute of Baltimore Maryland. The set was sold by Sotheby’s in 1989 to benefit the George Peabody Library of John Hopkins University. The set was subsequently broken apart, meaning that the portfolio prints were separated from their respective portfolios and offered individually, and that all the photogravure images were carefully removed from the volumes and sold individually. This was a somewhat common practice in the 70’s, 80’s and 90’s when complete sets could be purchased relatively inexpensively. Although the images have been removed from this set of books, all the original text pages and original bindings remain intact, making this a stunning and unique visual and conversational addition to a collector’s or enthusiast’s library.

CARDOZO COLLECTION OF EDWARD S. CURTIS

THE UNITED STATES

EDITED BY

BY

FIELD RESEARCH CONDUCTED UNDER THE PATRONAGE OF J. PIERPONT MORGAN. [CAMBRIDGE, MASS.], 1907-1930.

109 EDWARD S. CURTIS (1868 – 1952)

The North American Indian Volume II, 1908

individual volume with 75 photogravures on Japanese tissue bound: 12 ½ x 9 ½ in. (31.75 x 24.13 cm.) print: 7 ½ x 5 ½ in. (19.05 x 13.97 cm.)

Featuring the Southwestern tribes of the Pima, Papago, Qahatika, Mohave, Yuma, Maricopa, Walapai, Havasupai and the Apache-Mohave

Limited Edition:

This volume is numbered 96, printed on handmade Japanese gampi tissue paper, quarto, top edges gilt, original 3/4 brown crushed levant by H. Blackwell of Boston, over beige linen-covered boards, original gilt lettered, raised paneled spine, with photogravure plates by John Andrew & Son 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 Volumes: 75 photogravures and over 140 pages of text, including transcriptions of language. Hand letterpress printed on hand-made paper. Hand-bound.

Provenance:

Edward S. Curtis Studio

William Henry Moore

The Moore Memorial Library

The Christopher G. Cardozo Collection, 2001

$3,500 – $5,500

110 EDWARD S. CURTIS (1868 – 1952)

The North American Indian Volume VII, 1911

individual volume with 75 photogravures on Japanese tissue bound: 12 ½ x 9 ½ in. (31.75 x 24.13 cm.) print: 7 ½ x 5 ½ in. (19.05 x 13.97 cm.)

Featuring the Plateau & Woodlands tribes of the Yakima, Klickitat, Interior Salish and Kutenai.

Limited Edition: This volume is numbered 96, printed on handmade Japanese gampi tissue paper, quarto, top edges gilt, original ¾ brown crushed levant by H. Blackwell of Boston, over beige linen-covered boards, original gilt lettered, raised paneled spine, ribbon bookmark, with photogravure plates by John Andrew & Son 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 Volumes: 75 photogravures and over 200 pages of text, including transcriptions of language and music. Hand letterpress printed on hand-made paper. Hand-bound.

Provenance:

Edward S. Curtis Studio

William Henry Moore

The Moore Memorial Library

The Christopher G. Cardozo Collection, 2001

$4,000

$6,000

All of these examples of single volumes and portfolios are from set #96, which descends from original subscriber’s William Henry Moore (1847-1923) and his brother James Hobart Moore (1851-1916) to the Moore Memorial Library. The brothers founded the library in their boyhood home of Greene, New York, in 1903, in honor of their mother. While the Moore’s were not as well-known as the Carnegies, Morgans and Harrimans, the family operated in the same social milieu. They were friends of J.P. Morgan, the visionary industrialist, and collector, who first sponsored Curtis’ comprehensive pictorial chronicle of native life, and next to Morgan, successfully exploited the financial possibilities of industrial mergers in the United States.

individual volume with 75 photogravures on Japanese Gampi tissue bound: 12 ½ x 9 ½ in. (31.75 x 24.13 cm.) print: 7 ½ x 5 ½ in. (19.05 x 13.97 cm.)

Featuring the Northwestern tribes of the Nootka and Haida.

Limited Edition: This volume is numbered 96, printed on handmade Japanese gampi tissue paper, quarto, top edges gilt, original ¾ brown crushed levant by H. Blackwell of Boston, over beige linen covered boards, original gilt lettered, raised paneled spine, ribbon bookmark, with photogravure plates by John Andrew & Son 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 Volumes: 75 photogravures and over 230 pages of text, including transcriptions of language and music. Hand letterpress printed on hand-made paper. Hand-bound.

Provenance:

Edward

William

The

individual volume with 74 photogravures on Japanese Gampi tissue bound: 12 ½ x 9 ½ in. (31.75 x 24.13 cm.) print: 7 ½ x 5 ½ in. (19.05 x 13.97 cm.)

Featuring the Great Plains tribes of the Chipewyan, Cree and Sarsi.

Limited Edition:

This volume is numbered 96, printed on handmade Japanese gampi tissue paper, quarto, top edges gilt, original ¾ brown crushed levant by H. Blackwell of Boston, over beige linen-covered boards, original gilt lettered, raised paneled spine, ribbon bookmark, with photogravure plates by Suffolk Engraving Company 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 Volumes: 74 photogravures and over 250 pages of text, including transcriptions of language. Hand letterpress printed on handmade paper. Hand-bound.

Provenance:

Edward S. Curtis Studio

William Henry Moore

The Moore Memorial Library

The Christopher G. Cardozo Collection, 2001

$5,000 – $7,000

111 EDWARD S. CURTIS (1868 – 1952)

The North American Indian Volume XI, 1916

112 EDWARD S. CURTIS (1868 – 1952)

The North American Indian Volume XVIII, 1928

CARDOZO COLLECTION OF EDWARD S. CURTIS

36 photogravures on Japanese tissue with original Van Gelder overmats folio: 23 x 19 in. (58.42 x 48.26 cm.) prints: 18 x 22 in. (45.72 x 55.88 cm.) signed in the plate below image: E. S. Curtis

Featuring the Southwestern tribes of the Pima, Papago, Qahatika, Mohave, Yuma, Maricopa, Walapai, Havasupai and the Apache-Mohave.

Limited Edition:

This Portfolio is from set #96, printed on handmade Japanese gampi tissue paper, quarto, original ¾ brown crushed levant by H. Blackwell of Boston, over beige linen-covered boards, original gilt lettered, with photogravure plates by John Andrew & Son 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.

Portfolio:

36 large format photogravures, including a List of Plates reference that is hand letterpress printed on hand-made paper. Loose bound in a hand-made, 3-flap portfolio.

Provenance:

Edward S. Curtis Studio

William Henry Moore

The Moore Memorial Library

The Christopher G. Cardozo Collection, 2001

Exhibited:

Mosa - Mohave, Plate 61

Sacred Legacy: Edward S. Curtis and the North American Indian (176 print exhibit), 2000 Edward S. Curtis: 100 Masterworks, 2016

Pima Baskets, Plate 41

Sacred Legacy: Edward S. Curtis and the North American Indian (176 print exhibit), 2000 Edward S. Curtis: 100 Masterworks, 2016

$12,000 – $18,000

113 EDWARD S. CURTIS (1868 – 1952)

The North American Indian Portfolio II, 1908

36 photogravures on Japanese Gampi tissue with original Van Gelder overmats folio: 23 x 19 in. (58.42 x 48.26 cm.) print: 18 x 22 in. (45.72 x 55.88 cm.) signed in the plate below image: E. S. Curtis

Featuring the Salishan, Chimakum, Quilliute and Willapa tribes of the Pacific Northwest.

Limited Edition:

This Portfolio is from set #96, printed on handmade Japanese gampi tissue paper, quarto, original ¾ brown crushed levant by H. Blackwell of Boston, over beige linen-covered boards, original gilt lettered, with photogravure plates by John Andrew & Son 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.

Portfolio:

36 large format photogravures, including a List of Plates reference that is hand letterpress printed on hand-made paper. Loose bound in a hand-made, 3-flap portfolio.

Before embarking on his thirty-year odyssey of studying and photographing Native Americans in the summer of 1900, Curtis first made photographs of Indians in his adopted Pacific Northwest several years earlier. A professional studio portrait photographer by training, Curtis was also an avid outdoorsman and amateur landscape photographer. It was while pursuing these latter activities in the Puget Sound area surrounding Seattle that he began to photograph Native Americans and their daily life.

He apparently started this work without a great deal of specific ethnographic intention, yet several of his early Native American images won multiple awards. The most acclaimed, “Homeward”,

plate 318 in this portfolio, won both national and international accolades in 1898. One of his most famous portraits is that of Princess Angeline, plate 314. Named Kikisoblu, she was the oldest daughter of Chief Seattle, and is believed to have been the first Native American that Curtis photographed. She is also pictured in “The Mussel Gatherer”, plate 313. Curtis created an evocative and unique visual record of North American Indian women, which are very prominent in this portfolio. Shown in portraits, the making of arts and in food gathering, the fact that Curtis was able to photograph Indian women so frequently, in such a variety of situations and activities and often with great intimacy, is a testament to his strong relationship with Native Americans and the great trust they placed in him.

Provenance:

Edward S. Curtis Studio

William Henry Moore

The Moore Memorial Library

The Christopher G. Cardozo Collection, 2001

Exhibited:

Puget Sound Baskets, Plate 309

Sacred Legacy: Edward S. Curtis and the North American Indian (176 print exhibit), 2000

Edward S. Curtis: 100 Masterworks, 2016

Lummi Type, Plate 320

Sacred Legacy: Edward S. Curtis and the North American Indian (176 print exhibit), 2000

Edward S. Curtis: 100 Masterworks, 2016

$7,000

114 EDWARD S. CURTIS (1868 – 1952)

The North American Indian Portfolio IX, 1913

CARDOZO COLLECTION OF EDWARD S. CURTIS

115 EDWARD S. CURTIS (1868 – 1952)

The North American Indian Portfolio XI, 1916

36 photogravures on Japanese Gampi tissue with original Van Gelder overmats folio: 23 x 19 in. (58.42 x 48.26 cm.) prints: 18 x 22 in. (45.72 x 55.88 cm.) signed in the plate below image: E. S. Curtis

Featuring Nootka and Haida tribes of the Pacific Northwest.

Limited Edition:

This Portfolio is from set #96, printed on handmade Japanese gampi tissue paper, quarto, original 3/4 brown crushed levant by H. Blackwell of Boston, over beige linen-covered boards, original gilt lettered, with photogravure plates by John Andrew & Son 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.

Portfolio:

36 large format photogravures, including a List of Plates reference that is hand letterpress printed on hand-made paper. Loose bound in a hand-made, 3-flap portfolio.

Provenance:

Edward S. Curtis Studio

William Henry Moore

The Moore Memorial Library

The Christopher G. Cardozo Collection, 2001

Exhibited:

Nootka Woman Wearing Cedar-Bark Blanket, Plate 381

Sacred Legacy: Edward S. Curtis and the North American Indian (176 print exhibit), 2000

Edward S. Curtis: 100 Masterworks, 2016

The Whaler - Makah, Plate 395

Edward S. Curtis: 100 Masterworks, 2016

$5,000 – $8,000

36 photogravures on Japanese Gampi tissue with original Van Gelder overmats folio: 23 x 19 in. (58.42 x 48.26 cm.) prints: 18 x 22 in. (45.72 x 55.88 cm.) signed in the plate below image: E. S. Curtis

Featuring the Hopi tribe of the Southwest.

Limited Edition:

This Portfolio is from set #96, printed on handmade Japanese gampi tissue paper, quarto, original 3/4 brown crushed levant by H. Blackwell of Boston, over beige linen-covered boards, original gilt lettered, with photogravure plates by Suffolk Engraving Company 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.

Portfolio:

36 large format photogravures, including a List of Plates reference that is hand letterpress printed on hand-made paper. Loose bound in a hand-made, 3-flap portfolio.

In the summer of 1900, after his brief expedition with George Bird Grinnell to the Great Plains, Curtis made his first independent, self-financed trip into the field. For this important trip, he chose to photograph the Hopi, Navajo, and Apache of the Southwest. He was intrigued by what he had read and heard about their rich, traditional culture and their spectacular ceremonies. Curtis’s initial intrigue was confirmed during this visit, and from 1900 to 1925 Curtis would study and photograph the various tribes of the Southwest more frequently than those

of any other area. He ultimately devoted more volumes of The North American Indian to the Southwest than to any other region. Portfolio XII focuses exclusively on the Hopi, showing aspects of their architecture, mythology, arts and dress. Many of Curtis’ most compelling photographs can be found in this portfolio. There are the striking portraits of “A Hopi Man” and “A Walpi Man”, “The Potter” depicting the skilled artisan named Nampeyo. and four incredible portraits of Hopi Snake Priests, in addition to images of their Buffalo and Snake Dance ceremonies. Said Curtis, “I couldn’t make pictures of their religious ceremonies unless I entered into their inner life and understood it from their standpoint.” Curtis’s immersion in the cultures of the Southwest Indians, which were so inextricably intertwined with the land itself, is clearly evident in the photographs he made in the region.

Provenance:

Edward S. Curtis Studio

William Henry Moore

The Moore Memorial Library

The Christopher G. Cardozo Collection, 2001

Exhibited:

Watching the Dancers, Plate 405

Sacred Legacy: Edward S. Curtis and the North American Indian (176 print exhibit), 2000

Edward S. Curtis: 100 Masterworks, 2016

$14,000

EDWARD S. CURTIS (1868 – 1952)

North American Indian Portfolio XII, 1922

CARDOZO COLLECTION OF EDWARD S. CURTIS

117 EDWARD S. CURTIS (1868 – 1952)

The North American Indian Portfolio XV, 1926

36 photogravures on Japanese Gampi tissue with original Van Gelder overmats folio: 23 x 19 in. (58.42 x 48.26 cm.) prints: 18 x 22 in. (45.72 x 55.88 cm.) signed in the plate below image: E. S. Curtis

Featuring the Southern California, Shoshoneans, Dieguenos, Plateau Shoshonean and Washo tribes of California.

Limited Edition:

This Portfolio is from set #96, printed on handmade Japanese gampi tissue paper, quarto, original 3/4 brown crushed levant by H. Blackwell of Boston, over beige linen-covered boards, original gilt lettered, with photogravure plates by Suffolk Engraving Company 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.

Portfolio:

36 large format photogravures, including a List of Plates reference that is hand letterpress printed on hand-made paper. Loose bound in a hand-made, 3-flap portfolio.

Provenance:

Edward S. Curtis Studio

William Henry Moore

The Moore Memorial Library

The Christopher G. Cardozo Collection, 2001

Exhibited:

A Mono Home, Plate 533

Sacred Legacy: Edward S. Curtis and the North American Indian (176 print exhibit), 2000 Edward S. Curtis: 100 Masterworks, 2016

$4,000 – $6,000

118 EDWARD S. CURTIS (1868 – 1952)

The North American Indian Portfolio XX, 1930

35 photogravures on Japanese Gampi tissue with original Van Gelder overmats folio: 23 x 19 in. (58.42 x 48.26 cm.) prints: 18 x 22 in. (45.72 x 55.88 cm.) signed in the plate below image: E. S. Curtis

Featuring the Nunivak, King Island, Little Diomede Island, Cape Prince of Wales and Kotzebue tribes of Alaska

Limited Edition:

This Portfolio is from set #96, printed on handmade Japanese gampi tissue paper, quarto, original 3/4 brown crushed levant by H. Blackwell of Boston, over beige linen-covered boards, original gilt lettered, with photogravure plates by Suffolk Engraving Company 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.

Portfolio:

35 large format photogravures, including a List of Plates reference that is hand letterpress printed on hand-made paper. Loose bound in a hand-made, 3-flap portfolio.

Curtis’ fieldwork for The North American Indian came to a close during the summer of 1927, when he spent the season with the Eskimos of subarctic and arctic Alaska. Curtis noted that the distinguishing characteristic of these peoples was their adaptability, for they would not have survived in, much less settled in, an area of such severe climate if they were not. Their sophisticated ability to cure and work skins into parkas, boots, and mittens was unparalleled anywhere in North America. The Eskimos were also brilliant makers of equipment, since hunting was an unforgiving pursuit in arctic and subarctic conditions; their kayaks, fishing hooks, spears, and traps were all ingeniously contrived and the hunting weaponry exceptionally deadly. From “Woman and Child - Nunivak”, “Ready for Sealing - Nunivak” and

“Launching the Boat - Little Diomede Island”, it is these aspects which are highlighted in the images of this portfolio. In many ways, Curtis’s return to Alaska provided a fitting end to The North American Indian . It brought a sense of closure to the project, but it also must have helped him put his thirty-year odyssey into perspective. As he stated in the introduction to volume XX, “… great is the satisfaction the writer enjoys when he can at last say to all those whose faith has been unbounded, “It is finished”.

Provenance:

Edward S. Curtis Studio

William Henry Moore

The Moore Memorial Library

The Christopher G. Cardozo Collection, 2001

Exhibited:

Woman and Child - Nunivak, Plate 694

Sacred Legacy: Edward S. Curtis and the North American Indian (176 print exhibit), 2000

Edward S. Curtis: 100 Masterworks, 2016

$5,000 – $7,000

CARDOZO COLLECTION OF EDWARD S. CURTIS

119 EDWARD S. CURTIS (1868 – 1952) Sealer’s Camp - Yakutat Bay, 1899 cyanotype

5 ½ x 7 11/16 in. (13.97 x 19.53 cm.) signed in negative, lower left: Curtis inscribed in negative, lower left: X257a inscribed in negative: COPYRIGHTED 1899 E.H. HARRIMAN

Provenance: Edward S. Curtis Private Collection(s)

The Christopher G. Cardozo Collection, 2000

Exhibited:

Edward S. Curtis: 100 Masterworks, 2016

Edward Curtis: Beauty, Heart and Spirit (64 print exhibit), Schumacher Gallery, Columbus, OH, 2017 Edward Curtis: Beauty, Heart and Spirit (64 print exhibit), Trout Museum of Art, Appleton, WI, 2018

$800 – $1,200

120 EDWARD S. CURTIS (1868 – 1952)

Untitled (Hamasaka in Tluwulahu Costume and Tsunukwalahl - Qagyuhl), 1914

silver gelatin print on double-weight luster surface paper 7 x 5 11/16 in. (17.78 x 14.45 cm.)

Provenance: Edward Curtis Studio, Seattle Private Collection(s)

The Christopher G. Cardozo Collection, 1999

$1,000 – $2,000

CARDOZO COLLECTION OF EDWARD S. CURTIS

124 EDWARD S. CURTIS (1868 – 1952)

123 EDWARD S. CURTIS (1868 – 1952)

The North American Indian Subscription Agreement, Olney, Set #74, 1907

letter press print

10 ⅜ x 7 ⅞ in. (26.35 x 20 cm.) signed: Elam Ward Olney inscribed: this copy to be signed by Theodore Roosevelt

Provenance:

The North American Indian, Inc. Private Collection(s)

The Christopher G. Cardozo Collection, 1999

$600 – $900

The North American Indian Lauriat Prospectus and Envelope, ca. 1935

letter press print + photogravure brochure: 6 ⅜ x 28 in. (16.19 x 71.12 cm.) prints: 12 ⅝ x 9 9/16 in. (32.07 x 24.29 cm.) includes two photogravures, The Oath - Apache + The Wedding Party - Qagyuhl

Provenance: Charles E. Lauriat Co. Private Collection(s)

The Christopher G. Cardozo Collection, 2013

$1,000 – $2,000

125 EDWARD S. CURTIS (1868 – 1952)

The North American Indian Prospectus, ca. 1908

letter press print + photogravure

12 ½ x 19 ⅛ in. (31.75 x 48.58 cm.) includes photogravure of The Pool – Apache

Provenance: Edward Curtis Studio, Seattle Private Collection(s) Luther R. and Francis T. Zehner

The Christopher G. Cardozo Collection, 2014

126 EDWARD S. CURTIS (1868 – 1952)

Advertising Brochure for The North American Indian, ca. 1908

brochure on handmade paper with half-tone dot image booklet: 9 ¼ x 6 ¼ in. (23.50 x 15.88 cm.) interior pages (open): 6 x 12 1/16 in. (15.24 x 30.64 cm.) includes half tone dot image of Crow Eagle – Piegan printed on card, inside front cover: This brochure is for presentation to Howard S. Rath Esq

Provenance:

The North American Indian, Inc Private Collection(s)

The Christopher G. Cardozo Collection, 2015

$500 – $700

127 EDWARD S. CURTIS (1868 – 1952)

Elsie Allen Sailboat, ca. 1914 cyanotype

6 x 4 ¼ in. (15.24 x 10.80 cm.)

Curtis used this boat for his field trips to British Columbia and Alaska.

Provenance:

Edward Curtis Studio, Seattle Private Collection(s)

The Christopher G. Cardozo 100th Anniversary Collection, 2005

$600 – $900

DINÉ [NAVAJO]

CHARLES P. AND VIRGINIA L. SONETT HISTORIC PUEBLO POTTERY COLLECTION

The pottery journey of Charles (“Chuck”) and Virginia (“Ginny”) Sonett started with their close, long-term friendship with native art enthusiasts Larry and Alyce Frank (lots 307 + 308). They met in the late 1950s as neighbors who lived across the street from each other in Beverly Glen Canyon, Southern California. At the time, Chuck Sonett was in graduate school at UCLA, and Ginny worked as a teacher. An unconscious thread began when Ginny was in teacher training at UCLA. To prepare, she was asked to select an Indigenous group of people for social studies, she chose the Hopi tribe. For presentation, she made a pottery bowl using the coil method and painted it with traditional designs, and she has kept that pot and interest to this day. Both the Sonett and Frank families had young children of similar ages, and for several summers the Sonetts would make trips to visit with the Franks in their home near Taos, New Mexico.

In New Mexico, Larry Frank became a well-known trader and was enthusiastic about all kinds of Native American Indian artifacts and art. He loved discussing this subject, and soon the Sonetts became avid students. Larry would take them on backroad trips around New Mexico, often stopping at churches to look for early santos and other folk art. The Franks assembled one of the premier santos collections, now with the New Mexico History Museum, and Larry authored the classic reference book “History of Pottery of the Pueblo Indians 1600-1880”. Alyce Frank became an established artist of the west, whose paintings are highly prized. The Sonetts and Franks enjoyed many days pondering native arts and the landscapes of the west.

Ginny remembers their first pot purchase when they gave Larry $15 and said, “Bring us back a pot!” Larry brought back a ca. 1955 finely-lined Acoma pot (Lot 153) in perfect condition. From there, the Sonetts continued to buy a few other pots from Larry, or on some of their own travels- such as the large Papago jar (Lot 168) purchased at a trading post in Kanab, Utah. But one of the most memorable purchases was in the early 1970s, when they learned the Franks had purchased the C.G. Wallace collection. Ginny remembers walking through rows and rows of museum-quality historic pottery, as this purchase was the talk of the town at the time! Although the Sonetts picked out and purchased several of those Wallace pots from the Franks, Ginny wishes she had bought more. One of their favorites was the legendary large Santo Domingo jar (Lot 137). When an Acoma potter of the Lucy Lewis family came to see this one in person, she exclaimed “You have the Caterpillar Pot!” Indeed, when you squint your eyes just right, you see the large caterpillar advancing across the body of the pot.

Over the years, Professor Chuck Sonett became a well-known and pioneering space physicist, and was head of the Space Sciences department at the University of Arizona in Tucson. Dr. Sonett was involved in spacecraft missions that dramatically advanced our understanding of the solar system and beyond. The Sonett Space Sciences building on campus is named in his honor. Virginia worked extensively with Indian art over the decades at various museums and institutions doing research and teaching related to anthropology, including at Stanford University, San Francisco DeYoung Art Museum, University of Arizona, Cambridge University in England, and others.

SONETT HISTORIC POTTERY COLLECTION

134 SAN JUAN Dough Bowl, ca. 1890

fired clay height: 13 ¼ in. (33.66 cm.) diameter: 20 in. (50.80 cm.)

Provenance:

The Charles P. + Virginia L. Sonett Collection

$3,000 – $4,500

135 SAN ILDEFONSO/COCHITI Storage Jar, ca. 1870

fired clay, pigments height: 17 ½ in. (44.45 cm.) diameter: 18 in. (45.72 cm.)

Provenance: The Wallace Collection

The Charles P. + Virginia L. Sonett Collection

$6,000 – $9,000

136 SAN ILDEFONSO Polychrome Jar, ca. 1895

fired clay, pigments height: 9 ¾ in. (24.77 cm.) diameter: 12 ¾ in. (32.39 cm.)

Provenance:

The Wallace Collection

The Charles P. + Virginia L. Sonett Collection

$4,000 – $6,000

HISTORIC POTTERY COLLECTION

SONETT

138 SANTO DOMINGO Dough Bowl, ca. 1920

fired clay, pigments height: 10 ¼ in. (26.04 cm.) diameter: 18 in. (45.72 cm.)

Provenance:

The Charles P. + Virginia L. Sonett Collection

$3,000 – $4,500

140 SANTO DOMINGO

Dough Bowl, ca. 1910

fired clay, pigments height: 8 ¼ in. (20.96 cm.) diameter: 14 ½ in. (36.83 cm.)

Provenance:

The Charles P. + Virginia L. Sonett Collection

$1,500 – $2,500

139 SANTO DOMINGO

Dough Bowl, ca. 1880 – 1890

fired clay, pigments height: 8 ⅜ in. (21.27 cm.) diameter: 14 in. (35.56 cm.)

Provenance:

The Charles P. + Virginia L. Sonett Collection

$3,000 – $4,500

141 SANTO DOMINGO

Blackware Bowl, ca. 1940

fired clay height: 7 ⅜ in. (18.73 cm.) diameter: 13 in. (33.02 cm.)

Provenance:

The Charles P. + Virginia L. Sonett Collection

$800 – $1,200

142 ZIA

Trios Polychrome Jar, ca. 1860 – 1880

fired clay, pigments height: 10 ½ in. (26.67 cm.) diameter: 12 ¾ in. (32.39 cm.)

Provenance:

The Charles P. + Virginia L. Sonett Collection

$6,000 – $9,000

143 ZIA

Deer Polychrome Jar, ca. 1900

fired clay, pigments height: 9 ½ in. (24.13 cm.) diameter: 11 in. (27.94 cm.)

Provenance:

The Wallace Collection

The Larry Frank Collection

The Charles P. + Virginia L. Sonett Collection

$3,000 – $4,500

SONETT HISTORIC POTTERY COLLECTION

144 ZIA

Polychrome Dough Bowl, ca. 1930

fired clay, pigments height: 7 ½ in. (19.05 cm.) diameter: 14 ¾ in. (37.47 cm.)

Provenance:

The Charles P. + Virginia L. Sonett Collection

$2,000 – $3,000

145 ZIA Bird Polychrome Jar, ca. 1930 – 1940

fired clay, pigments height: 10 in. (25.40 cm.) diameter: 16 ½ in. (41.91 cm.)

Provenance:

The Charles P. + Virginia L. Sonett Collection

$1,500 – $2,500

146 LAGUNA

Polychrome Jar, ca. 1890

fired clay, pigments height: 10 ¾ in. (27.31 cm.) diameter: 10 ½ in. (26.67 cm.)

Provenance:

The Charles P. + Virginia L. Sonett Collection

$4,000 – $6,000

147 ACOMA

Black & White Jar, ca. 1910

fired clay, pigments height: 12 in. (30.48 cm.) diameter: 16 in. (40.64 cm.)

Provenance:

The Charles P. + Virginia L. Sonett Collection

$8,000 – $12,000

148 ACOMA

Polychrome Jar, ca. 1910

fired clay, pigments height: 12 in. (30.48 cm.) diameter: 13 in. (33.02 cm.)

Provenance:

The Charles P. + Virginia L. Sonett Collection

$3,000 – $4,500

149 ACOMA

Polychrome Jar, ca. 1910

fired clay, pigments height: 8 ¼ in. (20.96 cm.) diameter: 11 in. (27.94 cm.)

Provenance:

The Charles P. + Virginia L. Sonett Collection

$1,500 – $2,000

SONETT

150

fired

Provenance:

$1,000

152

fired

Provenance:

151

fired

Provenance:

$1,000

153

fired

Provenance:

$500

154 HOPI

Shallow Bowl (Possibly Nampeyo), ca. 1900

fired clay, pigments height: 3 ½ in. (8.89 cm.) diameter: 10 ¼ in. (26.04 cm.)

Provenance:

The Charles P. + Virginia L. Sonett Collection

$3,000 – $4,500

155 HOPI

Polychrome Bowl, ca. 1920

fired clay, pigments height: 4 ¼ in. (10.80 cm.) diameter: 11 ¾ in. (29.85 cm.)

Provenance:

The Charles P. + Virginia L. Sonett Collection

$3,000 – $4,500

156 PATRICIA HONIE (Hopi, 20th Century) Hopi Polychrome Bowl, ca. 1950s

fired clay, pigments height: 5 in. (12.70 cm.) diameter: 16 in. (40.64 cm.) inscribed underside: Patricia Honie

Provenance:

The Charles P. + Virginia L. Sonett Collection

$2,000 – $4,000

SONETT HISTORIC POTTERY COLLECTION

157 HOPI

Polychrome Bowl, ca. 1950

fired clay, pigments height: 3 ¼ in. (8.26 cm.) diameter: 9 ¼ in. (23.50 cm.)

Provenance:

The Charles P. + Virginia L. Sonett Collection

$400 – $800

158 TESUQUE

Storage Jar, ca. 1890

fired clay, pigments height: 9 ½ in. (24.13 cm.) diameter: 9 in. (22.86 cm.)

Provenance:

The Charles P. + Virginia L. Sonett Collection

$2,000 – $3,000

159 SAN FELIPE

Storage Jar, ca. 1940

fired clay, pigments height: 8 ¼ in. (20.96 cm.) diameter: 7 1/3 in. (18.67 cm.)

Provenance:

The Charles P. + Virginia L. Sonett Collection

$1,000 – $2,000

160 ZUNI

Polychrome Deer Jar, ca. 1890

fired clay, pigments height: 10 ¼ in. (26.04 cm.) diameter: 13 in. (33.02 cm.)

Provenance:

The Wallace Collection

The Collection of Larry Frank

The Charles P. + Virginia L. Sonett Collection

$6,000 – $9,000

161 ZUNI

Rainbird Polychrome Jar, ca. 1885

fired clay, pigments height: 10 ¾ in. (27.31 cm.) diameter: 11 ½ in. (29.21 cm.)

Provenance:

The Wallace Collection

The Charles P. + Virginia L. Sonett Collection

$5,000 – $7,500

162 ZUNI

Shalako Polychrome Dough Bowl, ca. 1890

fired clay, pigments height: 5 ¾ in. (14.61 cm.) diameter: 13 ½ in. (34.29 cm.)

Provenance:

The Charles P. + Virginia L. Sonett Collection

$3,000 – $4,500

SONETT HISTORIC POTTERY COLLECTION

163 ZUNI

Polychrome Shalako Bowl, ca. 1910

fired clay, pigments height: 4 ¾ in. (12.07 cm.) diameter: 15 ⅝ in. (39.69 cm.)

Provenance:

The Wallace Collection

The Charles P. + Virginia L. Sonett Collection

$3,000 – $4,500

164 ZUNI

Frog Bowl, ca. 1900

fired clay, pigments height: 6 ¾ in. (17.15 cm.) diameter: 10 in. (25.40 cm.)

Provenance:

The Wallace Collection

The Charles P. + Virginia L. Sonett Collection

$3,000 – $4,500

165 ZUNI

Frog Canteen, ca. 1870

fired clay, pigments height: 7 ½ in. (19.05 cm.) diameter: 11 in. (27.94 cm.)

Provenance:

The Wallace Collection

The Collection of Larry Frank

The Charles P. + Virginia L. Sonett Collection

$3,000 – $4,500

166 COCHITI

Parrot Jar (with Quail), ca. 1945

fired clay, pigments height: 12 ½ in. (31.75 cm.) diameter: 15 in. (38.10 cm.)

Provenance:

The Charles P. + Virginia L. Sonett Collection

$1,500 – $2,500

167 COCHITI

Jar, ca. 1945

fired clay, pigments height: 11 in. (27.94 cm.) diameter: 10 in. (25.04 cm.)

Provenance:

The Charles P. + Virginia L. Sonett Collection

$800 – $1,200

SONETT

169 TOHONO O'ODHAM

Jar, ca. 1900

fired clay, pigments height: 17 ½ in. (44.45 cm.) diameter: 16 in. (40.64 cm.)

Provenance:

The Charles P. + Virginia L. Sonett Collection

$800 – $1,200

170 TOHONO O'ODHAM

Jar, ca. 1900

fired clay, pigments height: 15 ½ in. (39.37 cm.) diameter: 12 in. (30.48 cm.)

Provenance:

The Charles P. + Virginia L. Sonett Collection

$500 – $1,000

SESSION II

LOLOMA COLLECTION: SELECTIONS

CHARLES LOLOMA (HOPI, 1921 – 1991)

Charles Loloma became renowned as one of the first and greatest harbingers of change in the discourse surrounding Native American art, from the early part of the 20th century, when much was classified by museums and universities as “indigenous artifacts”. By 1989, critic and journalist Richard Nilsen declared in an article in the Arizona Republic, that the best contemporary Native American artists “draw on their heritage in the same way Picasso drew on his Spanish heritage.”

In a 2006 article in Metalsmith Magazine, Ellen Berkovitch discussed the aesthetic origins of Charles Loloma’s groundbreaking jewelry. “[Loloma’s] powers of charm extended through his ritual life and into his compelling jewelry. In daily life, Loloma never talked about Hopi religion, but his jewelry limns the Hopi landscape and expresses a world of spirit. Shaped by gems and woods cut into miniature topographies, the jewelry contours geology and time… Iconography rooted in Hopi imagery intersects with motifs from ancient Egypt.”

Berkovitch also noted Loloma’s connection to the history of art and architecture. “To come to Loloma’s jewelry with no prior knowledge, one might identify strains of art nouveau in the constructions as precise and intricate as stained glass. People close to him cite architectural influences: skyscrapers in Manhattan or aerial views of Paolo Soleri’s Arco Santi near Flagstaff, Arizona,” writes Berkovitch. “Yet the exaggerated, masked geometries of Hopi katsinas, interpreted as abstractions, are paramount in Loloma’s work… Throughout, Loloma deeply engaged with the cross-cultural practice of patterning the sacred through materials.”

Selected from a large cache of private sketches directly from Charles’ studio, these drawings offer a glimmer of insight into the rich visual vocabulary of Loloma the artist, designer, jeweler, priest, Native, and citizen of the world. The economy and confidence of line attest to his supreme, natural skills as an artist. Here we observe his constant fascination with the symbology and significance of the ‘paho’ (prayer stick) that appears in the vivid, ancient maps of his mind, and alongside the drawings of the katsinam, badger (Medicine Man), lizard, corn maidens, that populated his native imagination, most striking is the intersection of landscape with the jewelry designs. Loloma was thinking through the lens of landscape in his creations, the most constant being that of the Hopi land and his beloved Hotvela (Hotevilla) on Third Mesa where he kept his studio. Many of these landscape studies lack only the curve to fit a wrist or a bale from which to hang a pendant to become jewels.

171 CHARLES LOLOMA (Hopi, 1921 – 1991) A Pair of Trial Proofs, 1980

stone lithograph, Trial Proof each: 6 ¼ x 11 ½ in. (15.88 x 29.21 cm.)

Medicine Man inscribed lower left: T.P Medicine Man signed lower right: Charles Loloma Father Lizard inscribed lower left: T.P Father Lizard signed lower right: Charles Loloma

Provenance: The Georgia and Charles Loloma Collection

$800 – $1,200

173 CHARLES LOLOMA (Hopi, 1921 – 1991)

Complete Suite of 10 Signed Katsina Prints

offset lithograph each: 13 x 10 in. (33.02 x 25.40 cm.) signed lower right: Charles Loloma

Provenance: The Georgia and Charles Loloma Collection $2,000 – $4,000

172 CHARLES LOLOMA (Hopi, 1921 – 1991)

Group of Four Signed Katsina Prints

offset lithograph, Artist Proof each: 13 x 10 in. (33.02 x 25.40 cm.) each editioned lower left: A/P each signed lower right: Charles Loloma

Provenance: The Georgia and Charles Loloma Collection

$1,000 – $2,000

LOLOMA COLLECTION: SELECTIONS

174 CHARLES LOLOMA (Hopi, 1921 – 1991)

Pair of Mudheads, ca. 1980s

lithograph + ink on paper lithograph: 9 x 14 in. (22.86 x 35.56 cm.) drawing: 11 ¾ x 9 in. (29.85 x 22.86 cm.)

lithograph: editioned lower left: A/P signed lower right: Charles Loloma verso: titled

Provenance: The Georgia and Charles Loloma Collection

$1,000 – $2,000

175 CHARLES LOLOMA (Hopi, 1921 – 1991)

Group of Three Qööqöqlö, ca. 1980s

lithograph + ink on paper lithograph: 9 x 14 in. (22.86 x 35.56 cm.) large drawing: 11 ¾ x 9 in. (29.85 x 22.86 cm.) small drawing: 9 ¾ x 8 in. (24.77 x 20.32 cm.)

lithograph: editioned lower left: A/P signed lower right: Charles Loloma

Provenance: The Georgia and Charles Loloma Collection

$1,000 – $2,000

176 CHARLES LOLOMA (Hopi, 1921 – 1991)

Messengers + Polaroid Photograph of Charles Drawing Messengers, ca. 1980s

ink on Arches watercolor block + Polaroid Messengers: 7 ⅛ x 10 ¼ in. (18.10 x 26.04 cm.) polaroid photograph: 4 ¼ x 3 ½ in. (10.80 x 8.89 cm.)

Messengers signed lower right: loloma verso: titled

Provenance: The Georgia and Charles Loloma Collection

$1,800 – $2,400

177 CHARLES LOLOMA (Hopi, 1921 – 1991)

Two Pueblo Drawings, ca. 1980s

ink on Arches watercolor block

a.: 7 ¼ x 10 ¼ in. (18.42 x 26.04 cm.)

b.: 11 ¾ x 6 in. (29.85 x 15.24 cm.)

a.: signed lower right: Loloma

Provenance:

The Georgia and Charles Loloma Collection

$1,200 – $1,800

a.

178 CHARLES LOLOMA (Hopi, 1921 – 1991)

Untitled (Landscape)

colored pencil on paper

11 ¼ x 15 in. (28.58 x 38.10 cm.) signed lower right: loloma

Provenance:

The Georgia and Charles Loloma Collection

$2,000 – $4,000

b.

179 CHARLES LOLOMA (Hopi, 1921 – 1991)

Untitled (Street Scene)

mixed media on cloth full sheet: 10 ¾ x 10 in. (27.31 x 25.40 cm.)

From Charles’ private collection, ca. early 1970s during his artist-in-residency in Japan and travel through the Phillippines

Provenance:

The Georgia and Charles Loloma Collection

$1,200 – $1,800

LOLOMA COLLECTION: SELECTIONS

180 CHARLES LOLOMA (Hopi, 1921 – 1991)

New Mexico Landscape, ca. 1980s

ink on Arches watercolor block 4 x 6 in. (10.16 x 15.24 cm.) inscribed lower left: Happy BIRTHDAY GEORGIA signed lower right: loloma

Provenance:

The Georgia and Charles Loloma Collection

$1,000 – $2,000

181 CHARLES LOLOMA (Hopi, 1921 – 1991)

Group of Three Original Drawings, ca. 1980s Center Place, Prayer Feather + Sipapu

ink on Arches watercolor block each: 4 x 6 in. (10.16 x 15.24 cm.) one signed lower left, two signed lower right: loloma each verso: titled

Provenance:

The Georgia and Charles Loloma Collection

$2,000 – $4,000

182 CHARLES LOLOMA (Hopi, 1921 – 1991)

Pair of Original Drawings, ca. 1980s

ink on Arches watercolor block each: 4 x 6 in. (10.16 x 15.24 cm.)

one signed lower left, one signed lower right: loloma

Provenance: The Georgia and Charles Loloma Collection

$1,500 – $2,500

183 CHARLES LOLOMA (Hopi, 1921 – 1991)

Group of Three Original Drawings, ca. 1980s Morning Star, Night Sky + Untitled

ink on Arches watercolor block each: 4 x 6 in. (10.16 x 15.24 cm.) one signed lower right, two signed lower left: loloma each verso: titled

Provenance: The Georgia and Charles Loloma Collection

$2,000 – $4,000

184 CHARLES LOLOMA (Hopi, 1921 – 1991)

Pair of Original Drawings, ca. 1980s New Life, Bright Moon

ink on Arches watercolor block each: 4 x 6 in. (10.16 x 15.24 cm.)

one signed lower left, one signed lower right: loloma each verso: titled

Provenance: The Georgia and Charles Loloma Collection

$1,500 – $2,500

LOLOMA COLLECTION: SELECTIONS

185 CHARLES LOLOMA (Hopi, 1921 – 1991)

Untitled (Abstract)

ink on Arches watercolor block 11 ½ x 9 in. (29.21 x 22.86 cm.) signed lower right: loloma

Provenance: The Georgia and Charles Loloma Collection

$1,500 – $2,500

186 CHARLES LOLOMA (Hopi, 1921 – 1991)

Poli

ink on Arches watercolor block 12 x 9 in. (30.48 x 22.86 cm.)

signed lower right: loloma

Provenance: The Georgia and Charles Loloma Collection

$1,000 – $2,000

187 CHARLES LOLOMA (Hopi, 1921 – 1991)

Pair of Original Drawings, ca. 1980s

ink, watercolor on Arches watercolor block each: 4 x 6 in. (10.16 x 15.24 cm.) one signed lower right, one signed lower center: loloma

Provenance: The Georgia and Charles Loloma Collection

$900 – $1,500

188 ATTRIBUTED TO CHARLES LOLOMA (Hopi, 1921 – 1991)

Set of Five Stained Glass Butterflies

blue, yellow, black, red, green, aqua stained and clear etched glass, metal, wire each approximately: 9 x 8 in. (22.86 x 20.32 cm.)

From the home of Georgia and Charles Loloma.

Provenance:

The Georgia and Charles Loloma Collection

$3,000 – $5,000

189 CHARLES LOLOMA (Hopi, 1921 – 1991)

Untitled (Abstraction), 1987

colored pencil on paperboard 14 ½ x 14 in. (36.83 x 35.56 cm.) signed lower right: loloma verso: dated

Provenance:

The Georgia and Charles Loloma Collection

$1,500 – $2,500

COLLECTION: SELECTIONS

LOLOMA

190 CHARLES LOLOMA (Hopi, 1921 – 1991)

Pair of Abstract Drawings

colored pencil on paper each: 8 ¼ x 11 in. (20.96 x 27.94 cm.) each signed lower right: loloma

Provenance: The Georgia and Charles Loloma Collection

$3,000 – $5,000

191 CHARLES LOLOMA (Hopi, 1921 – 1991)

Untitled (Abstraction with Paho)

colored pencil on paper 11 ¼ x 15 in. (28.58 x 38.10 cm.) signed lower right: loloma

Provenance: The Georgia and Charles Loloma Collection

$2,000 – $4,000

192 CHARLES LOLOMA (Hopi, 1921 – 1991)

Untitled (Abstract)

ink on Arches watercolor block 10 ¼ x 7 in. (26.04 x 17.78 cm.) signed lower right: Loloma

Provenance: The Georgia and Charles Loloma Collection

$2,000 – $4,000

193 CHARLES LOLOMA (Hopi, 1921 – 1991)

Pair of Drawings, Abstractions with Paho

colored pencil on paper each: 9 x 12 in. (22.86 x 30.48 cm.) each signed lower right: loloma

Provenance: The Georgia and Charles Loloma Collection

$4,000 – $6,000

COLLECTION:

LOLOMA

194 CHARLES LOLOMA (Hopi, 1921 – 1991) Untitled Drawing (Abstract)

colored ink on paper

x 5 in. (17.78 x 12.70 cm.) signed lower right: loloma

Provenance: The Georgia and Charles Loloma Collection

$1,800

$2,400

195 CHARLES LOLOMA (Hopi, 1921 – 1991) Silver and Stone Inlay Door Handle

silver

Provenance: The Georgia and Charles Loloma Collection

196 CHARLES LOLOMA (Hopi, 1921 – 1991) Group of Four Gold Foil Lithographs

lithograph on gold foil, Color Trial Proof each: 8 ¼ x 6 ¾ in. (20.96 x 17.15 cm.) each editioned lower left: CTP each lower center: [artist chop] each signed lower right: Charles Loloma

Provenance: The Georgia and Charles Loloma Collection

$3,000 – $5,000

198 CHARLES LOLOMA (Hopi, 1921 – 1991)

Corn Maiden Multi-Stone Inlay Pendant, ca. 1985

silver, gold, turquoise, coral, wood, gold, fossilized bone 3 x ⅝ in. (7.62 x 1.59 cm.) marked verso: loloma overall weight: 16.9 grams

Provenance:

The Artist Private Collection, California

Literature:

Martha Hopkins Struever, Loloma: Beauty Is His Name, Santa Fe, Wheelwright Museum of The American Indian, 2005, p. 178

$2,000 – $4,000

197 CHARLES LOLOMA (Hopi, 1921 – 1991) Corn Maiden

lithograph on gold foil, Artist Proof 8 ¼ x 6 ¾ in. (20.96 x 17.15 cm.) editioned lower left: A/P lower center: [artist chop] signed lower right: Charles Loloma

Provenance: The Georgia and Charles Loloma Collection

$1,500 – $2,500

LOLOMA COLLECTION:

199 CHARLES LOLOMA (Hopi, 1921 – 1991)

Loloma Cloud

gold

Provenance:

201 ATTRIBUTED TO CHARLES LOLOMA (Hopi, 1921 –1991)

Fossilized Mastodon Pendant

silver, mastodon

2 ½ x 1 in. (6.35 x 2.54 cm.) overall weight: 20 gm

Provenance:

The Georgia and Charles Loloma Collection

$1,200 – $1,800

203 CHARLES LOLOMA (Hopi, 1921 – 1991) +

VERMA NEQUATEWA [SONWAI] (Hopi, b. 1949)

Pair of Gold and Stone Inlay Post Earrings

gold, coral, turquoise, lapis each: ⅜ x ⅜ in. (0.95 x 0.95 cm.) one marked: loloma one marked: sonwai overall weight: 6.9 gm

Provenance: Private Collection, California

$2,000 – $4,000

202 CHARLES LOLOMA (Hopi, 1921 – 1991)

Tufa Cast Gold Pendant With Mixed Stone Inlay

gold, coral, sugilite, turquoise, lapis

2 x 1 in. (5.08 x 2.54 cm.) overall weight: 21.5 gm

Provenance:

The Georgia and Charles Loloma Collection

$2,500 – $4,500

LOLOMA COLLECTION: SELECTIONS

205 CHARLES LOLOMA (Hopi, 1921 – 1991) + PIERRE TOURAINE (French, 20th Century) Group of Gold Badger Paw Jewelry – Pendant + Earrings + Bracelet + Ring

Gold Badger Paw Pendant: 14 karat gold 7/8 x 5/8 in. (2.22 x 1.59 cm.) marked: 14K. overall weight: 8 gm

Pair of Gold Badger Paw Earrings: 14 karat gold each: 1 1/4 x 1 in. (3.18 x 2.54 cm.) marked: loloma / STUDIO © / © 14K overall weight: 20 gm

Gold Badger Paw Bracelet: 14 karat gold 8 1/4 x 3/4 in. (20.96 x 1.91 cm.) 8 paws all marked: loloma / STUDIO © overall weight: 40 gm

Gold Badger Paw Ring: gold plated metal 1 7/8 x 1 3/8 x 1 in. (4.76 x 3.49 x 2.54 cm.) approximate ring size: 9 marked: TOURAINE © overall weight: 32 gm

204 CHARLES LOLOMA (Hopi, 1921 – 1991)

Tufa Cast Gold Post Earrings

gold each: 3/8 x 3/8 in. (0.95 x 0.95 cm.) marked: loloma overall weight: 2.6 gm

Provenance: The Georgia and Charles Loloma Collection

$1,000 – $2,000

This design was originally created by Charles Loloma in 1979 in collaboration with the internationally renowned French jeweler Pierre Touraine, who moved to Phoenix in 1960 and with whom Loloma studied in the late 1970s. During the 1930s, Pierre Touraine achieved fame by creating unique, award-winning pieces for European nobility and celebrities. After moving to the United States in 1938, he worked for Harry Winston in New York before starting his own business in Los Angeles. In later years, he taught European jewelry manufacturing techniques to Native American craftsmen. His love of the landscape and culture of the American Southwest became the inspiration for the design and materials of his own most remarkable pieces.

Provenance: The Georgia and Charles Loloma Collection

$3,000 – $5,000

206 CHARLES LOLOMA (Hopi, 1921 – 1991) + PIERRE TOURAINE (French, 20th Century) Gold Loloma Signature Pin

gold plated metal

1/2 x 1 1/2 in. (1.27 x 3.81 cm.)

marked: TOURAINE © overall weight: 4.5 gm

Provenance:

The Georgia and Charles Loloma Collection

$400 – $600

207 Gold, Prong Set Australian Fire Opal With Diamond Accent

18 karat gold, opal, diamond

1 x ¾ in. (2.54 x 1.91 cm.)

marked inner band: © [artist’s cipher] / 18ct opal measures: 13.9 mm X 10.9 mm diamond measures: 1.5 mm ring size: 7 (1.27 x 1.55 x 0.79 cm.) overall weight: 5 gm

Provenance:

The Georgia and Charles Loloma Collection

$550 – $950

LOLOMA COLLECTION: SELECTIONS

208 CHARLES LOLOMA (Hopi,

Gold and Multi-Stone Inlay Cuff

–

Provenance:

Provenance:

209 CHARLES LOLOMA (Hopi, 1921 – 1991) + VERMA NEQUATEWA [SONWAI] (Hopi, b. 1949) Twenty-Strand Pearl With 14K Gold and Inlay Details Necklace

COLLECTION: SELECTIONS

LOLOMA

Drawing: ink on paper 9 3/4 x 7 3/4 in. (24.77 x 19.69 cm.) signed lower right: loloma

Bowl: cocobolo wood 3 1/8 x 6 3/8 x 6 3/8 in. (7.94 x 16.19 x 16.19 cm.) inscribed underside: Cocobolo / from / Mexico / Bob Stocksdale

Katsina: wood, turquoise, shell 3 1/2 x 2 3/4 x 1/2 in. (8.89 x 6.99 x 1.27 cm.) with base: 7 x 3 1/4 x 2 in. (17.78 x 8.26 x 5.08 cm.)

Charles Loloma’s deep bond with wood is manifest throughout his oeuvre as well as in the personal collection he maintained at his home and studio with his wife, Georgia. He collected the work of wood turning pioneers such as Edward Moulthrop and Bob Stocksdale, he used it in jewelry and household objects, and he kept very special pieces in his studio. When the Lolomas’ personal collection first came to Santa Fe Art Auction in January of 2021, a classically abstracted, well-patinaed small kachina was immediately striking as among the most significant, made and kept by Charles, and then Georgia. A fleck of shell, a particle of turquoise, a small hole in two warm, dark pieces of wood created

a clear and powerful object barely 3 inches high. One of the most valued experts consulted to assist with identifying and assessing the vast Loloma collection of katsinam was also an old friend of Charles, Mark Bahti, whose father Tom before him had long carried Charles work in his gallery. Mark took one admiring look at this kachina and then thought he recognized it from a drawing Charles had made in the 1960s, which was later acquired by Mark. He soon brought the drawing in and sure enough, it was unquestionably the same kachina. Moreover, we recognized the bowl that was also in the drawing, long thought to be a ceramic pot. Instead, it was immediately recognizable by the details as a turned wood bowl by Bob Stocksdale in the Loloma Estate. Bringing the three items back together after 50 years was one of those moments in the art world when the earth seems to pause in its turning for just one beat. The last person who saw or knew of the relationship between the three objects was Charles himself. It is our very great privilege to have reunited the subjects of the drawing in this unique offering.

Provenance:

210 CHARLES LOLOMA (Hopi, 1921 – 1991) + BOB STOCKSDALE (1913 – 2003)

Loloma Still Life Drawing with Carved Wood Katsina + Cocobolo Wood Bowl

211 CHARLES LOLOMA (Hopi, 1921 – 1991)

Hair Piece, ca. 1970s

silver, turquoise, malachite, coral, lapis, ironwood 1 1/2 x 4 3/8 in. (3.81 x 11.11 cm.) internal circumference: 3 3/4 in. (9.53 cm.) marked: loloma overall weight: 54.5 gm

Provenance: Private Collection, Arizona

Comparative Literature: Martha Hopkins Struever, Loloma: Beauty Is His Name, Santa Fe, Wheelwright Museum Of The American Indian, 2005, p. 92

$12,000 – $16,000

212 CHARLES LOLOMA (Hopi, 1921 – 1991) Silver and Gold Cuff with Multi-Stone Inlay

silver, gold, coral, jet wood, turquoise internal circumference: 5 in. (12.70cm.) wrist opening: 1 ½ in. (3.81cm.) height: ⅞ in. (2.22 cm.) marked inside: loloma overall weight: 51.03 gm

Provenance: Private Collection, Texas

$15,000 – $25,000

LOLOMA COLLECTION: SELECTIONS

213 CHARLES LOLOMA (Hopi, 1921 – 1991)

18 karat gold, turquoise 3 x ½ in. (7.79 x 1.27 cm.) marked: marked 18k / loloma / LnE (likely designates Loloma + Eveli) overall weight: 30 gm

Provenance: The Georgia and Charles Loloma Collection

$6,000 – $9,000

Cuff: internal circumference: 5 ½ in. (13.97 cm.) wrist opening: 1 1/8 in. (2.86 cm) height: 7/8 in. (2.22 cm.) bracelet marked: loloma overall weight: 41.7 gm

Silver + Lapis Ring: 1 x 3/4 in. (2.54 x 1.91 cm.) ring marked: loloma ring size: 7 lapis: 17.8 mm X 6.7 mm overall weight: 11.5 gm

Provenance:

The Georgia and Charles Loloma Collection

$3,000 – $5,000

214 CHARLES LOLOMA (Hopi, 1921 – 1991)

silver, gold, pearl, turquoise 1 ⅝ x 1 ½ in. (4.13 x 3.81 cm.) marked: loloma overall weight: 16 gm

Provenance: Private Collection, California

$3,000 – $5,000

A Pair of Silver, Turquoise + Lapis Earrings

silver, turquoise, lapis each: 2 x ⅞ in. (5.08 x 2.22 cm.) overall weight 25.9 gm

Provenance: The Georgia and Charles Loloma Collection

$1,500 – $2,500

Kingman Birdseye Turquoise Pendant

Kingman Birdseye Turquoise and Pearl Pendant

215 CHARLES LOLOMA (Hopi, 1921 – 1991)

Silver Cuff with Tufa Overlay + Lapis Ring with Tufa Band

216 CHARLES LOLOMA (Hopi, 1921 – 1991)

217 PUEBLO

10 Strand, Silver Bead, Coral and Turquoise Necklace with Grandmother Wrap, ca. 1940s

coral, silver, turquoise overall length: 32 in. ( 81.28 cm.) overall weight: 343.7 gm

Provenance:

The Georgia and Charles Loloma Collection

$2,500 – $3,500

219 CHARLES LOLOMA (Hopi, 1921 – 1991)

Two Pairs of Silver Clip Earrings with Tufa Cast Accents, Jade + Coral

silver, coral, jade each: 1 ¼ x 1 ⅛ in. (3.15 x 2.86 cm.) each marked: loloma overall weight: 41.2 gm

Provenance:

The Georgia and Charles Loloma Collection

$1,500 – $2,500

218 CHARLES LOLOMA (Hopi, 1921 – 1991)

Two Strand Necklace with Jacla and Gold Embellishments

14 karat gold, coral, lapis and turquoise overall length: 20 in. (50.80 cm.) marked on cone: loloma / 14K overall weight: 191.2 gm

Provenance:

The Georgia and Charles Loloma Collection

$4,000 – $6,000

LOLOMA COLLECTION: SELECTIONS

220 CHARLES LOLOMA (Hopi, 1921 – 1991) +

PIERRE TOURAINE (French, 20th Century)

Group of Silver Badger Paw Jewelry: Necklace + Bracelet

Necklace:

18 3/8 x 3/4 in. (46.67 x 1.91 cm.)

18 paws each marked: loloma / STUDIO © overall weight: 76 gm

Bracelet:

7 x 3/4 in. (17.78 x 1.91 cm.)

7 paws each marked: loloma / STUDIO © overall weight: 30 gm

See lot 205 for design notes

Provenance:

The Georgia and Charles Loloma Collection

$800 – $1,200

221 CHARLES LOLOMA (Hopi, 1921 – 1991) +

PIERRE TOURAINE (French, 20th Century)

Pair of Silver Badger Paw Jewelry: Necklace + Ring

Ring: 1 3/8 x 1 x 3/4 in. (3.49 x 2.54 x 1.91 cm.) ring size: 7 ¾ marked: loloma / STUDIO © overall weight: 14 gm

Necklace: 20 1/8 x 1 1/4 in. (51.12 x 3.18 cm.)

14 paws all marked: loloma STUDIO © overall weight: 102 gm

See lot 205 for design notes

Provenance: The Georgia and Charles Loloma Collection

$800 – $1,200

222 CHARLES LOLOMA (Hopi, 1921 – 1991) +

PIERRE TOURAINE (French, 20th Century)

Large Silver Badger Paw Ring

silver

1 ⅞ x 1 ⅜ x 3/4 in. (4.76 x 3.49 x 1.91 cm.)

marked: loloma / STUDIO © ring size: 8 ¼ overall weight: 26 gm

See lot 205 for design notes

Provenance: The Georgia and Charles Loloma Collection

$200 – $500

223 SVETOZAR [TOZA] RADAKOVICH (1918 - 1998) + RUTH CLARK RADAKOVICH (1920 - 1975)

Georgia’s Silver + Cyber Art Inlay Cuff

sterling silver, mastodon, wood, 14 karat gold, stone and computer component internal circumference: 5 ¼ in. (13.34 cm.) wrist opening: 1 ¼ in. (3.28 cm.) marked: sterling / 14k / [Toza hallmark] [RCR hallmark] overall weight: 88 gm

Toza (Svetozar Radakovich) taught jewelry at the Southwestern Indian Art Project, University of Arizona, in 1961 through the Rockefeller Foundation. He stayed on the Hopi Reservation, cotaught with Charles Loloma and they became lifelong friends, along with his niece, jeweler Verma Nequatewa (Sonwai). Toza and his wife Ruth continued to visit Hopi many times and Toza was greatly influenced by Charles’ work and by the experience. They also formed lasting friendships with Tucson artists including fabric designer Berta Wright, ceramic artist Maurice Grossman and visionary architect Paolo Soleri.

Provenance:

The Georgia and Charles Loloma Collection

$800 – $1,200

225 CHARLES LOLOMA (Hopi, 1921 – 1991) + PIERRE TOURAINE (French, 20th Century) Loloma Signature Pin

silver plated metal ½ x 1 ½ in. (1.27 x 3.81 cm.) inscribed on rear: TOURAINE © overall weight: 5 gm

Provenance:

The Georgia and Charles Loloma Collection

$300 – $500

224 HAYES OF ASPEN COLORADO (20th Century)

Hayes Custom Loloma Belt Buckle

silver, 14 karat gold

2 ⅝ x 4 ¼ in. (6.67 x 10.80 cm.) belt size: 1 ⅞ inches

inscribed: 14K / STERLING / HAND MADE / HAYES / ASPEN, COLO overall weight: 164 gm

Provenance:

The Georgia and Charles Loloma Collection

$1,000 – $2,000

226 CHARLES LOLOMA (Hopi, 1921 – 1991)

Set of Eight Silver Buttons with Gold Accents

silver, gold small buttons: ¾ x ¾ in. (1.91 x 1.91 cm.) large buttons: ⅞ x ⅞ in. (2.22 x 2.22 cm.) each marked: loloma overall weight: 28.2 gm

Provenance:

The Georgia and Charles Loloma Collection

$1,200 – $1,800

227 ATTRIBUTED TO CHARLES LOLOMA (Hopi, 1921 – 1991)

A Pair of Silver + Malachite Buttons

silver, malachite triangular button: 1 x ⅞ in. (2.54 x 2.22 cm.) irregular shaped button: 1 x ¾ in. (2.54 x 1.905 cm.) overall weight: 26.3 gm

From Charles Loloma’s personal collection, the malachite has an unusual, multi-level cut.

Provenance:

The Georgia and Charles Loloma Collection

$300 – $500

229 PUEBLO

Squash Blossom Necklace, ca. 1980s

silver, Kingman + Birds-Eye turqouise, handmade silver beads overall length: 30 in. (76.20 cm.) naja: 3 ¾ x 2 ½ in. (9.53 x 6.35 ) overall weight: 275.9 gm

Provenance:

The Georgia and Charles Loloma Collection

$2,000 – $3,000

228 FRITZ SCHOLDER (Luiseño, 1937 – 2005)

A Pair of Enamel Pins

enamel, metal buffalo: 2 x 2 ¼ in. (5.08 x 5.72 cm.) mummy cat: 2 ½ x ¾ in. (6.35 x 1.91 cm.) marked verso: Scholder / Art Wear Concepts Los Angeles

Provenance:

The Georgia and Charles Loloma Collection

$300 – $500

230 PUEBLO

Silver and Turquoise Two Strand Squash Blossom Necklace, ca. 1970s

silver, turquoise naja: 2 ⅞ x 2 ⅝ in. (7.30 x 6.67 cm.) overall length: 28 in. (71.12 cm.) overall weight: 259.3 gm

Provenance:

The Georgia and Charles Loloma Collection

$1,200 – $1,800

231 VICTORIAN

Love Necklace, ca. 1840 – 1850

gold, emerald, diamond, ruby necklace featuring concealed memento length: 18 in. (45.72 cm.), pendant: 1 1/2 x 3/4 in. (2.54 x 1.91 cm.) overall weight: 24.10 gm 13 emeralds ranging in size from 2.5 x 2.1 mm to 1.5 x 1 mm 20 diamonds ranging in size from 1.7 x 1.5 mm to 1 x 1 mm 2 rubies approximately 1.7 x 1.7 mm

While gifting jewelry is a time-honored custom, its heyday was during the Victorian Era (1837-1901) in British history, which coincided not only with the Romantic movement (1837-1860) in literature and the arts, but also with Queen Victoria’s happy marriage to Prince Albert.  At that time, hair was a reminder of love and friendship and could last a long time if well preserved.  Between 1837-1901, hair within jewelry and hair work art was extremely popular. Victoria and Albert set the fashion world on its head by exchanging locks of hair in 1839. Victoria blushingly declared that she wore Albert’s in a locket at her neck, “night and day”. The Victorians also associated the snake motif with eternal love., and Queen Victoria put snake jewelry under the fashion spotlight when Prince Albert bought her a snake engagement ring, with an emerald (her birthstone) embedded into it, accenting the creature’s head.  Lot 231 is a striking example from this period and bears a tiny lock of hair under glass on the back of the locket.  It was recently presented to the Antiques Road Show and will appear in an episode due to air in the Spring of 2023.

(Gere, Charlotte, and Rudoe, Judy. Jewellery in the Age of Queen Victoria: A Mirror to the World. British Museum, 2010.)

Provenance: Private Collection, Hawaii

$7,000 – $10,000

232 SVETOZAR [TOZA] RADAKOVICH (1918 - 1998)

Silver and Stone Inlay Feather, 1985

silver, lapis, wood, turquoise, bone, jet 8 ⅝ x 1 ⅜ x ¼ in. (21.91 x 3.49 x 0.64 cm.) inscribed: TO CHARLES - TOZA 85 marked: STERLING [artist’s hallmark]

Provenance: The Georgia and Charles Loloma Collection

$1,200

233 Modernist Style Damele Turquoise, Silver, and Gold Pendant

silver, gold, damele turquoise

2 ¾ x 1 ⅞ in. (6.99 x 4.76 cm.)

overall weight: 27.1 gm

Provenance:

The Georgia and Charles Loloma Collection

$300 – $500

Coral Inlay Sterling Silver Cuff

coral, sterling silver internal circumference: 5 3/8 in. (13.66) wrist opening: ⅞ in. (2.22 cm.) width of cuff: 1 ⅛ in. (2.86 cm.) marked: J. LOVATO / [thunderbird cipher] / STERLING overall weight: 99.22 gm

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

234 Coral 4 Stone + Mastodon Ring

coral, mastodon, silver 1 ⅛ x ¾ x ¼ in. (2.86 x 1.91 x 0.64 cm.) approximate ring size: 8 inscribed: VS overall weight: 12 gm

Provenance:

Georgia and Charles Loloma Collection

235 JULIAN LOVATO (Santo Domingo, b. 1925)

237 KENNETH BEGAY (Diné [Navajo], 1913 – 1977) Silverware Pair silver fork: 8 ½ x 2 ½ in. (21.59 x 6.35 cm.) spoon: 9 x 2 ½ in. (22.86 x 6.35 cm.) each marked: [artist’s cipher] KB overall weight: 181.44 gm

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

236 KENNETH BEGAY (Diné [Navajo], (1913 – 1977) Turquoise, Coral Inlay Silver Necklace

sterling silver, turquoise, coral hanging length: 15 ¼ in. (38.74 cm.) pendant: 2 ½ x 2 in. (6.35 x 5.08 cm.) marked: KB overall weight: 79.38 gm

Provenance: Private Collection, Texas

$6,000 – $8,000

238 IKE WILSON (Diné [Navajo], 1900 – 1942) Turquoise Inlay Silverware

turquoise, silver fork: 9 ½ x 2 ½ in. (24.13 x 6.35 cm.) spoon: 9 ½ x 2 ½ in. (24.13 x 6.35 cm.) fork marked: [bow + arrow cipher] overall weight: 232.47 gm

Provenance: Private Collection, Texas

$1,200 – $1,800

239 Vintage Turquoise Inlay Silverware

turquoise, silver fork: 9 ¾ x 1 ¾ in. (24.77 x 4.45 cm.) spoon: 10 x 2 in. (25.40 x 5.08 cm.) overall weight: 150.25 gm

Provenance: Private Collection, Texas $1,200 – $1,500

240 ANDY KIRK (Diné [Navajo]/Isleta, 1947 – 2001) Gold and Turquoise Earrings + Pendant Set

14 karat gold, turquoise earrings: 2 x ¾ in. (5.08 x 1.91 cm.), with ears: 2 ¾ in. (6.96 cm.) pendant: 1 ⅞ x 1 ¼ in. (4.76 x 3.18) chain: 16 in. ( 40.64 cm.) all marked: Kirk / 14K

Provenance: Private Collection, California

$1,600 – $3,400

241 JULIAN LOVATO (Santo Domingo, b. 1925) Turquoise Inlay Sterling Silver Ring

turquoise, sterling silver ring: 1 ½ x 1 x ¼ in. (3.81 x 2.54 x 0.64 cm.) ring size: 6 marked: J. LOVATO / M [artist’s cipher] / STERLING overall weight: 17.10 gm

Provenance: Private Collection, Texas

$1,500 – $2,500

242 ATTRIBUTED TO MARK CHEE (Diné [Navajo], 1914 – 1981)

Turquoise Inlay Silver Cuff

silver, turquoise internal circumference: 5 ¼ in. (12.7 cm.) wrist opening: 1 ¼ in. (3.18 cm.) height of cuff: 1 ¾ in. (1.905 cm.) overall weight: 148 gm

Provenance: Private Collection, Texas

$1,200 – $1,800

244 ATTRIBUTED TO PRESTON MONONGYE (Hopi, 1927 – 1987) Silver Bolo with Leather

silver, leather bolo: 2 ¾ x 1 ⅜ in. (6.99 x 3.49 cm.) hanging length: 18 in. (45.72 cm.) overall weight: 56.70 gm

Provenance: Private Collection, Texas

$800 – $1,200

243 PRESTON MONONGYE (Hopi, 1927 – 1987) Sandcast Cuff, ca. 1970s

turquoise, coral, ebony internal circumference: 5 ⅛ in. (13.02 cm) wrist opening: 1 ⅛ in. (2.86 cm.) height of cuff: 2 in. (5.08 cm.) overall weight: 109.30 gm

Provenance: Private Collection, Arizona $4,000 – $6,000

245 MANUEL ALTAMIRANO (Mexican, 20th Century) Modernist Silver and Amethyst Cabochon Cuff

amethyst, sterling silver wrist opening: 1 ½ in. (3.81 cm.) wrist size: 7 in. (17.78 cm.) width of cuff: 2 ¾ in. (6.99 cm.) marked: ALTAMIRANO / 925 / W / TAXCO MEX overall weight: 73.71 gm

Provenance: Private Collection, Texas

$700 – $900

247 JON LIGHTFOOT (1939 – 2018)

Datura Dreams, 1998

oil on canvas 40 x 30 in. (101.60 x 76.20) signed lower right: lightfoot verso: titled and dated

$1,000 – $2,000

246 MIKE LARSEN (b. 1945) Left Hand Shield

oil on canvas

x 16 in. (30.48 x 40.64 cm.)

upper left: LARSen

$1,000

248 MARK ENGLISH (b. 1933) Buffalo Dreams

oil on canvas on panel

x 24 in. (91.44 x 60.96 cm.)

lower right: ‘BUFFALO DREAMS’ / M English

$2,000

$4,000

251

253 JULIAN ROBLES (b. 1933)

Santa Clara Prayer Dance, 2011 oil on linen 24 x 12 in. (60.96 x 30.48 cm.) signed and dated lower right: julian Robles 11 / TAOS verso: titled $3,000 – $5,000

252 AGNES SIMS (1910 – 1990) Untitled (Figures) mixed media on board 18 x 14 in. (45.72 x 35.56 cm.) signed upper right: Agnes / Sims $600 – $900

254 JULIAN ROBLES (b. 1933)

San Juan Summer Dance, 2008 oil on linen 20 x 16 in. (50.80 x 40.64 cm.) signed and dated lower left: julian Robles / TAOS 08 verso: titled, dated $2,000 – $4,000

255 GISELLA LOEFFLER (1902 – 1977) Zuni Girls

tempera on panel in artist’s custom, hand-painted frame unframed, 15 ¼ x 31 ¼ in. (38.74 x 79.38 cm.) signed upper left: TAOS / NEW MEXICO signed upper right: Gisella verso: titled

Gisella Loeffler (1902-1977) was an AustroHungarian-American painter, illustrator and textile artist who worked in a distinctive folk style. Loffler was born in Vienna but emigrated and settled in St. Louis, Missouri with her family early in life. There she trained at the Washington University School of Fine Arts, but her memories of a European childhood were the foundation of her definitive folk art stylings.

In St. Louis, Loeffler saw an exhibition of paintings by Oscar Berninghaus and Ernest Blumenschein. She was immediately drawn to Taos, New Mexico, feeling it resembled the villages of her native Austrian home. So, in 1933, Loeffler moved with her daughters to Taos. Once she arrived in New Mexico, she immediately began working for the New Deal Federal Art Project where she painted murals in schools and hospitals.

In Taos and its Artists, Mabel Dodge Lujan wrote: “Gisella Loeffler! How people are attracted to your funny little painted children and the reassuring life you surround them with...Everyone is allured and amused by the life of these robust infants with roses and birds and hearts all about them.”

In 1998, the exhibit, Loeffler and Kloss: Two Taos Legends was held at the Panhandle Plains Museum in Texas as part of the Taos Art Colony Centennial Celebration. Her work is included in the permanent collection of The Harwood Museum in Taos; The New Mexico Museum of Art, Albuquerque; the Museum of International Folk Art, Santa Fe; and the Panhandle-Plains Historic Museum in Texas.

$4,000 – $6,000

256 GISELLA LOEFFLER (1902 – 1977) Black Pottery #2

tempera on panel in artist’s custom, hand-painted frame

unframed, 14 x 14 in. (35.56 x 35.56 cm.) signed upper right: Gisella verso: signed, titled and inscribed

$1,500 – $2,500

257 GISELLA LOEFFLER (1902 – 1977) Bread

tempera on panel in artist’s custom, hand-painted frame unframed, 13 x 15 ½ in. (33.02 x 39.37 cm.) signed upper left: GiSELLA verso: titled, signed

$1,500 – $2,500

258 DOROTHY BRETT (1883 – 1976) Horsemen, 1966

oil on board

3 x 2 ⅞ in. (7.62 x 7.305 cm.) signed and dated lower right: DEBrett / 1966

$1,200 – $1,800

259 PABLITA VELARDE [TSE TSAN] (Santa Clara, 1918 – 2006) Rainbow Dancer

earth pigments on board 24 x 12 in. (60.96 x 30.48 cm.) signed lower left: Pablita Velarde verso: titled $2,000 – $4,000

260 PETER MILLER [HENRIETTA MYERS] (1913 – 1996) Deer Hunt

oil on canvas 10 x 12 in. (25.4 x 30.48 cm.) verso: titled and inscribed

Peter Miller, born Henrietta Myers (1913-1996) was an American painter who, in the 1940s, had two exhibitions at the legendary Julien Levy gallery in New York City, where she showed along with leading surrealists of the day such as Max Ernst, Joseph Cornell, Marcel Duchamp, Frida Kahlo and Arshile Gorky. A long overdue retrospective of her work was held at the Peyton Wright gallery in Santa Fe in 2021 -- accompanied by a new monograph celebrating Miller’s life and work, “Forgotten Woman of American Modernism”. She moved with her husband, the sculptor C. Earle Miller, to a property near San Ildefonso Pueblo in New Mexico in the 1920s and remained there for the rest of their lives. She studied at the Pennsylvania Academy of Fine Arts and famously wrote on her application, “I would rather fail at painting than succeed at anything else.”

$8,000 – $10,000

acrylic on board 23 ⅝ x 16 in. (60.01 x 40.64 cm.) signed and dated lower right: Tsa-Sah-Wee-Eh [artist’s cipher] / © 1982 verso: titled, dated

Artist Helen Hardin of Santa Clara Pueblo in New Mexico (Tsa-sahweeeh, or “Little Standing Spruce,” 1943–1984) emerged in the 1970s and 1980s as a trailblazing example for Native American artists wishing to break from tradition.

Having spent her early childhood at Santa Clara with her mother’s family, Hardin spent much of the rest of her life in and around Albuquerque. Her work is informed by time-honored pueblo imagery as well as the art of her mother, the renowned Pablita Velarde (1918–2006) (lots 42, 259). However, Hardin’s art departed radically from both influences. Whereas Velarde rendered traditional Native American scenes, Hardin created abstractions of traditions. As Hardin told an interviewer in 1984, “I don’t want to be doing anything that is not completely mine.”

Hardin’s departure from the more traditional “flat style” often used by Native American artists, including her mother, was characterized by a

greater three-dimensionality and, often, translucent effects. She used vibrant colors, spattering techniques, and metallic paint.

She ultimately became recognized both as a printmaker and a painter. In 1980, she started to make copperplate etchings. This process allowed her to create precise and detailed compositions in multiples that could reach a broad audience.

—Scott Shields, Assistant Director, Crocker Art Museum (Art Letter, 2021)

Provenance:

The Artist Private Collection, New York

$20,000 – $40,000

261 HELEN HARDIN [TSA-SAH-WEE-EH] (Santa Clara, 1943 – 1984) Oh-Khoo-wah- Maidens Bringing Rain, 1982

262 JEAN E. BALES (Iowa, 1946 – 2004) Summer Earth

acrylic on canvas 40 x 60 in. (101.60 x 152.40 cm.) signed lower right: JE / Bales © verso: titled

Jean Bales was born in Pawnee, Oklahoma and received a B.A. in Fine Arts from the Oklahoma College of Liberal Arts. Upon graduation, she taught crafts at the Bureau of Indian Affairs school in Fort Sill, Oklahoma.  Her artwork includes sculpture, beadwork, woodcarving, printing and painting in all media.  Many of her paintings focus on the activities and dress of the Plains Indians of the late nineteenth century, and she later became the official historian of the Iowa tribe.

As she once stated, “art among the American Indian, has been and continues to be the communication of the history and values of the people. Art can communicate excitement and celebration or anxiety and mourning…More and more I realize the humanity of many ancestors. The past is no longer impersonal; it is filled with people being people. As all people do, they change with time.”

In 1973 she received the Oklahoma Governor’s Cup for Outstanding Indian Artist of the Year; in 1982, the Oklahoma Diamond Jubilee Award for Outstanding Woman of the Southern Plains; and in 1984, she was hailed as Indian Artist of the Year by the Indian Arts and Crafts Association.

This significantly monumental work is thought to be one of the largest paintings Bales finished during her lifetime. Her work was notably in the private collection of Helen Hardin and she has been exhibited in major museums including the Heard Museum, the Wheelwright Museum and the Southern Plains Indian Museum.

Reference:  Broder, Patricia Janis. Earth Songs, Moon Dreams: Paintings by American Indian Women. Macmillan, 2013.

$10,000 – $15,000

263 CHLOÉ MARIE BURK (b. 1984)

L’ Epopee, 2022 oil on canvas

23 ½ x 29 ½ in. (59.69 x 74.93 cm.)

signed lower right: [horse cipher] CMBURK

Provenance: The Artist

$6,000 – $9,000

264 ROXANNE SWENTZELL (Santa Clara, b. 1962)

Clown

fried clay, glazes

10 x 11 x 9 ½ in. (25.40 x 27.94 x 24.13 cm.) inscribed near base: ROX

Provenance:

The Georgia and Charles Loloma Collection

$6,000 – $9,000

265 ERIN CURRIER

266

267 JOHN NIETO (1936 – 2018) Isleta Indian Woman, 1987

acrylic on canvas 44 x 40 in. (111.76 x 101.60 cm.) signed lower center: Nieto verso: titled, signed and dated

$25,000 – $35,000

269 JOHN NIETO (1936 – 2018) Wolf in the Moonlight, 2006

acrylic on canvas 30 x 24 in. (76.20 x 60.96 cm.) signed lower right: Nieto verso: signed, titled and dated

$12,000

268 JOHN NIETO (1936 – 2018) Apache Scout, 2008

acrylic on canvas 60 x 60 in. (152.40 x 152.40 cm.) signed in moon, lower right: Nieto verso: signed, titled and dated

$20,000

$30,000

270 JOHN NIETO (1936 – 2018) Taos Indian with Purple Blanket

acrylic on canvas

30 x 24 in. (76.20 x 60.96 cm.) signed lower right: Nieto verso: signed, titled and dated

$12,000

$18,000

272 DAVID BRADLEY (Chippewa, b. 1954) Scene from a Western Movie, 1981 acrylic on canvas 40 x 40 in. (101.60 x 101.60 cm.) signed lower right: David P. Bradley ©1981

$8,000 – $12,000

273 DAVID BRADLEY (Chippewa, b. 1954) The Berry Picker, 1974 acrylic on canvas 11 x 14 in. (27.94 x 35.56 cm.) signed and dated middle right: DAVID BRADLEY ‘74 verso: titled

$2,000 – $4,000

Conjuring The Spirit of Glory to Join in The Morning, 1989 oil on canvas

40 x 30 in. (101.60 x 76.20 cm.)

signed upper right: Biss verso: titled, dated, signed $8,000 – $12,000

276 HARRY FONSECA (Nisenan/Maidu, 1946 – 2006)

A Pair of Miniature Sculptures: Coyote Flute Player + Koshare Melon Eater ceramic, feathers

coyote: 5 x 5 ½ x 5 ½ in. (12.70 x 13.97 x 13.97 cm.) koshare: 5 ½ x 5 ½ x 5 ½ in. (13.97 x 13.97 x 13.97 cm.) each signed on right foot: Fonseca $1,500 – $2,500

Untitled (Coyote at The Carnival), 1983 acrylic on paper

29 ¾ x 22 ¼ in. (75.57 x 56.52 cm.) signed and dated lower right: Fonseca / 6.10.83 [artist’s cipher]

$3,000 – $5,000

274 EARL BISS (Crow, 1947 – 1998)

275 HARRY FONSECA (Nisenan/Maidu, 1946 – 2006)

278 NOCONA BURGESS (Comanche, 20th Century)

Jackson Sundown - Wool Chaps

acrylic on canvas

40 x 30 in. (101.60 x 76.20 cm.)

signed lower left: Nocona Burgess verso: titled and inscribed

$3,000 – $5,000

277 NOCONA BURGESS (Comanche, 20th Century)

Buffalo Moon

acrylic on canvas

36 x 48 in. (91.44 x 121.92 cm.)

signed lower left: Nocona Burgess

$4,000 – $6,000

279 NOCONA BURGESS (Comanche, 20th Century)

Tsashima - Laguna

acrylic on canvas

36 x 24 in. (91.44 x 60.96 cm.)

signed lower left: Nocona Burgess verso: titled and inscribed

$2,000 – $4,000

280 DONALD BREWER [WAKPA] (Cheyenne/Sioux, 20th Century)

Ghost Feather, 2010

oil on panel

24 x 20 in. (60.96 x 50.80 cm.)

signed lower right: WakPa verso: titled, signed, dated and inscribed Provenance: The Estate of Connie and Buddy Sanchez

$1,000 – $2,000

281 MICHAEL KABOTIE [LOMAWYWESA] (1942 – 2009)

Moonlight Dancers

mixed media on illustration board 14 ⅝ x 14 ½ in. (37.15 x 36.83 cm.) signed lower center: LOMAWYWESA

$2,000 – $4,000

282 DAN NAMINGHA (Hopi-Tewa, b. 1950)

Antelope Spirits, 1985

acrylic on canvas

72 x 64 in. (182.88 x 162.56 cm.)

signed lower right: Namingha / 1985 verso: titled, dated and signed

$6,000 – $9,000

283 BC NOWLIN (b. 1949)

This oil on canvas

x 56 in. (111.76 x 142.24 cm.)

lower left:

Provenance:

Gallery, New

Collection,

$4,000

Nowlin

284 EARL BISS (Crow, 1947 – 1998)

The Paradise in My Mind, 1981

oil on canvas

x 60 in. (121.92 x 152.40 cm.)

upper right: Biss

titled, signed and dated

285 EARL BISS (Crow, 1947 – 1998)

on canvas

x 66 in. (121.92 x 167.64 cm.)

upper right: Biss

$25,000

acrylic on canvas 30 x 40 in. (76.20 x 101.60 cm.) signed lower right: Scholder

Fritz Scholder said that buying the small adobe home in Ranchos de Taos, near the church, was a ‘romantic gesture’ on his part. He first came to New Mexico in 1964, and periodically visited and painted Taos from then on, creating a significant, early body of work that certainly reveals the earliest stirrings of his romance with the West. He wrote in the catalogue for his 1978 exhibition in Taos hosted by The Tally Richards Gallery (Scholder at Taos), “For me, New Mexico and Arizona are the only places to live in this country.” However, compared to Santa Fe, where he had initially settled, “I found Taos to be ominous and foreboding, and yet the sense of mystery and magic intrigued me.” He struggled also with the confrontation with Taos’ towering art history: “The past painting aura of all of the Taos romantics hangs heavy in the golden light that bathes the adobes and valley with their red chili and purple shadows. It is difficult to transcend a picturesque cliche”, he wrote at the same time. There seems little that is ominous in “Taos Clouds”, but rather in this painting we witness no more than his reluctant acknowledgement of an ebullient northern New Mexico fall. This was the positive side of what he called his love/hate relationship with Taos. We see in the red outlines of the clouds and the purple shadows a suggestion of his sense of the sinister, lurking behind the beauty, as well as some reference to his contemporaneous relationship with TC Cannon during this period (lots 31 and 32). For the catalogue to his show with Tally Richards the following year, 1979 (Scholder at Taos, Part Two), he wrote, “During the last year, my stays in Taos have resulted in mainly concentrating on the moody landscape. Even when the sun is out in mid-day, the feeling is ominous. I found that during the fall, the light is especially beautiful, but there are always those mystery shadows around the edge of one’s vision.”

$30,000 – $50,000

286 FRITZ SCHOLDER (Luiseño, 1937 – 2005) Taos Clouds

287 TONY

on canvas

x 24 in. (45.72 x 60.96 cm.)

lower right: Tony Abeyta

$16,000

$18,000

288 TONY ABEYTA (Diné [Navajo], b. 1965)

At the Mouth of the River, 2017

on canvas

15 ½ x 15 ½ in. (39.37 x 39.37 cm.)

lower right: Tony Abeyta verso: signed, dated

$8,000

$12,000

289 KIM WIGGINS (b. 1960)

Storm Over Ranchos Church, 1992 oil on canvas

48 x 60 in. (121.92 x 152.40 cm.)

signed and dated lower right: KD Wiggins 92

$20,000 – $40,000

290 KIM WIGGINS (b. 1960)

Old Santa Fe Trail, 2011 oil on canvas

36 x 48 in. (91.44 x 121.92 cm.)

signed lower left: Kim Wiggins verso: signed, titled, dated

$15,000 – $25,000

291 BILLY SCHENCK (b. 1947)

The Girl From Chinle, 2018

oil on canvas

30 x 36 in. (76.20 x 91.44 cm.)

signed lower right: SCHENCK 18 verso: signed, titled and dated

$15,000 – $25,000

292 BILLY SCHENCK (b. 1947) Canyon Country, 2009

oil on canvas

30 ½ x 45 in. (77.47 x 114.30 cm.) signed and dated lower left: SCHENCK 09

$8,000 – $12,000

293 BILLY SCHENCK (b. 1947)

Sands of Time, 1989

oil on canvas

30 x 50 in. (76.20 x 127 cm.)

signed and dated lower right: SCHENCK 89 verso: signed, titled and dated

$8,000 – $12,000

295 DANIEL SPRICK (b. 1953) View From Studio Window (Colorado), 2008

oil on panel

30 x 36 in. (76.20 x 91.44 cm.) signed and dated lower left: Daniel Sprick 08

$10,000 – $15,000

294 RAY TURNER (b. 1957) San Gabriels, 2008

oil on canvas

40 x 45 in. (101.60 x 114.30 cm.)

signed lower right: TURNER verso: signed, titled and dated

$5,000 – $7,000

298 GREG CALIBEY (b. 1959)

Men of Genova, 2007

oil on canvas 28 x 26 in. (71.12 x 66.04 cm.) signed lower right: Calibey 07

$4,000 – $6,000

297 JOHN FINCHER (b. 1941)

Five Pears, 1983

mixed media on paper 20 x 28 ¾ in. (50.80 x 73.03 cm.) titled, signed and dated lower left: Five Pears-Fincher 83 ©

Provenance: The Collection of Joseph Hoffman and John Day $2,000 – $4,000

* All proceeds from this sale of this artwork will benefit the Santa Fe Opera.

299 ELIAS RIVERA (1937 – 2019) Untitled (Market Scene)

oil on panel 12 x 10 in. (30.48 x 25.40 cm.) inscribed verso: Rivera

$2,000 – $4,000

300 JANET LIPPINCOTT (1918 – 2007)

Omaha Beach, 1961/62

oil on canvas

60 x 60 ¼ in. (152.40 x 153.04 cm.)

signed lower left: Lippincott verso: signed, titled and dated

Janet Lippincott (1918 – 2007) is counted among the pioneers of abstract expressionism in New Mexico, and among the most significant artists of the mid-20th century Southwest. During her lifetime, she was identified in the press as an iconoclast, pioneer and trailblazer.

$5,000 – $8,000

302 THOMAS BENRIMO (1887 – 1958)

Trio

oil on panel

30 x 39 3/4 in. (76.20 x 100.97 cm.)

signed lower right: TOM BENRIMO

$3,000 – $5,000

301 JANET LIPPINCOTT (1918 – 2007) Spring Thaw, 1970

oil and fabric on canvas 68 x 60 in. (172.72 x 152.40 cm.)

signed lower right: Lippincott verso: signed, titled and dated $5,000 – $8,000

303 EARL STROH (1924 – 2005)

Untitled (Abstraction)

oil on canvas

11 ⅛ x 7 in. (28.26 x 17.78 cm.)

signed lower right: E STROH

$1,500 – $2,500

307 ALYCE FRANK (b. 1932) Oak Thicket at Bear Paw

oil on canvas

x 36 in. (76.20 x 91.44 cm.) signed lower left: Alyce Frank verso: signed and titled

309 LEONARD PHELPS GOOD (1907 – 2000)

Mountains, 1935

on canvas board

x 24 in. (45.72 x 60.96 cm.)

and dated lower right: Leonard Good - 1935

308 ALYCE FRANK (b. 1932)

Along the Conejo River oil on canvas 30 x 30 in. (76.20 x 76.20 cm.) signed lower left: Alyce Frank verso: signed and titled

310 CONRAD BUFF (1886 – 1975)

Desert Blooms

oil on panel

16 ¼ x 24 ½ in. (41.28 x 62.23 cm.)

signed lower right: CONRAD BUFF

$2,000 – $4,000

311 CONRAD BUFF (1886 – 1975)

Mesa With Canyon

oil on panel

16 x 24 in. (40.64 x 60.96 cm.)

signed lower right: CONRAD BUFF

$1,500 – $2,500

312 CONRAD BUFF (1886 – 1975)

Mountain and Canyon

oil on panel

16 ¾ x 24 in. (42.55 x 60.96 cm.)

signed lower right: CONRAD BUFF

$1,500 – $2,500

315 DONNA CLAIR (b.

314

316 FRAN LARSEN (b. 1937) Deep Into The Night

watercolor on paper in artist’s custom, hand-painted frame unframed, 40 x 12 in. (101.60 x 30.48 cm.) signed lower left: LARSEN

$2,000 – $4,000

317 VLADAN STIHA (1908 – 1992) Untitled (Still Life), 1977 oil on canvas

36 x 24 in. (91.44 x 60.96 cm.)

signed lower right: V. Stiha / 1977

$1,500 – $3,000

318 JULIAN ROBLES (b. 1933)

Lilac Glory, 2015

oil on linen

24 x 30 in. (60.96 x 76.2 cm.)

signed and dated lower left: julian Robles / TAOS 15 verso: titled

$1,500 – $2,500

319 ALBERT SCHMIDT (1883 – 1957) Man and Donkey Strolling by Cottonwoods oil on canvas 26 x 31 ¾ in. (66.04 x 80.65 cm.)

$8,000 – $12,000

320 CARLOS VIERRA (1876 – 1937) Walpi Pueblo oil on board 24 x 18 in. (60.96 x 45.72 cm.) signed lower right: CARLOS VIERRA verso: titled

$12,000 – $15,000

321 SHELDON PARSONS (1866 – 1943)

Hay Shelter with Adobes

oil on canvas 24 x 36 in. (60.96 x 91.44 cm.) signed lower left: -SheldoN PARSONS$8,000 – $12,000

322 CARL VON HASSLER (1887 – 1969) Autumn in Old Pojoaque, New Mexico

oil on canvas 18 x 23 ¼ in. (45.72 x 59.06 cm.) signed lower left: Von Hassler $4,000 – $6,000

323 CARL VON HASSLER (1887 – 1969)

Untitled (New Mexico Summer Splendor)

oil on canvas

28 ¼ x 34 ½ in. (71.76 x 87.63 cm.) signed lower right: Von Hassler $12,000 – $16,000

Southern Camp, Northern Cheyenne, Lame Deer Valley Montana oil on panel (cigar box top) 5 x 9 in. (12.70 x 22.86 cm.) signed lower left: J.H.SHARP. verso: titled

– $70,000

324 JOSEPH SHARP (1859 – 1953)

325 RALPH ALBERT BLAKELOCK (1847 – 1919)

Riverside Encampment, ca. 1875

oil on panel

6 x 7 ½ in. (15.24 x 19.05 cm.)

signed lower right in arrowhead: R. A. Blakelock

University of Nebraska Blakelock Inventory No. 951

Accompanied by letter of Authenticity, Robert Vose Jr., Vose Galleries, Boston Accompanied by vintage frame with Grand Central Art Galleries and University of Nebraska Blakelock labels

$6,000 – $8,000

326 GEORGE ROMNEY (1734 – 1802) Emma Hamilton

oil on canvas

23 ½ x 19 in. (59.69 x 48.26 cm.)

George Romney was an English portrait painter, considered the most fashionable artist of his day, his portraits of 18th century leading society figures are renowned. His greatest and most favored muse is depicted here: Emma, Lady Hamilton, mistress of the British Naval hero, Lord Nelson.

$8,000 – $12,000

*100% of the proceeds from this sale will go to benefit a select group of Santa Fe charities.

327 RAPHAEL LILLYWHITE (1891 – 1958)

Untitled (Pueblo Landscape)

oil on panel

9 x 12 in. (22.86 x 30.48 cm.)

signed lower left: Raphael / LillywhiTe

$2,000 – $4,000

328 RAPHAEL LILLYWHITE (1891 – 1958)

Untitled (Lone Indian on Horseback)

oil on panel

9 x 12 in. (22.86 x 30.48 cm.)

signed lower left: Raphael / LiLLywhiTe

$1,500 – $2,500

329 WARREN ELIPHALET ROLLINS (1861 – 1962)

Untitled (Pink Landscape)

oil on board

11 ¾ x 7 ½ in. (29.85 x 19.05 cm.)

signed lower left: W E Rollins

$600 – $800

330 LAURENCE

331

$800

332 HEINIE HARTWIG

6

on panel

$500

333 BRAD ALDRIDGE (b. 1965)

Early Light

on

in. (40.64

$1,000

55.88

SISSON

334 ARTHUR FRANKLYN MUSGRAVE (1878 – 1969)

Untitled (Trees and Shadows - New Mexico)

oil on board

18 ¼ x 24 in. (46.36 x 60.96 cm.)

signed lower left: Arthur F Musgrave

$2,000 – $4,000

335 DOUGLAS ATWILL (b. 1933)

Delphinium with Orach

acrylic on linen 28 x 38 in. (71.12 x 96.52 cm.) verso: signed, titled

$2,000 – $4,000

336 WALT WOOTEN (b. 1939)

Cottonwood and Canoe

oil on canvas

40 ¼ x 50 ¼ in. (102.24 x 127.64 cm.)

signed lower right: Wooten verso: signed and titled

$1,000 – $2,000

337 NICHOLAS COLEMAN (b. 1978) Encampment

oil on canvas 11 ½ x 23 ¼ in. (29.21 x 59.06 cm.) signed lower right: Nicholas Coleman

$2,000 – $4,000

338 THOMAS DE DECKER (b. 1951)

A Peaceful Sunset, 2022

oil on panel 30 x 40 in. (76.20 x 101.60 cm.) signed lower left: Thomas deDecker verso: signed, titled and dated

Provenance: The Artist

$3,000 – $5,000

339 THOMAS DE DECKER (b. 1951)

Merging of Land and Sky- Sunset, 2022

oil on panel 24 x 30 in. (60.96 x 76.20 cm.) signed lower left: Thomas deDecker verso: signed, titled and dated

Provenance: The Artist $2,000 – $3,500

Untitled (Winter- Northern New Mexico Landscape) oil on canvas

24 x 36 in. (60.96 x 91.44 cm.) signed lower right: Ben Turner $2,000 – $4,000

341 WILLARD NASH (1898 – 1943)

Buckmann Hill oil on canvas

11 x 14 in. (27.94 x 35.56 cm.) signed lower left: Willard Nash

$5,000 – $7,000

340 BEN TURNER (1912 – 1966)

342 SUSAN HERTEL (1930 – 1993)

Untitled (Two Horses, Fence, Sky) oil on canvas

54 ¼ x 78 ¼ in. (137.80 x 198.76 cm.)

signed upper left: Susan Hertel

Susan Hertel (1930-1993) grew up in a suburb of Chicago. The family spent summers in Lake Geneva, Wisconsin, and winters in Arizona, where she developed a passionate interest in horses and Indigenous cultures.

In 1948, Hertel attended Scripps College in Claremont, California, where she studied drawing with noted California School of Painting artist Millard Sheets. After graduation Hertel worked for twenty-five years as a studio assistant for Sheets on several public and private mural commissions throughout the country. From Sheets, she learned how to work from pastiches of photographs of friends and family, a technique she developed for use in her paintings. She eventually found her mature artistic voice after a trip to Europe. As Hertel recalls,

“The turning point came when I visited Europe and saw my first Pierre Bonnards. I realized I wanted to portray what was in my house. From then on, it was babies, fabrics, litters of puppies, the inside of our wonderful home.” During the 1960s and 1970s, Hertel worked for Sheets while showing her own work at various galleries and museums in the Los Angeles area.

After their five children were grown, the Hertels moved to Cerrillos, New Mexico, where they set up a studio and built corrals for the horses. In 1983, she joined Elaine Horwitch Galleries and embarked on a productive art career. One of Hertel’s memorable connections during those years was to actor Robert Redford, who often came to the Horwitch gallery in Santa Fe to buy her paintings. Redford would drive his silver Porsche to the gallery afterhours, when he could enjoy looking at the paintings on his own and purchase her work for his private collection.

Excerpted from Sasse, Julie. Southwest Rising: Contemporary Art and the Legacy of Elaine Horwitch. 2020.

$30,000 – $50,000

343 SUSAN HERTEL (1930 – 1993)

Cows at Night, 1988

acrylic on canvas 36 x 50 in. (91.44 x 127 cm.) signed lower right: Susan Hertel

Provenance: Elaine Horwitch Galleries Private Collection, California

$10,000 – $15,000

344 MICHAEL WORKMAN (b. 1962)

Untitled (Pasture in Color)

oil on panel

16 x 19 in. (40.64 x 48.26 cm.)

signed lower right: M. Workman verso: signed

$6,000 – $8,000

345 ROD GOEBEL (1946 – 1993)

Untitled (Cows Grazing)

oil on panel

12 x 16 ⅛ in. (30.48 x 40.96 cm.) signed lower right: ROD GOEBEL

$1,500 – $2,500

346 ETHELINDA (20th/21st Century) Moonrise

oil on canvas 52 x 76 in. (132.08 x 193.04 cm.) signed lower right: ethelinda verso: titled

$2,000 – $4,000

347 CARLOS SANDOVAL (b. 1954)

Dawn Rosa, 2006

oil on canvas 35 ⅞ x 60 in. (91.12 x 152.40 cm.)

signed and dated lower right: Carlos Sandoval /

06 verso: titled and dated $3,000 – $5,000

348 ROSETA SANTIAGO (b. 1946)

Taos Evening, 2014 oil on canvas

55 x 36 in. (139.70 x 91.44 cm.) signed lower left: SANTIAGO verso: signed, titled and dated

$10,000 – $20,000

349 ROSETA SANTIAGO (b. 1946)

The Weaver’s Daughter oil on linen

45 x 28 in. (114.30 x 71.12 cm.) signed lower left: SANTIAGO verso: signed, titled and inscribed

$4,000 – $8,000

350 FREMONT F. ELLIS (1897 – 1985) Serenity

oil on panel

25 x 30 in. (63.50 x 76.20 cm.) signed lower left: Fremont F Ellis

$9,000 – $12,000

352 JOSEPH LORUSSO (b. 1966)

Salome oil on panel

30 x 40 in. (76.20 x 101.60 cm.) signed upper left: LORUSSO verso: titled

$6,000 – $8,000

351 F. LUIS MORA (1874 – 1940)

A Mother from the Turquoise Land oil on canvas 30 ¼ x 25 ¼ in. (76.84 x 64.14 cm.) signed lower right: F. Luis Mora verso: signed, titled

Provenance: The Artist Grand Central Art Galleries, Inc., N.Y., New York Cover of Arizona Life magazine

Illustrated: F. Luis Mora: America’s First Hispanic Master [1874-1940] by Lynne Pauls Baron

$8,000 – $12,000

353 GASPARD DE LATOIX (1858 – 1918)

Apache on Horseback, ca. 1910

oil on canvas 20 x 16 in. (50.80 x 40.64 cm.)

signed lower right: Latoix

$10,000 – $20,000

354 EANGER IRVING COUSE (1866 – 1936) Klikitat Pony

oil on canvas board 11 ¾ x 16 in. (29.85 x 40.64 cm.) signed lower right: E.I. COUSE.

$10,000 – $15,000

355 JOHN MOYERS (b. 1958) Temperature Falling, 2001 oil on canvas

40 x 60 in. (101.60 x 152.4 cm.) signed and dated lower right: JOHN MOYERS / © 01 CA $20,000 – $40,000

356 MARTIN GRELLE (b. 1954) Hunter’s Morning

oil on canvas

40 x 30 in. (101.60 x 76.20 cm.) signed lower right: MARTIN GRELLE / © $70,000 – $90,000

357 MARTIN GRELLE (b. 1954)

Through the Valley, 1997

oil on linen 30 x 40 in. (76.20 x 101.60 cm.) signed and dated lower right: MARTINGRELLE / CA / © *97

Born and raised in Clifton, Texas, Martin Grelle still lives on a small ranch a few miles from town. His studio sits in the picturesque Meridian Creek Valley, surrounded by the oak & cedar-covered hills of Bosque County, just a short distance from his home, but also within a few miles of the family and friends who are so important in his life.

Martin began drawing and painting when he was very young, and was fortunate to have James Boren and Melvin Warren (Lot 358), two professional artists and members of the Cowboy Artists of America, move to the area when he was still in high school, and it has had a lasting impact on his direction and career. Mentored by Boren, he had his first one-man show at a local gallery within a year of graduating from high school in 1973. In the nearly 40 years since that time, he has produced some 30 one-man exhibitions, including annual shows in Scottsdale, Arizona, since 1989, and has won awards of both regional and national importance at shows around the country. He says,

“Whenever I paint people in a mountain or wilderness setting, I try to convey the larger-than-life effect that the landscape must have had on those individuals.”

He was invited into membership with the Cowboy Artists of America (CA) in 1995, fulfilling a dream begun in the early 70’s when he first met Boren and Warren. That same year he was invited to participate in the first Prix de West Invitational at the National Cowboy and Western Heritage Museum in Oklahoma City. Since that time he has won numerous awards, including the Prix de West Purchase Award twice (one of only seven artists to do so), the Nona Jean Hulsey Rumsey Buyers’ Choice Award twice, the CA People’s Choice Award, the CA Ray Swanson Award, and the CA Buyers’ Choice Award. He was awarded the Legacy Award by The Briscoe Museum in 2012, for his impact on Western Art. He was honored with a retrospective showing of his work, along with fellow CA artist, Herb Mignery, for the Gilcrease Museum’s Rendezvous Show in 2013.

He has twice served on the board of directors for the CA organization, most recently as President. He is also involved with The Joe Beeler Foundation, founded by the Cowboy Artists of America to coincide with their mentoring program, which provides scholarship opportunities for artists seeking to improve their skills.

358

359

361

on canvas

362

363 ROSETA SANTIAGO (b. 1946) Regalia, 2014

oil on linen 30 x 24 in. (76.20 x 60.96 cm.) signed lower right: SANTIAGO verso: signed, titled and dated

$5,000 – $7,000

364 ROSETA SANTIAGO (b. 1946) Untitled (Shoshone Portrait)

oil on canvas 42 x 38 in. (106.68 x 96.52 cm.) signed lower left: SANTIAGO

$5,000 – $7,000

365 TUCKER SMITH (b. 1940) Plains Bison, 1985 oil on board

9 x 12 in. (22.86 x 30.48 cm.) signed and dated lower right: Tucker Smith / 85 $6,000 – $9,000

366 GLENN DEAN (b. 1976)

Spirit of the Pueblo, 2021

oil on canvas board 12 x 15 in. (30.48 x 38.10 cm.)

signed lower left: G Dean verso: signed, titled and dated

$5,000 – $8,000

367 DWIGHT CLAY HOLMES (1900 – 1986)

Taos Pueblo, 1957

oil on canvas 24 x 30 in. (60.96 x 76.20 cm.) signed and dated lower left: Dwight C. Holmes 57’

$3,000 – $5,000

368 ROBERT DAUGHTERS (1929 – 2013)

Untitled (Canyon Floor)

oil on canvas 12 x 9 in. (30.48 x 22.86 cm.)

signed upper right: R. Daughters

$2,000

$4,000

369 CHARLES BERNINGHAUS (1905 – 1988)

Taos Portal

oil on canvas board 16 x 20 in. (40.64 x 50.80 cm.)

signed lower right: CHARLES BERNINGHAUS verso: titled

$1,500 – $2,500

371 ROSA MARGARET CURTIS (1894 – 1960)

Santa Fe New Mexico

oil on canvas board

14 x 18 in. (35.56 x 45.72 cm.) signed lower right: ROSA M Curtis verso: inscribed

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

370 WARREN ELIPHALET ROLLINS (1861 – 1962)

An Old Timer- Santa Fe N.M.

oil on canvas 13 ½ x 20 in. (34.29 x 50.80 cm.) signed lower right: -WE Rollins verso: signed and titled $1,500 – $2,500

372 BILL HUGHES (1932 – 1992)

Untitled Study (New Mexico Adobe), 1972

oil on canvas 16 x 20 in. (40.64 x 50.80 cm.) signed lower center: Hughes –verso: dated and inscribed

$800 – $1,200

373 BLANCHE DOUGAN COLE (1869 – 1956)

Eliseo - Governor of Tesuque, New Mexico, 1900

oil on canvas

22 1/4 x 18 in. (56.52 x 45.72 cm.)

signed and dated lower right: F...S...(illegible text) / Blanche D. Cole 1900 verso: titled and inscribed

$2,000 – $4,000

374 FRANK HAGEL (b. 1933) Assiniboine War Clouds, 1994

oil on canvas

15 ½ x 23 ½ in. (39.37 x 59.69 cm.)

signed and dated lower left: Hagel 1994

$2,000 – $4,000

375 HARVEY WILLIAM JOHNSON (1921 – 2005)

Ridin to Hear the Owl Hoot, 1972

oil on panel

24 x 30 in. (60.96 x 76.20 cm.)

signed and dated lower right: hw- johnson CA / © 72

$3,000 – $5,000

376 FREDERICK HAMBLY (20th Century)

Under The Sign Of The Buffalo, 1996 oil on canvas

20 x 30 in. (50.80 x 76.20 cm.) signed lower left: HAMBLY verso: signed, titled and dated

$1,200 – $2,400

377 BURT HARWOOD (1857 – 1922)

Untitled (Acoma Pueblo), 1920

oil on canvas board

20 x 18 in. (50.80 x 45.72 cm.) signed and dated lower right: Burt Harwood / Acoma 1920

$1,800 – $2,400

378 BURT HARWOOD (1857 – 1922)

Untitled (Figure with Hat), 1919

oil on canvas board

12 ½ x 9 in. (31.75 x 22.86 cm.)

initialed and dated lower left: B.H. 1919

$1,200 – $1,800

379 DAVID KAMMERZELL (b. 1953)

The Next Chapter

oil on panel

24 x 24 in. (60.96 x 60.96 cm.)

signed lower right: Kammerzell verso: signed

$1,500 – $2,500

381 BERNARD FUCHS (1932 – 2009)

Untitled (Figures on Horses)

graphite and oil on linen 28 ⅛ x 29 ⅞ in. (71.44 x 75.88 cm.)

initialed lower right: B.F. $1,000 – $2,000

380 DAVID KAMMERZELL (b. 1953) Charlie

oil on panel

24 x 20 in. (60.96 x 50.80 cm.)

signed lower left: KAmmerZell verso: signed

$1,000 – $2,000

382 C.J. WELLS (b. 1952)

Plains Indian Portrait

oil on canvas

28 x 24 in. (71.12 x 60.96 cm.)

signed lower right: cj wells

$800 – $1,200

383 HYRUM JOE (Diné [Navajo], b. 1980)

He Is One With The Land

oil on canvas

16 x 20 in. (40.64 x 50.80 cm.)

signed lower right: Hyrum Joe verso: signed and titled

$800 – $1,200

384 RANDY LEE WHITE (b. 1951)

Pilgrimage, 1987

mixed media on canvas

48 x 36 in. (121.92 x 91.44 cm.)

titled lower left: “PiLGRiMAGE” signed and dated lower right: R LEE White / 87

$800 – $1,200

INVITING

Native

Prints,

Art

Signature

New

American

Contemporary

Signature

FOR

Submission

Submission

Submission

Submission

Submission

Abeyta, Tony Acoma

Aldridge, Brad Altamirano, Manuel Apache

Atwill, Douglas

Australian Fire Opal Bales, Jean E. Baumann, Gustave Begay, Kenneth Benrimo, Thomas Benton, Thomas Hart Berninghaus, Charles Biss, Earl Blakelock, Ralph Albert Borein, Edward

Boren, James Bradley, David Brett, Dorothy Brewer [WakPa], Donald Buff, Conrad Burchfield, Charles Burgess, Nocona Burk, Chloé Marie Calibey, Greg Cannon, T. C. Chee, Attributed to Mark Clair, Donna Cochiti

Cole, Blanche Dougan Coleman, John Coleman, Nicholas Cooper, Wayne Couse, Eanger Irving Currier, Erin Curtis, Edward S. Curtis, Rosa Margaret Dasburg, Andrew Daughters, Robert de Decker, Thomas de Latoix, Gaspard Dean, Glenn Diné [Navajo] Dixon, Maynard Eggenhofer, Nick Ellis, R. C. Ellis, Fremont F. Ellis, R.C.

266, 287, 288 147 – 153 333 245 133 335 207 262 51 – 55 236, 237 302 15 369 274, 284, 285 325 18 20 272, 273 258 280 310 – 313 16 277 – 279 263 298 31, 32 242 315 166, 167 373 72 337 67 354 265 101 – 127 371 62 368 338, 339 353 366 128 – 132 34, 35 19 47 – 50 58, 350 305, 306

English, Mark Ethelinda

Fincher, John Fonseca, Harry Frank, Alyce Fraser, James Earle Fuchs, Bernard Goebel, Rod Good, Leonard Phelps Goodacre, Glenna Gorman, R. C. Greeves, Richard Vernon Grelle, Martin

Hagel, Frank Hambly, Frederick Hardin [Tsa-Sah-Wee-Eh], Helen Hartwig, Heinie Harwood, Burt Hayes of Aspen Colorado Hertel, Susan

Higgins, Attributed to Victor Hogue, Alexandre Holmes, Dwight Clay Honie, Patricia Hopi

Houser, Allan Howard, Norma Hughes, Bill Hurd, Peter Hyde, Doug Jacob, Ned Joe, Hyrum Joe Sr., Oreland Johnson, Harvey William Jonson, Raymond Kabotie [Lomawywesa], Michael Kammerzell, David Kirk, Andy Kloss, Gene Laguna

Larsen, Fran Larsen, Mike Latham, Barbara Lightfoot, Jon Lillywhite, Raphael Lippincott, Janet Lockwood, Ward Loeffler, Gisella

248 346 297 275, 276 307, 308 73 – 75 381 345 309 68 – 71 23 86 355, 356 374 376 261 332 377, 378 224 342, 343 66 14 367 156 154, 155, 157 41, 84 43 372 17, 56 93 21 383 91, 92 375 46 281 379, 380 240 1 – 13 146 59, 316 246 60 247 327, 328 300, 301 57 255, 256

Loloma, Charles, (Attributed)

Loloma, Charles + Bob Stocksdale Loloma, Charles

Loloma, Charles + Pierre Touraine Loloma, Charles + Verma Nequatewa Lorusso, Joseph Lovato, Julian Lujan [Pop Chalee], Merina Martinez, Miguel McCarthy, Frank C. McGary, Dave McGrew, R. Brownell Miller [Henrietta Myers], Peter Monongye, Preston, (Attributed) Monongye, Preston Mora, F. Luis Moyers, John Moylan, Lloyd Muhr, Adolph F. Musgrave, Arthur Franklyn Namingha, Dan Nash, Willard Natiya, Ed Niblett, Gary Nieto, John Nordfeldt, B. J. O. Nowlin, BC Parsons, Sheldon Pletka, Paul Price, Gary Lee Pueblo

Quick-To-See Smith, Jaune Radakovich, Svetozar [Toza] Red Star, Kevin Ribak, Louis Rivera, Elias Robles, Julian Rollins, Warren Eliphalet Romero, Mateo Romney, George Ruthling, Ford San Felipe San Ildefonso San Ildefonso/Cochiti San Juan

Sandoval, Carlos

187, 200, 226 210 171 – 186, 188 – 199, 201, 202, 204, 208, 211 – 216, 218, 219, 227, 257 205, 206, 220, 221, 222, 225 209, 203 352 235, 241 40 24 360 76 – 81 22 260 244 243 351 357 36 100 334 44, 45, 282 341 87, 88 359 26 – 28, 267 – 270 63, 65 283 321 30 89 217 33 232 271 64 299 253, 254, 318 329, 370 249 326 25 159 136 135 134 347

Santiago, Roseta Santo Domingo Santo Domingo/Cochiti Schenck, Billy Schmidt, Albert Scholder, Fritz Sharp, Joseph Sims, Agnes Singleton, Gib Sisson, Laurence Philip Smith, Tucker Speed, Grant Sprick, Daniel Stavrowsky, Oleg Stewart, Dorothy N. Stewart, Charles C. Stiha, Vladan Stroh, Earl Radakovich, Svetozar + Ruth Clark Swentzell, Roxanne Tesuque Tohono O'odham Tsosie, Nelson Turner, Ray Turner, Ben Velarde [Tse Tsan], Pablita Victorian Vierra, Carlos Von Hassler, Carl Wandering Elk Warren, Melvin Charles Wells, C.J. White, Fritz White, Randy Lee Wiggins, Kim Wilson, Ike Wooten, Walt Workman, Michael Worrell, Bill Zia

Zuni

348, 349, 361 – 364 138 – 141 137 29, 291 – 293 319 37, 38, 83, 228, 286 324 252 95 – 99 304, 330, 331 365 94 295, 296 314 61 250, 251 317 303 223 264 158 168 – 170 85 294 340 42, 259 231 320 322, 323 39 358 382 90 384 289, 290 238 336 344 82 142 – 145 160 – 165

The following Terms and Conditions of Sale are the Santa Fe Art Auction Limited Co.’s (“Santa Fe Art Auction”) and its agents’ and consignors’ entire agreement with the prospective bidders, bidders and buyers relative to the lots listed in this catalogue. The lots will be offered by the Santa Fe Art Auction as agent for the consignors, unless the catalogue indicates otherwise.

1. The Santa Fe Art Auction operates as an agent of the seller only. It is not responsible in the event any buyer or seller at the auction fails to live up to their respective agreements, including failure of the seller to deliver any property to buyers. The Santa Fe Art Auction assumes no risk, liability, or responsibility beyond the limited warranty contained herein.

(a) All property is sold “AS IS.” There are no representations or warranties that extend beyond these Terms and Conditions of Sale. All works shall be available for examination prior to the sale. The Santa Fe Art Auction, and its agents and consignors, make no representations or warranties as to merchantability, fitness for a particular purpose, correctness of the catalogue or description, including, but not limited to, the authenticity, the physical condition, size, quality, rarity, importance, medium, provenance, dates, exhibitions, literary or historical relevance of any property, and, no statement anywhere, whether oral or written, whether made in the catalogue, an advertisement, a bill of sale, a salesroom posting or announcement, or elsewhere shall be deemed such a warranty, representation or assumption of liability. Nor are there any representations and warranties, express or implied, as to whether the purchaser acquires any copyrights, including, but not limited to, any reproduction rights in any property. Contents of this catalogue are subject to change or supplementation before or during the sale, including the sale of any lot.

2. Prospective bidders should inspect the lots before bidding to determine condition, size and whether or not the lot has been repaired or restored and to investigate all other matters relating to the lot that is of material importance to the prospective bidder.

3. A buyer’s premium will be added to the successful bid price and is payable by the purchaser as part of the total purchase price. If paying by cash or check, the purchase price will be the sum of the final bid price plus a buyer’s premium of 22% of the final bid price of each lot up to and including  $1,000,000 and 12% of the excess of the final bid price above $1,000,000, plus any applicable sales tax, shipping and handling charges. The buyer’s premium is calculated separately for each lot. If paying by credit card, the purchase price will be the sum of the final bid price plus a buyer’s premium of 25% of the final bid price for each lot up to and including $1,000,000, and 15% of the excess of the final bid price above $1,000,000, plus any applicable sales tax, shipping and handling charges. Successful Online bidders with LiveAuctioneers.com or Bidsquare.com will be subject to a 25% buyer’s premium of the final bid price of each lot up to and including $1,000,000 and 15% of the excess of the final bid price above $1,000,000, plus any applicable sales tax, shipping and handling charges.

4. Unless exempted by law, the Buyer will be required to pay all applicable state and local sales, gross receipts, and compensation tax. Proof of exemption in the form of a current Non-Taxable Transaction Certificate must be provided at registration. In the event of deliveries outside the state, it is the Purchaser’s responsibility to pay any applicable compensating use tax of another state on the total purchase price.

• Why Santa Fe Art Auction Collects Sales Tax: New Mexico requires a seller of goods to register with the New Mexico Department of Taxation and Revenue and collect and remit sales tax if the seller maintains a presence within the state. More specifically, tax laws require an auction house, like Santa Fe Art Auction, with a presence in New Mexico, to register as a sales tax collector, and remit sales tax collected to the state. Unless exempted, New Mexico sales tax is charged on the hammer price, buyer’s premium and any other applicable charges on any property picked up or delivered in New Mexico, regardless of the state or country in which the purchaser resides or does business.

• Since the 2018 South Dakota v. Wayfair, Inc. ruling, most US states have implemented legislation requiring remote sellers to collect sales tax when the total dollar value of purchases sent to that state exceeds a set threshold, known as an economic nexus. Each state sets its own threshold or nexus. Like all other remote sellers, Santa Fe Art Auction is now required to collect Sales/Use Tax from buyers in any state when the total dollar value of purchases sent to that state creates a nexus. When this occurs, you will see sales tax included on your invoice. The sales tax rate is determined by the state, county, and city where purchases are shipped. As of June 1, 2022, SFAA has met the nexus in the following states: Arizona, California, Colorado, Florida, Illinois, Massachusetts, Michigan, Missouri, New York, Oklahoma, Pennsylvania, Texas, Utah, Washington, Wyoming. However, any purchases made in person and/or picked up in person, are subject to applicable New Mexico sales tax instead.

• The following states do not currently have sales tax and/or applicable economic nexus laws, and as a result the Santa Fe Art Auction is not required to collect sales tax from Alaska, Delaware, Montana, New Hampshire, or Oregon.

• Certain Exemptions: New Mexico allows for specified exemptions to its sales tax. For example, a registered re-seller such as a registered art dealer may purchase without incurring a tax liability, and Santa Fe Art Auction is not required to collect sales tax from such re-seller.  As sales tax laws vary from state to state, Santa Fe Art Auction recommends that clients with questions regarding the application of sales or use taxes to property purchased at auction seek tax advice from their local tax advisors.

5. The Santa Fe Art Auction reserves the right to withdraw any lot before or during the sale and shall have no liability whatsoever for such withdrawal.

6. Except as may be announced by the auctioneer, all bids are per lot, as numbered in the catalogue.

7. The Santa Fe Art Auction reserves the right to reject any bid. The highest bidder acknowledged by the auctioneer will be the Buyer, subject to reserves. In the event of any dispute between bidders, or in the event of doubt as to the validity of any bid, the auctioneer will have the final discretion to determine the successful bidder, cancel the sale, or reoffer and resell the lot in dispute. If any dispute arises after the sale, the Santa Fe Art Auction’s sale record shall be final and conclusive. The Santa Fe Art Auction, in its discretion, may execute orders or absentee bids as a convenience to clients who are not present at the auction; however, the Santa Fe Art Auction is not responsible for any errors or omissions in connection therewith.

8. If the auctioneer, in his or her discretion, determines that any bid is below the reserve of the lot, he or she may reject the same and withdraw the lot from sale, and, if having acknowledged an opening or other bid, the auctioneer decides that any advance thereafter is insufficient, he or she may reject the advance.

9. On the fall of the auctioneer’s gavel, the highest bidder acknowledged by the auctioneer assumes full risk and responsibility for the offered lot, subject to all of the Terms and Conditions of Sale set forth herein, and is immediately obligated to pay the full purchase price. All sales are final and there shall be no exchanges or returns. Payment shall be made by cash, check or wire transfer. As set forth in paragraph 3, above, for an additional percentage Santa Fe Art Auction will also accept credit cards as a form of payment. (Visa and MasterCard only).

In addition to other remedies available to Santa Fe Art Auction by law, we reserve the right to impose, from the date of sale, a late charge of 1.5% per month (18% per annum) of the total purchase price, if payment is not made in accordance with the conditions set forth herein.

(a) All lots must be removed by the Buyer at his or her expense not later than ten (10) business days following the sale, and, if it is not so removed, (i) a handling charge of 1% of the total purchase price per month, or a portion thereof from the tenth day after the sale (until its removal) will be payable to us by the Buyer, with a minimum of 5% of the total purchase price due for any lot not so removed within 60 days after the sale, and (ii) Santa Fe Art Auction may send the purchased lot to a public warehouse for the account of and at the risk and expense of the Buyer.

(b) If any applicable conditions herein are not complied with by the Buyer, the Buyer will be in default, and in addition to any and all other remedies available to the Santa Fe Art Auction and its agents and consignors by law, including, without limitation, the right to hold the Buyer liable for the total purchase price, together with all fees, charges and expenses set forth in these Terms and Conditions of Sale, the Santa Fe Art Auction, at its sole option, may (i) cancel the sale of that, or any other lot or lots sold to the defaulting Buyer, or (ii) resell the purchased lot or lots, whether at auction or by private sale, or (iii) effect any combination thereof. The Buyer will be liable for any deficiency, any and all costs, handling charges, late charges, expenses and commissions of both sales, legal fees and expenses, collection fees and incidental damages. The Santa Fe Art Auction and its agents and consignors shall have all of the rights accorded to a secured party under the New Mexico Uniform Commercial Code. The Buyer of each lot agrees that each lot is unique and that Santa Fe Art Auction, in its sole discretion, shall not be required to sell or otherwise seek to mitigate damages should such Buyer fail to pay the total purchase price. Payment will not be deemed to have been made in full until the Santa Fe Art Auction shall have collected good funds. The Santa Fe Art Auction reserves the right to hold all purchases pending collection of the total purchase price, together with all additional fees, charges and expenses incurred pursuant to these Terms and Conditions of Sale.

10. All lots (unless otherwise indicated by the letters “nr”) are subject to a reserve, which is the confidential minimum price acceptable to the consignor. The Santa Fe Art Auction, or its agents or consignors, may implement such reserve by opening the bidding or they or either of them may bid up to the amount of the reserve by placing successive or consecutive bids for a lot or may bid in response to other bidders. In instances where the Santa Fe Art Auction has an interest in the lot, it may bid up to the reserve to protect such interest.

11. Santa Fe Art Auction is the owner of images of each lot offered for sale and may use such images for its own archival purposes, as well as for advertising and publicity in connection with this or future sales by the Santa Fe Art Auction.

12. These Terms and Conditions of Sale, together with the parties’ respective rights and obligations hereunder, shall be governed and construed and enforced in accordance with the laws of the State of New Mexico, without regard to New Mexico’s rules concerning conflicts of laws.

13. Prospective bidders, bidders and Buyers agree that, in the event of any controversy or claim arising out of or relating to a sale of any lot, the party asserting such controversy or claim shall provide written notice thereof to the other party; that any such controversy or claim not settled within fourteen (14) days of delivery of notice by the other party, including, without limitation, any controversy or claim arising from, or relating to, the sale of any lot or any of these Terms and Conditions of Sale, including the terms of this paragraph, the sole and exclusive means for resolving the dispute shall be by binding arbitration in Santa Fe, New Mexico. Said arbitration shall be confidential and shall be pursuant to the New Mexico Uniform Arbitration Act, shall be conducted before a single arbitrator, and shall otherwise be guided by the then extant New Mexico Rules of Arbitration. This Agreement is deemed made in Santa Fe, New Mexico, and is subject to the internal substantive law of the State of New Mexico without regard to conflicts of laws. The award of the arbitrator shall be final, and may be entered into any court having jurisdiction thereof. Each party shall bear that party’s own costs of arbitration and attorney’s fees.

14. The Santa Fe Art Auction is pleased to present to art purchasers shipping options which are explained in the shipping form enclosed in this catalogue. If you misplace this form, call or send an email and another form will be provided.

15. Results are posted on the Santa Fe Art Auction web site and, upon request, may be sent to Buyers, catalogue subscribers, absentee and phone bidders, and other registered bidders.

16.  If any part of these Terms and Conditions is held invalid or unenforceable for any reason, the remaining provisions shall continue to be valid and enforceable to the fullest extent permitted by law.

17.  These Terms and Conditions are not assignable by any buyer without the prior written consent of the Santa Fe Art Auction. However, these Terms and Conditions are binding on the buyer’s successors, assigns and representatives.

18.  No act, omission or delay by the Santa Fe Art Auction shall be deemed a waiver of its rights and remedies under these Terms and Conditions.

19.  The Santa Fe Art Auction shall use reasonable efforts to contact prospective buyers who have made prior arrangements to place telephone bids in order for these buyers to participate in the auction. The Santa Fe Art Auction shall not be liable for its failure to contact said bidders or for any errors or omissions made in connection with telephone bids since telephone bids are offered as a free service that is undertaken subject to the other commitments of Santa Fe Art Auction during the sale.

20. Santa Fe Art Auction shall use reasonable efforts to execute online bids in order for online buyers to participate in the auction. Online bidding is provided as an alternative bidding service and should not be considered a replacement for bidding in the room. Santa Fe Art Auction encourages its buyers to weigh the advantages and limitations of live online bidding when deciding whether to bid in the room or online. Santa Fe Art Auction shall not be liable for any errors or omissions made in connection with online bids or the online bidding process. Although Santa Fe Art Auction will do everything in its power to assure all online bids are recognized, Santa Fe Art Auction has no way of guaranteeing that the internet and the online bidding process will be free from technical malfunctions. In the event of a tie between an online bid and a “room” bid, the “room” bid generally will take precedence. “Room” bids include those bids taken from the live auction room(s), telephones, absentee bidders, or bids made by the auctioneer to protect the reserve. Santa Fe Art Auction will not be responsible for errors or failures to execute bids placed on the internet, including, without limitation, errors or failures caused by (i) a loss of connection on Santa Fe Art Auction’s or on the Buyer’s end, (ii) a breakdown or problems with the online bidding software, and/or (iii) a breakdown or problems with a Buyer’s internet connection, computer or system. Santa Fe Art Auction does not accept liability for failing to execute an online internet bid or for errors or omissions in connection with this activity.

GUIDE FOR BIDDING

ABSENTEE BIDS

If you are unable to attend the auction in person, and wish to place bids, you may give the Santa Fe Art Auction Bid Department instructions to bid on your behalf. Our representatives will then try to purchase the lot or lots of your choice for the lowest price possible, and never for more than the top amount you indicate. The Santa Fe Art Auction offers this service as a convenience to clients who are unable to attend the auction. However, the Santa Fe Art Auction will not be responsible for failure to execute bids, or any errors in executing bids.

PLACING ABSENTEE BIDS

Absentee bids are accepted only if you have returned a signed Absentee Bid Form by mail or fax which authorizes the Santa Fe Art Auction to place bids on your behalf. The Absentee Bid Form appears in the back of this catalogue. Please complete and return to the Santa Fe Art Auction by November 3, 2022, 5 PM MDT for Session One and November 4, 2022, 5 PM MDT for Session Two.

To place bids, please use the Absentee Bid Form provided in the back of this catalogue. Be sure the lot number and the descriptions are accurate and note the top price you are willing to pay for each lot.

Any alternative bids should be indicated by using the word “OR” between lot numbers. Then if your bid on an early lot is successful, we will not continue to bid on other lots for you. Or, if your early bids are unsuccessful, we will continue to execute bids for alternative lots until a bid is successful. Bids must be placed in the same order as the lot numbers appear in this catalogue.

Please place your bids as early as possible. In the event of identical bids, the earliest bid received will take precedence.

TELEPHONE BIDS

Telephone bids are accepted only if you have returned a signed telephone bid form which authorizes the Santa Fe Art Auction to place bids on your behalf Please check the telephone bid box on the form, complete, and return to the Santa Fe Art Auction by November 3, 2022, 5 PM MDT for Session One and November 4, 2022, 5 PM MDT for Session Two. Telephone bidders are encouraged to leave back up bids in case of technical difficulties. A Top Limit bid need not be specified.

BUYER’S PREMIUM

The top limit you indicate on your bid form is the hammer price exclusively. Please keep in mind that a buyer’s premium, as stated in paragraph 3 of the terms and conditions of sale, will be added to the successful bid price of each lot you buy and is payable by you together with the applicable sales tax which is applied to the total cost of the purchase.

SUCCESSFUL BIDS

Successful absentee bidders will be notified and invoiced within a few days of the sale. Successful absentee bidders shall arrange to make payment via cash, check, credit card or wire transfer upon receipt of notification of purchase.

BIDDING INCREMENTS

Bidding increments are as follows, but may vary at the sole discretion of the auctioneer:

Estimate Increment

Under $2,000 $100

$2,000 – $5,000 $250

$5,000 – $10,000 $500

$10,000 – $20,000 $1,000

$20,000 – $50,000 $2,500

$50,000 – $100,000 $5,000

OVER $100,000 $10,000

Front Cover

Lot 261: Helen Hardin [Tsa-Sah-Wee-Eh] (Santa Clara, 1943 – 1984)

Oh-Khoo-wah- Maidens Bringing Rain, 1982

Frontispiece A

Lot 286: Fritz Scholder (Luiseño, 1937 – 2005)

Taos Clouds

Frontispiece B

Lot 263: Chloé Marie Burk (21st Century)

L’ Epopee, 2022

Back Cover

Lot 199: Charles Loloma (Hopi, 1921 – 1991)

Single Loloma Cloud

© 2022 Santa Fe Art Auction, LLC

Director of Photography: Molly Wagoner

Graphic Design: Shane Mieske

Printing: O’Neil Printing, Arizona