WESTERN & CONTEMPORARY NATIVE AMERICAN ART
4 MAY 2023
4 MAY 2023
SALE 1137
4 May 2023
10:00am MT | Denver | Live + Online Lots 1–276
PREVIEW Hindman Denver 2737 Larimer Street, Suite 202, Denver, CO 80205
April 24–May 3
10:00am–5:00pm | Monday–Friday 11:00am–4:00pm | Saturday (by appointment only) westernart@hindmanauctions.com
PROPERTY PICK UP HOURS
Monday–Friday | 9:00am–4:00pm By appointment 303.825.1855
All property must be paid for within seven days and picked up within thirty days per our Conditions of Sale.
All lots in this catalogue with a lower estimate value of $5,000 and above are searched against the Art Loss Register database
To view the complete catalogue, sign up to bid, and read our Conditions of Sale, visit hindmanauctions.com or the Hindman App. All bidders must agree to Hindman’s Conditions of Sale prior to registering to bid.
PROPERTY FROM THE TRUSTS AND ESTATES OF Diana Doering
An Estate, Scottsdale, Arizona
William D. Weiss, Jackson, Wyoming
Harry M. Cornell, Jr.
Barry M. Goldwater
PROPERTY FROM THE COLLECTIONS OF A Prominent Missouri Collection
A Corporate Art Collection, Oklahoma
A Private Collection, Chicago, Illinois
Robert P. Hunter, Jr. and Barbara Hunter, Alpharetta, Georgia
Edith S. Peiser, Boca Raton, Florida
Linda and Roger Nace, Phoenix, Arizona
Nicole Gerber
Stanley B. Slocum
Audrey and Harris Yett
Ned Jacob
Hope Connors
Kristin Masterson
The Smith Collection, Scottsdale, Arizona
Mr. Andrew Wolf
Douglas Sall
Carla J. Doerksen
Bill and Joanne Harper
PROPERTY SOLD TO BENEFIT
Property from the Mandelman - Ribak Collection, Sold for the Benefit of the University of New Mexico
Property from an Estate, Sold to Benefit the Wichita Art Museum
LOTS 1–238
Harry M. Cornell, Jr. was a visionary leader and businessman, a lover of the arts, and a generous philanthropist. He was the grandson of J.P Leggett, a founder of Leggett & Platt, Inc., Carthage, Missouri. Leggett, founded in 1883, was always a part of Harry’s life, beginning in his teenage years. He was elected president and CEO in 1960, and through innovation and acquisition, Harry built the small private spring manufacturer into a Fortune 500 manufacturing giant. Harry encouraged a spirit of partnership within Leggett and its employees He was a visionary CEO who considered each achievement to be a team effort, encouraging others to strive for excellence and to focus on continual improvement.
Harry continued to fulfill his drive through philanthropic commitments, one of which was a new visual and performing arts center in Joplin, Missouri. The Harry M. Cornell Arts & Entertainment Complex, completed in October 2022, was named after its major benefactor Harry M. Cornell, Jr. He had a strong connection to the arts and valued the role the arts play in everyday life; he felt that he possessed “The Art Spirit,” as an inventive, searching, daring, self-expressing creature. Art helped feed his imagination in his personal and professional life. He thoroughly enjoyed collecting visual art for over 50 years for his personal collection and the corporate Leggett & Platt Collection. He surrounded himself with paintings and sculptures in his home and at work, appreciating and enjoying art daily. One of his greatest joys was meeting the artists and having a relationship with them.
In 2022, he bequeathed many works from his personal collection of western art to the Harry M. Cornell Permanent Collection Gallery at Spiva Center for the Arts in the Cornell Complex. Since 2019, he also gifted many of his bronze sculptures to the public art collection at the Rotary Sculpture Garden which can be enjoyed at Mercy Park, Joplin, Missouri. At his passing, he also gifted his personal collection of African art and artifacts to the Johnny Morris Foundation in Springfield, Missouri.
Harry M. Cornell, Jr. (1928–2022)
1 Karl Albert (American, 1911-2007) Three Sisters Monument Valley oil on board signed Karl Albert (lower right)
14 x 18 inches
Property from an Estate, Sold to Benefit the Wichita Art Museum
Provenance: Kachina Gallery, Santa Fe, New Mexico
$800 - 1,200
2 Karl Albert (American, 1911-2007)
Sunny Day on the Great Divide oil on panel signed Karl Albert (lower right)
12 x 24 inches
Property from an Estate, Sold to Benefit the Wichita Art Museum
$800 - 1,200
3 Kerry Kinman (American, 1946-2008)
Desert Landscape oil on canvas signed K. Kinman (lower right)
36 x 24 inches
$1,000 - 2,000
4 Merrill Mahaffey (American, b. 1937)
North Wall, 1983 oil on canvas signed Merrill Mahaffey (lower right); signed, titled and dated (verso) 40 x 40 inches
$1,000 - 2,000
5 Merrill Mahaffey (American, b. 1937)
Corner Point, 1992 acrylic on canvas signed Merrill Mahaffey (lower right); signed, titled and dated (verso) 32 x 48 inches
Property from the Smith Collection, Scottsdale, Arizona
$2,000 - 3,000
6 Merrill Mahaffey (American, b. 1937)
Morning Light, 1997
acrylic on canvas signed Merrill Mahaffey (lower left); signed, titled and dated (verso) 60 x 84 inches
Property from the Smith Collection, Scottsdale, Arizona
$4,000 - 6,000
7 Merrill Mahaffey (American, b. 1937)
Sierra Desert Rocks, 1992
acrylic on canvas signed Merrill Mahaffey (lower right); signed, titled and dated (verso) 46 x 64 inches
Property from the Smith Collection, Scottsdale, Arizona
$2,000 - 3,000
8 Thomas Hill (British/American, 1829-1908)
Garden of the Gods oil on board signed T. Hill (lower left) 11 x 16 inches
Provenance:
Butterfield’s, San Francisco, California, January 21, 1981, Lot 231 Private Collection, Oregon Thence by descent
Acquired from the above by the present owner $3,000 - 5,000
9 Gordon Brown (American, b. 1962) Mouth of the Canyon oil on board signed Gordon Brown (lower right) 50 x 42 inches
Provenance: Breckenridge Galleries, Breckenridge, Colorado $2,000 - 3,000
10 Gordon Brown (American, b. 1962)
Red Rocks oil on board signed Gordon Brown (lower right)
36 x 38 inches
Provenance: Breckenridge Galleries, Breckenridge, Colorado
$1,000 - 2,000
12
Dan Young (American, b. 1959)
September Glory - Crystal River oil on board
signed Young (lower left); signed and titled (verso)
10 x 12 inches
Property from the Collection of Hope Connors
$600 - 800
11 Matt Smith (American, b. 1960)
Color on the First Water oil on board signed Matt Smith (lower left); signed and titled (verso) 12 x 12 inches
Property from the Collection of Hope Connors
Provenance: Buffalo Bill Art Show & Sale, Cody, Wyoming, Lot 54 $800 - 1,200
13 William F. Reese (American, 1938-2010)
Four Works: Coming Storm, Shelter, As Brooke Make Rivers and Stormy Landscape oil on board each signed William F. Reese; signed and titled (verso) each 8 x 8 inches
Property from the Estate of William D. Weiss, Jackson, Wyoming
$1,000 - 2,000
14
Ralph Oberg (American, b. 1950)
Warm Water, 2001 oil on board
signed Oberg (lower right); signed, titled and dated (verso)
14 x 18 inches
Property from the Collection of Hope Connors
$1,000 - 2,000
15
William Matthews (American, b. 1949)
Geyser Basin Sketch
watercolor
signed William Matthews (lower left)
10 1/4 x 10 1/4 inches
Property from the Collection of Hope Connors
$800 - 1,200
16
William Matthews (American, b. 1949)
High Mesa Ranch
watercolor on paper
signed William Matthews and titled (lower left)
13 1/2 x 14 inches
Property from the Collection of Hope Connors
$1,000 - 2,000
17
Dan Young (American, b. 1959)
Spring Renewal oil on board
signed Young (lower right); signed and titled (verso)
11 x 14 inches
Property from the Collection of Hope Connors
$600 - 800
18
Matt Smith (American, b. 1960)
Above the Falls oil on board signed Matt Smith (lower left); signed and titled (verso) 10 x 12 inches
Property from the Collection of Hope Connors $700 - 900
20
Bart Walter (American, b. 1958)
End of Winter, 2009 oil on board signed B. Walter (lower right); signed, titled and dated (verso) 7 x 10 inches
Property from the Collection of Hope Connors
Provenance: Simpson Gallagher Gallery, Cody, Wyoming $400 - 600
19 Matt Smith (American, b. 1960)
A Good Spot to Rest oil on board signed Matt Smith (lower right); signed and titled (verso) 13 x 14 inches
Property from the Collection of Hope Connors
Provenance: Buffalo Bill Art Show & Sale, Cody, Wyoming, Lot 6 $1,000 - 2,000
21
John Carlson (Swedish/American, 1875-1945)
Winter Woods, circa 1920 oil on board signed John F. Carlson (lower right); signed and titled (verso) 8 x 10 inches
Property from the Collection of Hope Connors
Exhibited: Salmagundi Club, New York, New York, “Exhibition of Thumb-box Sketches”, November 22 - December 11, 1942
$1,000 - 2,000
23
From Signal Mountain, 1983 oil on masonite
signed Jim Wilcox and dated (lower right); titled (verso) 30 x 48 inches
Property from the Collection of Carla J. Doerksen
$2,000 - 3,000
22
Heavy Coat on Sopris oil on board
signed Young (lower left); signed and titled (verso) 10 x 12 inches
Property from the Collection of Hope Connors
$500 - 700
24
Clyde Aspevig (American, b. 1951)
Banks of the Pourde, 1989 oil on canvas signed Aspevig (lower left); signed, titled and dated (verso) 20 x 26 inches
Property from the Estate of Harry M. Cornell, Jr.
Provenance: Trailside Galleries, Scottsdale, Arizona
$6,000 - 8,000
25
Charles Partridge Adams (American, 1858-1942)
In Mile Creek in Autumn, 1894 oil on canvas signed Chas. Partridge Adams and dated (lower left) 20 x 30 inches
Property from the Collection of Hope Connors
$5,000 - 7,000
26
Larry Dyke (American, 20th Century) Mountain Landscape oil on canvas signed L.W. Dyke (lower left) 12 x 16 inches
Property from the Estate of Harry M. Cornell, Jr.
Provenance: Whistle Pik Galleries, Fredericksburg, Texas
$2,000 - 3,000
27
William Slaughter (American, 1923-2003) Long Country Road oil on canvas signed W.A. Slaughter (lower left) 20 x 24 inches
Property from the Estate of Harry M. Cornell, Jr.
$3,000 - 5,000
28
William Slaughter (American, 1923-2003) Barn and Bluebonnets oil on canvas signed W.A. Slaughter (lower right) 24 x 30 inches
$4,000 - 6,000
29
Sagebrush
Property
Provenance: Simpson Gallagher Gallery, Cody, Wyoming
$400 - 600
30
Phil
Property
$1,000 - 2,000
31 Thomas deDecker (American, b. 1951) Western Sunset oil on board signed Thomas deDecker (lower left); signed, titled and dated (verso) 30 x 24 inches
$2,000 - 4,000
32 Thomas deDecker (American, b. 1951)
Peaceful Reflections, 2023 oil on board signed Thomas deDecker (lower left); signed, titled and dated (verso)
20 x 24 inches
$1,500 - 2,500
Treeline - Wind River, 2008 oil on board
signed Whitcomb (lower left); signed, titled and dated (verso) 9 x 12 inches
Property from the Collection of Hope Connors
Provenance: Buffalo Bill Art Show & Sale, Cody, Wyoming, Lot 56
$800 - 1,200
Sierra Pass, 1998 oil on board signed Matt Smith (lower right) 12 x 16 inches
Property from the Collection of Hope Connors
$1,000 - 2,000
Taos
1989 oil on board signed MJ Lynch (lower right)
30 x 40 inches
$1,500 - 2,500
Albert
(American, 1830-1902)
Untitled Landscape oil on canvas laid to board signed ABierstadt (lower right)
11 3/4 x 19 3/4 inches
This painting is included in Melissa Speidel’s catalogue raisonné database of the artist’s works. It is accompanied by a letter of opinion from Melissa Speidel, issued 23 March, 2023.
$20,000 - 40,000
The Rocky Mountains, 1866 chromo-lithograph
16 3/4 x 28 1/4 inches
An Important Western Collection of Edward S. Curtis
Provenance:
Zaplin Lampert Gallery, Santa Fe, New Mexico
$4,000 - 6,000
In The Cascade, 1943 oil on canvas signed Robert Wood and dated (lower right)
25 x 30 inches
Property from a Corporate Art Collection, Oklahoma
Provenance:
Altermann Art Gallery, Dallas, Texas
$2,000 - 4,000
39 Raphael Lillywhite (American,1891-1958)
Gem Lake - Colorado oil on board signed Raphael Lillywhite (lower right) 16 3/8 x 13 1/4 inches
$2,000 - 3,000
40 Gregory McHuron (American, 1945-2012)
Breaking Through, 1987 oil on board signed Gregory McHuron (lower right); signed, titled and dated (verso) 18 x 36 inches
Property from a Corporate Art Collection, Oklahoma
Provenance: C.M. Russell Art Auction, March 17-19, 1988, Lot 197
$2,000 - 4,000
41 Alfredo Rodriguez (American, b. 1954)
Grand Canyon oil on canvas signed A. Rodriguez and dated (lower right) 24 x 36 inches
Property from a Corporate Art Collection, Oklahoma
$2,000 - 4,000
2 x 7 inches
Property from a Corporate Art Collection, Oklahoma
Provenance:
J.N. Bartfield Galleries, New York, New York
Midwestern Galleries, Cincinnati, Ohio
$2,000 - 3,000
October Mist oil on board signed Earl Carpenter (lower left) 30 x 48 inches
Property from a Corporate Art Collection, Oklahoma
$2,000 - 4,000
Henry Farny’s family emigrated from France in 1848 and settled in Cincinnati, a burgeoning city that quickly became a nursery for important American artists. Native Americans fascinated Farny, but he often noted the disparity between their portrayals as fierce, tragic warriors, and their reality as casualties of American expansion. Still, the prospect of one day heading West to paint aroused his ambition to make his life in art. He apprenticed with a lithographer, drawing Civil War scenes that led to work with Harper’s Weekly and a meeting with the American ambassador to Rome—a fellow Cincinnatian—led to studies in Europe. Farny studied in Rome, Dusseldorf, Munich, and Paris and returned to Cincinnati in 1870. In 1878, he ventured on a thousand-mile trip down the Missouri River, living among and painting the Blackfeet, Crow, Sioux, and Zuni Indians, observing their cultures and learning their languages. He became an ardent advocate for Indigenous Peoples. As his career and reputation flourished, his friends became a who’s who of the late 19th century: Robert Louis Stevenson, Mark Twain, Oscar Wilde, Ulysses S. Grant. Geronimo, Sitting Bull, and Theodore Roosevelt, who was especially fond of the artist and supportive of his work. Moonlit Landscape is a lovely gem. It’s a monochromatic nocturne, a landscape of light and shadow seen through trees that Corot might envy, light and shadow falling on water, coming to rest on a wooded mountain in the middle distance. Farny layers the grayscale tones and lets white create day in the deep mystery of night. The sliver of moon at upper right is a Farny trademark. This and other aspects of Moonlit Landscape appear throughout his work, especially in his beautiful, prized gouaches.
−James D. Balestrieri44 Heinie Hartwig (American, b. 1937)
Sierra Foothills oil on board signed Heinie Hartwig (lower right)
32 x 48 inches
Property from a Corporate Art Collection, Oklahoma
Provenance: Creekside Galleries, Sedona, Arizona
$1,000 - 2,000
45 Richard Schmid (American, 1934-2021)
Landscape with Clearing, 1953 oil on canvas signed Richard Schmid and dated (lower right)
22 x 28 inches
Provenance: The Artist
Acquired from the above by the present owner
$3,000 - 5,000
45A James Fetherolf (American, 1925-1994)
The Old Timers oil on canvas signed Fetherolf (lower right)
24 x 36 inches
Property from the Collection of Cathleen B. Prosise
$4,000 - 6,000
49 Wilson
(American, 1924-2008)
Fog Strangler, 1971 oil on canvas
signed Wilson Hurley and dated (lower left)
30 x 32 inches
Property from an Estate, Sold to Benefit the Wichita Art Museum
Provenance:
The Baker Company, Lubbock, Texas, March, 1971
Acquired from the above by the present owner
$8,000 - 12,000
Perhaps the foremost painter of the skies of the American West, Wilson Hurley painted Fog Strangler in 1971, two years after winning the Distinguished Flying Cross for his service in the Air Force in Vietnam, and a year after his marriage to his lifelong partner in art, Roz. It was while he was flying that Hurley fell in love with sky, clouds, light and shadow, and he made their interpretation on canvas into his signature theme. The “fog strangler” in Fog Strangler is the sun, breaking through the towering, billowing clouds that resemble fists withdrawing from a losing battle. Hurley loved, adhered to, and frequently bent the Renaissance rules of perspective and the impressionist discoveries regarding color. In Fog Strangler, the shadowed rocks in the foreground draw the eye to the brightest, distant light. The eye then moves to the light at upper left and down to the lighter patch below that. The effect makes the viewer feel the movement of the rainy front across the painting.
−James D. Balestrieri51 Birger Sandzén (Swedish/American, 1871-1954)
Autumnal Landscape, 1939 oil on canvas
signed Birger Sandzén and dated (lower right) 30 x 40 inches
Property from the Estate of Diana Doering
We wish to thank Cori Sherman North, Curator of the Birger Sandzén Memorial Gallery, Lindsborg, Kansas, for her invaluable cataloguing assistance. This painting is recorded as #2732 in the Sandzén card catalogue of the Birger Sandzén Memorial Gallery.
$60,000 - 80,000
Birger Sandzén was born in Sweden and studied in his native country under celebrated figure artist and printmaker Anders Zorn before journeying to France to continue his education in pointillist master George Seurat’s studio. While in France, Sandzén took advantage of the opportunity to study the color and paint application techniques of the impressionists and postimpressionists. After reading a book about the struggles of Swedish immigrants in Lindsborg, Kansas, Sandzén emigrated to the United States in 1894. He settled in Lindsborg and took a professorship at Bethany College. Sandzén would go on to travel widely in the American West, where he painted landscapes that are, in a way, of woodcuts—a medium at which he excelled. The 1936 painting, Autumnal Landscape, epitomizes Sandzén’s mature style as it evolved from Seurat’s pointillist practice of setting dots of color, one against another, and allowing the optics of the viewer’s eye to mix them. Sandzén employs a vibrant palette and textured application that makes the paint itself vibrate across the canvas. Light resonates with shadow; smooth resonates with rough. You can almost hear the seasons changing from summer to fall. Despite their vast stylistic differences, I always perceive Sandzén’s trees as I see Thomas Cole’s—they have an individual identity and soul that makes the viewer want to get to know them.
−James D. Balestrieri52 Peter Hurd (American, 1904-1984) Labor Area de la Sierra Florida watercolor and ink on paper signed Peter Hurd and titled (lower left) 9 x 12 inches
$1,000 - 2,000
53 Sheldon Parsons (American, 1866-1943)
The Cactus Range - Santa Fe oil on canvas signed Sheldon Parsons (lower left) 30 x 32 inches
Provenance: The Potomack Company, Alexandria, Virginia, December 8, 2012, Lot 137
Acquired from the above by the present owner
Exhibited: California Liberty Fair, Los Angeles, California, 1918
$6,000 - 8,000
Provenance:
55 Ben Turner (American, 1912-1966)
New Mexico Scene oil on board signed Ben Turner (lower right)
19 x 23 inches
$2,000 - 3,000
56 Morris Rippel (American, 1930-2009)
Trampas Valley, 1975
watercolor
signed M. Rippel and dated (lower left)
13 1/2 x 22 inches
$1,000 - 2,000
57 Morris Rippel (American, 1930-2009)
Hogan-Nazlini Basin, 1975
watercolor
signed M. Rippel and dated (lower left)
10 x 16 inches
$1,000 - 2,000
58 Gene Kloss (American, 1903-1996)
Old Mesilla, Artist’s Proof drypoint etching
signed Gene Kloss, titled and numbered (lower margin)
10 x 12 inches
Property from the Collection of Hope Connors
$600 - 800
59 Gene Kloss (American, 1903-1996)
A Morning in April, Artist’s Proof drypoint etching signed Gene Kloss, titled and numbered (lower margin)
11 x 13 7/8 inches
Property from the Collection of Hope Connors
$600 - 800
60 Gene Kloss (American, 1903-1996)
Rain in Taos Valley, Artist’s Proof drypoint etching
signed Gene Kloss, titled and numbered (lower margin)
14 x 11 inches
Property from the Collection of Hope Connors
$800 - 1,200
61 Gene Kloss (American, 1903-1996)
Hunters in the Snow (1st State), edition 23/50 drypoint etching
signed Gene Kloss, titled and numbered (lower margin)
11 x 13 7/8 inches
Property from the Collection of Hope Connors
$800 - 1,200
62 Gene Kloss (American, 1903-1996)
Quoth The Raven Never More, Artist’s Proof drypoint etching signed Gene Kloss, titled and numbered (lower margin)
11 x 14 inches
Property from the Collection of Hope Connors
$700 - 900
63
Gene Kloss (American, 1903-1996)
Rain Dance Beginning at Old Tamáya, edition 50 drypoint etching
signed Gene Kloss, titled and numbered (lower margin)
8 x 11 inches
$1,000 - 2,000
64 Gustave Baumann (American/German, 1881–1971)
San Geronimo - Taos, edition 71/125, 1924
woodcut
signed Gustave Baumann, titled, and numbered (lower margin)
7 x 6 inches
$8,000 - 12,000
65 Gustave Baumann (American/German, 1881–1971)
Hoosier Garden, edition 21/107, 1961
woodcut
signed Gustave Baumann, dated, titled, and numbered (lower margin)
12 1/2 x 13 inches
$10,000 - 15,000
Born in Germany, Gustave Baumann learned the art of the color woodcut in Munich, perfected his technique at the Brown County Art Colony in Indiana, and moved to the Southwest in 1918, first to Taos and then to Santa Fe. Baumann brought a modernist sensibility to the Arts and Crafts aesthetics he studied in Indiana, employing a strong, varied palette to textured and layered forms. Baumann also carved marionettes for public ceremonies (including Zozobra, precursor to today’s Burning Man) and figures for churches. Hoosier Garden, hearkening back to his Indiana days, is busy with hollyhocks, black-eyed susans, and veritable a profusion of flowers, set against wood-grained walls, rooftops, and a porch. San Geronimo-Taos, on the other hand, finds Baumann at home in New Mexico, layering lines of figures this time—spectators and dancers—against the levels of Taos Pueblo. Light, shadow, light, shadow—from the scattered observers nearest us, to the shadows of the performers on the pueblo wall—the people mirror the ancient pueblo itself in a rhythm meant to evoke the Feast Day of San Geronimo, held every year on September 30th.
−James D. BalestrieriLeon Gaspard studied alongside Marc Chagall at an art school in Vitebsk, Russia. He continued his education in Paris. While there, he met and married Evelyn Adell, an American woman, and joined the French Air Corps once World War I broke out. Gaspard sustained serious injuries when his plane was shot down; his wife urged him to seek treatment in the United States. In 1916, Gaspard was recuperating in New York where made friends among the many artists in the city. His work came to the attention of Reinhardt’s, one of the city’s top galleries at the time and his exhibition there, of scenes from the war in France and Russia, was a smash. The New York Times called his paintings “fresh and brilliant and infinitely the better for complete lack of sentimentality.” Gaspard’s new artist friends told him about the restorative climate in Taos; in 1919 he moved there. In the people and landscape of Taos, Gaspard noted and painted many similarities to the Tartar countryside he knew in his Russian boyhood. Russian Village Market, painted in 1917, is a painting from Gaspard’s sojourn in New York. Imagine the ravages of the war and the Russian Revolution raging in his homeland—then look at what he wants to capture and remember: all the colors and buzz of a colorful country market. Gaspard fills the panel with men, women, children, horses, goods in a post-impressionist manner, alternating the floral details of a shawl or a horse’s harness with broad strokes. What this magnificent work conveys is the artist’s desire to set down this moment of continuity, asking us to consider how long this kind of market has been going on, and then, further, to imagine, as he must have, a future in which this market may no longer exist.
−James D. Balestrieri67
Leon Shulman Gaspard (Russian/American, 1882-1964)
Portrait of a Man oil on board
signed L.S. Gaspard (lower left)
10 1/4 x 8 inches
Property from an Estate, Sold to Benefit the Wichita Art Museum
Provenance:
Jamison Galleries, Santa Fe, New Mexico, October, 1966
Acquired from the above by the present owner
$3,000 - 5,000
68 Joseph Birren (American, 1864–1933)
Mountain Village oil on board signed Joseph Birren (lower left)
6 1/4 x 9 1/4 inches
Property from the Collection of Stanley B. Slocum
$1,000 - 2,000
69 William Sanderson (American 1905-1990)
Senior Citizen, 1974 oil on board signed Sanderson (lower left)
11 x 14 inches
$2,000 - 4,000
70 Walt Gonske (American, b. 1942)
Placita Church oil on board signed Gonske (lower right); signed and titled (verso) 9 x 12 inches
Property from the Collection of Hope Connors
Provenance: Buffalo Bill Art Show & Sale, Cody, Wyoming, Lot 117 $800 - 1,200
71 Francis H. Beaugureau (American, 1920-2001)
Adobe Village oil on canvas signed Beaugureau (lower left) 24 x 36 inches
Property from a Corporate Art Collection, Oklahoma $1,500 - 2,500
72 Mort Künstler (American, b. 1931)
First Christmas, 1988 oil on canvas signed M. Künstler and dated (lower right) 26 x 34 inches
Property from a Corporate Art Collection, Oklahoma $3,000 - 5,000
73
Fred Harman (American, 1902-1982)
The Reluctant Pup oil on canvas signed Fred Harman (lower right)
18 x 24 inches
Property from a Corporate Art Collection, Oklahoma
$1,000 - 2,000
74
John Leone (American, 1929-2011)
Working the Team oil on board signed John Leone (lower right); titled (verso) 28 x 40 inches
Property from a Corporate Art Collection, Oklahoma
$1,500 - 2,500
75
John Leone (American, 1929-2011)
Milking Time, 1988 oil on board signed John Leone (lower right)
28 x 40 inches
Property from a Corporate Art Collection, Oklahoma
$1,500 - 2,500
76 Gary Niblett (American, b. 1943)
Grandpa’s Old Shed, 1977 oil on canvas signed G Niblett and dated (lower right) 24 x 36 inches
Property from a Corporate Art Collection, Oklahoma $3,000 - 5,000
77 Mort Künstler (American, b. 1931)
Bailing Hay, 1990 oil on canvas signed M. Künstler and dated (lower left) 24 x 36 inches
Property from a Corporate Art Collection, Oklahoma $3,000 - 5,000
78 Fred Harman (American, 1902-1982)
Wood for Winter Fires
oil on canvas signed Fred Harman (lower right) 24 x 36 inches
Property from a Corporate Art Collection, Oklahoma
$1,500 - 2,500
79 Mort Künstler (American, b. 1931)
Water Wagon, 1990 oil on canvas signed M. Künstler and dated (lower right) 22 x 30 inches
Property from a Corporate Art Collection, Oklahoma $2,000 - 4,000
80 Russ Vickers (American, 1923-1997)
The Outlaws, 1983 oil on canvas signed Russ Vickers and dated (lower right); signed, titled and dated (verso) 24 x 36 inches
Property from a Corporate Art Collection, Oklahoma $3,000 - 5,000
81 John Leone (American, 1929-2011)
The Old and The New oil on board signed John Leone (lower right) 28 x 40 inches
Property from a Corporate Art Collection, Oklahoma $1,500 - 2,500
When Freighting was Costly oil on canvas
signed Geo Phippen (lower left)
28 x 36 inches
Property from a Corporate Art Collection, Oklahoma
Provenance:
Estate of Rachael Z. Allen, Houston, Texas Private Collection
Overland Trail Fine Art Galleries, Scottsdale, Arizona
$5,000 - 7,000
82
Dan Bodelson (American, b. 1949)
The Valley, 1979 oil on canvas
signed D. Bodelson and dated (lower left) 24 x 34 inches
Property from a Corporate Art Collection, Oklahoma $2,000 - 4,000
George Phippen had little training in art apart from three months with Henry Balink in Santa Fe. Through his own talent and perseverance he secured a contract to illustrate catalogues for Brown and Bigelow. Soon after, Phippen began to make a name and living painting the American West. Phippen, who was the first President of the Cowboy Artists of America, once said, “The art game, which includes illustrating, fine art, and cartooning, is considered about the toughest business there is… but no job holds the freedom the arts do once you make the grade.” The concept of “costly” in When Freighting Was Costly has multiple meanings: costly to the teamsters, the oxen, the company, the attacking Natives—and to the customer. Such losses would have been built into the price of goods and of doing business in the Old West. In this painting, our attention goes to the stoic teamster using a dead oxen as cover, calmly smoking his pipe. In contrast with this unflustered character, Phippen uses a good deal of color and paint movement overall to convey the urgency of the action.
−James D. Balestrieri84 Fred Harman (American, 1902-1982)
Hang on Son oil on canvas signed Fred Harman (lower right) 24 x 30 inches
Property from a Corporate Art Collection, Oklahoma
$1,500 - 2,500
85 Fred Harman (American, 1902-1982)
The Infernal Contraption, 1941 oil on canvas signed Fred Harman and dated (lower right) 24 x 36 inches
Property from a Corporate Art Collection, Oklahoma
$1,500 - 2,500
86
Wayne Baize (American, b. 1943) Up The Trail, 2006 oil on canvas signed Wayne Baize (lower left) 30 x 30 inches
Provenance: Trailside Galleries, Scottsdale, Arizona Cowboy Artists of America 41st Annual Sale & Exhibition, Phoenix Art Museum, Phoenix, Arizona, October 21 - November 19, 2006
$5,000 - 7,000
87
Howard Rogers (American, b. 1932)
Packin’ Up oil on canvas signed H. Rogers (lower right) 20 x 30 inches
Property from a Corporate Art Collection, Oklahoma
Provenance: Dan May & Associates, Ltd., Scottsdale, Arizona, 1988
$3,000 - 5,000
88
Donald Teague (American, 1897-1991)
Illustration for “Saddle by Starlight” gouache
signed Donald Teague and dedicated (lower center) 14 x 20 inches
Property from a Corporate Art Collection, Oklahoma
Provenance:
The Artist
J.F. Oberwinder
J.N. Bartfield Galleries, New York, New York
Exhibited:
National Cowboy Hall of Fame and Western Heritage Center, Oklahoma City, Oklahoma, “The Pulps and the Slicks: The Golden Age of Western Illustration”, November 22, 1991 - March 15, 1992
Illustrated:
Luke Short, “Saddle by Starlight” in Collier’s Weekly, June 28, 1952
$4,000 - 6,000
A great illustrator from the golden age of the genre, Donald Teague was born in Brooklyn. He studied with George Bridgman at the Art Students’ League and was encouraged to go into illustration by Dean Cornwell. He became known both for his superb handling of watercolor and for his ability to convey complex scenes and dense, muralistic groups of people. Teague gave up commercial art in 1958 and turned to easel painting, concentrating on Western subjects. Claudia Meyer, Teague’s biographer, speaks of his landscapes as “painted with the eye of the poet” and his Westerns as “painted with the heart of the dramatist.” In this illustration from a vintage Luke Short novel, a good-hearted, tough, small rancher is pitted against a wealthy land baron with an army of guns, bent on stealing his land. This illustration epitomizes the conflict, depicting a lone man on crutches holding off the black-hatted villain and some of his mercenaries.
−James D. Balestrieri89 Donald Teague (American, 1897-1991)
Illustration for “Saddle by Starlight” gouache signed Donald Teague and dedicated (lower left) 16 1/2 x 22 inches
Property from a Corporate Art Collection, Oklahoma
Provenance: The Artist
J.F. Oberwinder
J.N. Bartfield Galleries, New York, New York
Exhibited:
National Cowboy Hall of Fame and Western Heritage Center, Oklahoma City, Oklahoma, “The Pulps and the Slicks: The Golden Age of Western Illustration”, November 22, 1991 - March 15, 1992
Illustrated:
Luke Short, “Saddle by Starlight” in Collier’s Weekly, July 5, 1952
$4,000 - 6,000
In this illustration for Luke Short’s Saddle by Starlight, our heroes, it would seem, have discovered that the land baron’s hired guns are secretly hiding out on the ranch, awaiting a signal to attack. In these two gouaches—opaque watercolor is a good way to describe the medium—Teague’s skill is readily apparent. Here, his composition is realistic, placings us, the viewers, exactly where we would be. The emphasis on the horses and the action tucked into the mouth of a mine or cave at right suggests the secrecy of the hidden gunmen and the moment when they have given themselves away. Teague’s figure work is outstanding, as ever, and the highlights he paints on the horses and rocks help bring the scene to life.
−James D. Balestrieri90 George Phippen (American, 1915-1966)
A Night in Town oil on canvas signed Geo Phippen (lower left) 28 x 36 inches
Property from a Corporate Art Collection, Oklahoma
Provenance: Allen Art Galleries, Houston, Texas
$5,000 - 7,000
91 Buckeye James Blake (American, b. 1946)
The Slicker Lesson watercolor and ink on paper signed Buckeye (lower left) 10 x 8 inches
Property from the Estate of William D. Weiss, Jackson, Wyoming
Provenance: Big Horn Galleries, Cody, Wyoming
Buffalo Bill Art Show & Sale, Cody, Wyoming, 2014, Lot 504
Acquired from the above by the present owner
$800 - 1,200
92 Joe Beeler (American, 1931-2006)
Two Men Fighting, edition 3/20
bronze signed Joe Beeler and numbered (base) height 17 1/2 x width 16 x depth 11 1/4 inches
Property from a Corporate Art Collection, Oklahoma $1,500 - 2,500
93 Theodore Van Soelen (American, 1890-1964)
Bridling the Buckskin charcoal on paper signed Van Soelen and titled (lower edge) 17 x 22 inches
Property from an Estate, Sold to Benefit the Wichita Art Museum $1,000 - 2,000
94 Ed Mell
(American, b. 1942)
Bull Rider, edition 4/45
bronze
signed Ed Mell and numbered (base)
height 12 x width 11 x depth 8 1/2 inches
Property from the Smith Collection, Scottsdale, Arizona
$4,000 - 6,000
95 Ed Mell
(American, b. 1942)
Upward, edition 2/35
bronze
signed Ed Mell and numbered (base)
height 14 x width 13 x depth 6 1/2 inches
Property from the Smith Collection, Scottsdale, Arizona
$7,000 - 9,000
96 Ed Mell
(American, b. 1942)
Diggin’ In, edition 3/18
bronze
signed Ed Mell and numbered (base)
height 13 1/2 x length 17 3/4 x width 4 3/4 inches
Property from the Smith Collection, Scottsdale, Arizona
$7,000 - 9,000
97 Ed Mell (American, b. 1942)
Sidestepper, edition 1/30
bronze
signed Ed Mell and numbered (base)
height 12 1/4 x width 10 x depth 10 1/4 inches
Property from the Smith Collection, Scottsdale, Arizona
$7,000 - 9,000
98 Bryan Haynes (American, b. 1956)
Watering the Remuda oil on board signed Bryan D. Haynes (lower right) 24 x 24 inches
Provenance: The Briscoe Western Art Museum, San Antonio, Texas, “Night of Artists”, 2020 Acquired from the above by the present owner $3,000 - 5,000
99 Gary Ernest Smith (American, b. 1942) Hay Bale oil on canvas signed Gary E. Smith (lower right) 14 x 11 inches
Property from a Corporate Art Collection, Oklahoma $1,000 - 2,000
100 Gary Ernest Smith (American, b. 1942)
Harvest oil on canvas
signed Gary E. Smith (lower right) 20 x 16 inches
$2,000 - 4,000
101 Tom Dorr (American, b. 1950)
Come On, Let Me Drink oil on canvas signed Tom Dorr (lower right) 30 x 36 inches
Property from a Prominent Missouri Collection
Provenance: West Lives On Gallery, Jackson, Wyoming
$3,000 - 5,000
102
Brett James Smith (American, b. 1958)
Fishing Friends oil on canvas signed Brett James Smith (lower right) 18 x 14 inches
Property from the Estate of Harry M. Cornell, Jr.
Provenance:
Cherry’s Art Gallery, Carthage, Missouri
$2,000 - 4,000
103 Fletcher Charles Ransom (American, 1870-1943)
Fly Fishing, circa 1920 oil on canvas signed Fletcher Ransom (lower left)
30 x 38 inches
Property from a Corporate Art Collection, Oklahoma
Provenance: C.M. Russell Auction, Great Falls, Montana, March 17-19, 1988, Lot 213
$1,000 - 2,000
104 Bob Wygant (American, 1927-2008) Looking for Strays acrylic on board signed Bob Wygant (lower right)
18 x 24 inches
Property from a Corporate Art Collection, Oklahoma
$3,000 - 5,000
105 Bob Wygant (American, 1927-2008)
Lost and Found acrylic on board signed Bob Wygant (lower right)
18 x 24 inches
Property from a Corporate Art Collection, Oklahoma
$3,000 - 5,000
20
Property
Provenance:
Altermann & Morris Galleries, Dallas, Texas
$2,000 - 4,000
14
110
Terri Kelly Moyers (American, b. 1954)
Golden Afternoon
oil on canvas
signed Terri Kelly Moyers (lower left)
48 x 34 inches
Provenance:
Altermann & Morris Galleries, Santa Fe, New Mexico
$4,000 - 6,000
109 Robert Lougheed (American, 1910-1982)
Fall on Eden Hill oil on board
signed R.E. Lougheed (lower right)
12 x 18 inches
Property from an Estate, Sold to Benefit the Wichita Art Museum
$3,000 - 5,000
111
Terri Kelly Moyers (American, b. 1953)
Young Woman Resting a Horse oil on canvas
signed Terri Kelly Moyers (lower left)
19 1/4 x 18 3/4 inches
$1,000 - 2,000
Provenance:
Jeremy Lipking’s father was an advertising designer, children’s book illustrator and landscape painter, and it was his father who gave him his first lessons in art and encouraged him to enroll in the California Art Institute. Lipking is a realist in the tradition of Sorolla, Sargent, and Swedish artist Anders Zorn, whose paintings of figures in a landscape inspire Lipking’s practice. For Lipking, the figure and landscape have to correlate in color, form, and in mystery. As he observed in an interview, ”The figure looks the way it does because of the landscape behind it, and the landscape looks the way it does because of the figure.” In Blue Bonnet, the gray dusty foliage echoes the overcast sky while the subtle indigo flowers find their counterpart in the pattern on the girl’s coat, in her velvet collar, and in her bonnet. The whole creates a triangle balanced by the girl’s windswept hair and downcast face and eyes. Lipking’s paintings keep you looking and finding, and that, perhaps, is the point of his realism.
−James D. Balestrieri113 Mort Künstler (American, b. 1931)
Crossing the River, 1988 oil on canvas signed MKünstler and dated (lower right)
27 x 46 inches
Property from a Corporate Art Collection, Oklahoma
Provenance: Mort Künstler Gallery, 1991
$4,000 - 6,000
114 John Leone (American, 1929-2011) Coffee Break, 1988 oil on canvas signed John Leone (lower right)
32 x 32 inches
Property from a Corporate Art Collection, Oklahoma
$1,000 - 2,000
The North Winds of Chisholm, edition 10/35
bronze signed Vic Payne and numbered (base)
height 10 3/4 x width 30 1/2 x depth 5 3/4 inches
Property from the Estate of Harry M. Cornell, Jr.
$2,000 - 4,000
The Land Seekers, edition 1/15, 1990
bronze signed John D. Free, titled, numbered and dated (base)
height 16 x length 52 x width 16 1/2 inches
Property from a Corporate Art Collection, Oklahoma
$1,500 - 2,500
117
Will Roderick James (Canadian/American, 1892-1942)
Heading for Another Cow Camp, 1934 charcoal on paper signed Will James and dated (lower left); dedicated, signed and dated 1940 (lower right) 9 x 13 1/2 inches.
Property from an Estate, Sold to Benefit the Wichita Art Museum
$2,000 - 4,000
118
Will Roderick James (Canadian/American, 1892-1942)
All in a Day’s Riding, 1932 ink on paper signed Will James and dated (lower left) 10 1/2 x 9 3/4 inches
Property from an Estate, Sold to Benefit the Wichita Art Museum
$2,000 - 4,000
119
Olaf Carl Wieghorst (Danish/American, 1899-1988)
Season’s Greetings, 1957 ink on paper
signed OW (lower left of illustration); signed and dedicated (bottom of page)
10 1/2 x 8 3/4 inches
Property from an Estate, Sold to Benefit the Wichita Art Museum
$800 - 1,200
120 Edward Borein (American, 1872-1945)
Cattle Man etching
signed Edward Borein (lower right)
10 5/8 x 5 3/4 inches
Property from the Collection of Hope Connors
Provenance:
17 De la Guerra Studios, Santa Barbara, California
Tam O’Neill Fine Arts, Denver, Colorado
$800 - 1,200
121
Edward Borein (American, 1872-1945)
Wild Horse Hunters
etching
signed Edward Borein (lower right)
7 1/2 x 11 1/2 inches
Property from the Collection of Hope Connors
Provenance:
Savageau Gallery, Denver, Colorado
$1,000 - 2,000
122
Edward Borein (American, 1872-1945)
Herding Longhorns
watercolor and gouache on paper
signed Edward Borein (lower right)
15 1/4 x 20 3/8 inches
Property from an Estate, Sold to Benefit the Wichita Art Museum
Provenance:
M. Knoedler & Co., New York, New York (framing label, verso)
$12,000 - 18,000
After leaving his home near Oakland, California at an early age, Edward Borein drove cattle throughout the Southwest and Mexico, learning and sharing in the life of the cowboy and vaquero, sketching from the saddle, as it were. When his mother saw his sketches she enrolled him in art school in San Francisco. School stifled Borein. He returned to cowboying, continuing to sketch his experiences. As his art improved, the magazines back East took notice and published his work. This, in turn, brought him into the company of Maynard Dixon and Charles Russell, both of whom became Borein’s friends. Borein settled in Santa Barbara, where he made a career and befriended many Hollywood stars, Will Rogers among them. Borein was an accomplished oil painter and printmaker, and his watercolors are counted among the finest in American Western Art. In Herding Longhorns, Borein gives us a glimpse of life on a cattle drive in an almost documentary mode. This is a peaceful moment. The herd is moving and staying together. The three cowboys ride easily. Even the landscape, rising to the soft peaks, seems to be slumbering. This is the kind of day the cowboy hopes for every day.
−James D. Balestrieri123
Earle Erik Heikka (American, 1910-1941)
Sun River Packer, edition , 1940
bronze signed EE Heikka and dated (base) height 12 1/4 x length 51 1/2 x width 3 1/2 inches
Property from a Corporate Art Collection, Oklahoma
$3,000 - 5,000
124
Michael Untiedt (American, b. 1952)
Night Herd, 2010 oil on board signed MU (lower right); signed, titled and dated (verso) 16 x 20 inches
Property from a New Mexico Collector
$2,000 - 4,000
125
Byron Wolfe (American, 1904-1973)
The Night Herder, 1964 oil on canvas signed Byron B. Wolfe and dated (lower right) 24 x 36 inches
Property from a Corporate Art Collection, Oklahoma
$2,000 - 4,000
126
Harvey W. Johnson (American, 1921-2005)
Two Free Traders, 1974 oil on board signed HW Johnson and dated (lower right) 18 x 24 inches
Property from a Corporate Art Collection, Oklahoma
Provenance: The May Gallery, Jackson, Wyoming
$1,500 - 2,500
Winter, edition 26/30, 1970
bronze signed Wm. Moyers, numbered and dated (base)
height 12 x width 19 3/4 x depth 8 inches
Property from a Corporate Art Collection, Oklahoma
$1,500 - 2,500
The Haunt of Eagles, edition 7/50
bronze signed Fellows and numbered (base)
height 21 x width 19 x depth 11 1/4 inches
Property from a Corporate Art Collection, Oklahoma
$1,500 - 2,500
129 Alfredo Rodriguez (American, b. 1954)
Along the Snake River, 1988
oil on canvas signed A. Rodriguez and dated (lower right) 24 x 36 inches
Property from a Corporate Art Collection, Oklahoma
$3,000 - 5,000
130 John DeMott (American, b. 1954) Mountain Revelry, 1992
oil on canvas signed DeMott and dated (lower right); signed and dated (verso) 36 x 48 inches
Property from the Estate of Harry M. Cornell, Jr.
$4,000 - 6,000
131 John DeMott (American, b. 1954)
Caution, 1986 oil on canvas signed DeMott and dated (lower left); signed and dated (verso) 20 x 16 inches
Property from the Estate of Harry M. Cornell, Jr.
Provenance: The May Gallery, Scottsdale, Arizona
$2,000 - 4,000
132 John Paul Strain (American, b. 1955) Winter Twilight, 1989 gouache signed John Paul Strain (lower right); signed, titled and dated (verso) 30 x 20 inches
Property from a Corporate Art Collection, Oklahoma
$2,000 - 4,000
133 Vic Payne (American, b. 1960) Old Man Winter, edition 39/100, 1995
bronze signed Vic Payne and numbered (base) height 23 x width 22 1/2 x depth 12 inches
Property from the Estate of Harry M. Cornell, Jr.
$2,000 - 3,000
134 Richard Tallant (American, 1853-1934)
San Miguel Indians, 1887 oil on canvas signed Tallant and dated (lower left) 20 x 30 inches
Property from the Collection of Hope Connors
$1,000 - 2,000
135 Gene Speck (American, b. 1937) Mountain Camp, 1990 oil on canvas signed Gene Speck and dated (lower left) 20 x 24 inches
Property from a Corporate Art Collection, Oklahoma
$1,500 - 2,500
136 George Phippen (American, 1915-1966)
Wounded Warrior watercolor on board signed Geo. Phippen (lower left) 20 x 30 inches
Property from a Corporate Art Collection, Oklahoma
Provenance:
Estate of Rachael Z. Allen, Houston, Texas Private Collection
Overland Trail Fine Art Galleries, Scottsdale, Arizona
$1,500 - 2,500
138
Kenneth Pauling Riley (American, 1919-2015)
Absaroka Warrior oil on board signed Kenneth Riley (lower left)
13 x 12 inches
Property from the Estate of Harry M. Cornell, Jr. $8,000 - 12,000
137
Olaf Wieghorst
(Danish/American, 1899-1988)
Season’s Greetings, 1971 ink on paper signed O. Wieghorst (lower left of illustration); signed and dedicated (bottom of page) 8 x 6 inches
Property from the Collection of Barry M. Goldwater $2,000 - 4,000
Ken Riley was a good enough drummer that music nearly topped painting as his life’s work. Riley eventually studied with Thomas Hart Benton in Kansas City and Harvey Dunn in New York. After a tour as a combat artist during World War II, he went on to illustrate paperbacks and periodicals, but it was a National Park Service commission and a teaching post at Brigham Young that led him to paint the storied places of the American West. Riley was inducted into the Cowboy Artists of America in 1982, received gold medals four times, and won the Prix de West in 1995. His paintings can be found in the White House, the Smithsonian Institution, and the Booth Western Art Museum. The line connecting the early masters of the West, the Golden Age of American Illustration, and contemporary Western modernism runs straight through Riley’s easel. Absaroka Warrior has all the elements you’d ask of a Riley portrait: the chiseled modeling of the face, the attention to the adornments—the beading and hair wraps—and an abstract background in colors that enhance the figure work.
−James D. Balestrieri140
W. Steve Seltzer (American, b. 1945) Indian Chief watercolor and gouache signed W.S. Seltzer (lower right) 13 x 10 inches
Property from a Corporate Art Collection, Oklahoma $1,000 - 2,000
141
Olaf Carl Wieghorst (Danish/American, 1899-1988)
Two Riders on Horseback charcoal on paper signed Wieghorst (upper left) 17 x 25 inches
Property from an Estate, Sold to Benefit the Wichita Art Museum $2,000 - 4,000
142
Winold Reiss (American, 1886-1953)
Plenty Treaties, 1943 pastel on paper
signed Winold Reiss (lower left)
39 x 26 inches
Property from the Collection of Ned Jacob
Exhibited:
Montana State Historical Society, Helena, Montana, 1964
C. M. Russell Museum, Great Falls, Montana, 1986
$70,000 - 90,000
Winold Reiss was an ardent multiculturalist and champion of racial, ethnic, and cultural diversity long before those terms were terms at all. His art thrived on diversity; he drew and painted anyone and everyone, including the portraits of important figures of the Harlem Renaissance and of the Mexican Revolution. Reiss’s approach to portraiture, combining sculpted realism with modernist elements one might call expressionistic, makes both his style and oeuvre unique among twentieth-century figurative artists. What brought Reiss to the United States from his native Germany? In short, Native Americans. Having been inspired—as many German artists were—by the dime Westerns of German author Karl May, it is said that Reiss was dismayed to learn that he would not be greeted by a war party when his ship docked in New York. In 1919, Reiss finally made his way West, to the Blackfeet Reservation in Montana, where he painted thirty-five portraits in thirty days and earned the name “Beaver Child” because of his hard work and persistence. Reiss was always a hard worker and always had a hand in any number of projects. In addition to painting portraits, Reiss taught art, did illustrations for books and periodicals, designed hotel interiors, and planned and took numerous trips, especially to the West, to paint. Plenty Treaties is a 1943 pastel, one that shows the artist’s style at its peak. I mentioned “sculpted realism” earlier, and Reiss’s portrayal of Plenty Treaties, a Blackfeet leader in traditional dress, exemplifies this approach. The face, hands, and legs, are sculpted in a way that almost mimics bas-relief sculpture. Reiss’s style is topographical; Plenty Treaty’s body, sitting at ease on a buffalo robe, conveys a kind of solidity and strength suggestive of endurance over the course of his life. As for the expressionistic aspects, consider the thick, almost electric outlines around the figure in yellow and sepia. These are characteristic of Reiss, imparting an Art Deco edge to his work that simultaneously seems to represent the vital force of the subject, the electricity that unites all of humanity.
−James D. Balestrieri146
Russ Vickers (American, 1923-1997)
When Fur Trade Was a Winter Time Business, 1978 oil on canvas signed Russ Vickers (lower right); signed, titled and dated (verso) 24 x 36 inches
Property from a Corporate Art Collection, Oklahoma
$3,000 - 5,000
147
Raymond Knaub (American, b. 1940)
Hunters of Taos oil on canvas signed R.L. Knaub (lower left) 24 x 36 inches
$2,000 - 3,000
$1,000 - 2,000
Native American Watering Hole, edition 5/30
bronze signed Daro and numbered (base)
height 40 1/4 x width 26 x depth 23 inches
$2,000 - 3,000
150 Brad Schmidt (American, b. 1956)
Three Young Girls oil on board signed Brad Schmidt (lower left) 42 x 56 inches
Property from the Collection of Mr. Andrew Wolf
$3,000 - 5,000
151 Ray Swanson (American, 1937-2004) Newest Little Shepherd oil on canvas signed Ray Swanson (lower right) 24 x 30 inches
Property from the Collection of Mr. Andrew Wolf
$4,000 - 6,000
152
Dave McGary
(American, 1958-2013)
In His Father’s Footsteps, edition 2/100 bronze signed Dave McGary and numbered (base); titled (on wooden base) height 21 1/2 x width 14 x depth 10 inches
$3,000 - 5,000
153
Dave McGary
(American, 1958-2013)
In Her Father’s Footsteps, edition 46/100, 1997 bronze signed Dave McGary, numbered and dated (base); titled (wooden base) height 20 1/4 x width 10 x depth 7 1/4 inches
$2,000 - 3,000
154
Daro Flood (American, 1954-2017)
Trail to Pinons, edition 15/30 bronze signed Daro and numbered (base) height 26 1/2 x width 22 1/2 x depth 11 1/2 inches
$1,500 - 2,500
155
Alfredo Rodriguez (American, b. 1954)
Shelling Time, 1988 oil on canvas
signed A. Rodriguez and dated (lower left); signed, titled and dated (verso) 22 x 28 inches
Property from a Corporate Art Collection, Oklahoma
Provenance:
Overland Trail Fine Art Galleries, Scottsdale, Arizona
$1,500 - 2,500
156 Tom Darro (American, b. 1946)
A Desert Romance, 1996 oil on canvas signed Tom Darro (lower right) 36 x 24 inches
Property from the Estate of Harry M. Cornell, Jr.
Provenance: Overland Gallery of Fine Art, Scottsdale, Arizona
$2,000 - 4,000
157 Jeremy Winborg (American, b. 1979)
Sun Bleached Bones, 2019 oil on board
signed J. Winborg, titled and dated (verso) 40 x 35 inches
Exhibited:
Settler’s West Gallery, Tucson, Arizona, “The Great American West,” November, 2019
$12,000 - 18,000
Jeremy Winborg’s paintings of Native Americans in traditional garb set against abstract backgrounds place him in line with Southwestern masters like Nicolai Fechin and Leon Gaspard. Sun Bleached Bones is a fantastic example of his work. The story—which you, the viewer, must construct yourself—includes the skull, the girl, and the cavalry sword, among other things. But even without knowing what the story is, you know the themes: youth and beauty, war and death. When you concentrate on the figure, the clouds come into focus at the edge of your vision. Focus on the clouds and the figure comes into sharp relief. Winborg’s joy reflects his passion for technique and what it can achieve. He himself has said, “I love the viewer to be able to take a little 2 or 3 inch section of my painting, whether it be a face or part of the background and find that the brushstrokes and pallet knife work are interesting and worth your attention.”
−James D. BalestrieriProvenance:
Husberg Fine Arts, Scottsdale, Arizona
Leanin’ Tree Museum of Western & Wildlife Art, Boulder, Colorado
Sold: Scottsdale Art Auction, Scottsdale, Arizona, Leanin’ Tree
Museum of Western Art Auction, January 19, 2018, Lot 406
Sold: Altermann Galleries & Auctioneers, Santa Fe, New Mexico, June 19, 2020, Lot 245
Acquired from the above by the present owner
$3,000 - 5,000
40
Provenance: Altermann & Morris Galleries, Santa Fe, New Mexico
$3,000 - 5,000
Sleeping
$8,000 - 12,000
160
William
Cliff Dweller Art, 1918 oil
board signed W.R. Leigh and dated (lower right) 13 1/8 x 16 5/8 inches
Property from an Estate, Sold to Benefit the Wichita Art Museum
$10,000 - 15,000
162
Richard Schmid
(American, 1934-2021)
Susan, 1962 oil on canvas signed Schmid (lower right); signed and titled (verso) 30 x 24 inches
Property from an Estate, Sold to Benefit the Wichita Art Museum
Provenance:
Reynolds Gallery, Taos, New Mexico, January, 1963
Acquired from the above by the present owner
$15,000 - 20,000
163
Richard Schmid (American, 1934-2021)
Jan & Bettina, 1965 oil on canvas signed Schmid (lower right); signed, titled and dated (verso) 26 x 24 inches
Property from an Estate, Sold to Benefit the Wichita Art Museum
Provenance: The Artist
Acquired from the above by the present owner
$15,000 - 20,000
Oranges and Limes and Nectarines and Pears, 1965 oil on canvas
signed Schmid (lower right); signed, titled and dated (verso) 14 x 30 inches.
Property from an Estate, Sold to Benefit the Wichita Art Museum
Provenance:
Blair Galleries, Santa Fe, New Mexico, August, 1967
Acquired from the above by the present owner
$8,000 - 12,000
164
Richard
Portrait of Young Woman oil on canvas signed Schmid (lower right)
18 x 14 inches
Property from an Estate, Sold to Benefit the Wichita Art Museum
Provenance: Welna Gallery, Chicago, Illinois
$3,000 - 5,000
Richard Schmid took what might be termed a transformational approach to traditional genres of painting—landscape, the nude, and the still life. His landmark book on technique, Alla Prima, went through eleven printings and an expanded version, Alla Prima II, is now in its fourth printing. Oranges and Limes and Nectarines and Pears draws its energy from the impressionism of Monet and Renoir, where the objects—the pears, apples, oranges, limes—as well as the mug, jug and tablecloth are rendered and made to seem round through the juxtaposition of shaded planar strokes. Don’t let the pleasant beauty of the piece fool you— Oranges and Limes and Nectarines and Pears is an achievement earned only after years of study and practice.
−James D. Balestrieri166
Provenance:
Acquired
$40,000
Richard Schmid, who might well be called the painter’s painter of our generation in terms of representational art because of the popular classes he taught as well as the instructional books and videos he created. Schmid developed a personal poetic approach to realism, and, throughout his career, as his website says, he extolled the virtues of the “Grand Manner, a certain mingling of virtuosity and unrestrained joy in art…” In Gladiolas, Schmid captures a moment of potential, when the bouquet has been unwrapped but not yet arranged in the vase. With broad, bravura strokes, Schmid conveys the vitality of the flowers and the sense of creativity that is about to take place as the flowers are artfully presented.
−James D. Balestrieri169
Ed Mell (American, b. 1942)
Quiet Distance, 1993 oil on canvas
signed Ed Mell (lower right); signed, titled and dated (verso) 44 x 34 inches
Property from the Smith Collection, Scottsdale, Arizona
$40,000 - 60,000
Ed Mell was born in Phoenix, studied in Los Angeles and worked for an ad agency in New York before opening his own studio. But in 1970, Mell took a position teaching art on the Hopi Reservation. There, he forged a strong connection with the landscape of his home state and began to paint in what would become his signature style—finding and releasing the geometries of the natural world into art. His works can be found in numerous public, corporate, and private collections. In a painting like Quiet Distance, Mell offsets the verticality of the canvas against strong horizontals in the rocks and the lower, darker clouds. However, the vertical rocks in the foreground, reaching up to the ragged clouds reaching down, veil the expansiveness. The eye, you might say, is inspired to move around the spired butte to take in more of the scene.
−James D. Balestrieri170
Ed Mell (American, b. 1942)
Vaulting Clouds, 1993 oil on canvas
signed Ed Mell (lower left); signed, titled, dated and dedicated (verso) 36 x 54 inches
Property from the Smith Collection, Scottsdale, Arizona $50,000 - 70,000
Ed Mell’s style is sometimes compared to Maynard Dixon’s, and in his angularity and economy of form Mell sometimes seems to be modernizing the modernist Dixon, seeking to scout out Dixon’s essence, as it were. And then there are paintings like Vaulting Clouds, in which there is no trace of Dixon, no trace of W. R. Leigh, no vestige of influence, nothing of the art history of American Western Art. These “vaulting clouds” are vaulted, a vault lit from within, a fire lit cave mouth. The clouds dwarf what is surely a giant mesa, filling the sky—another vault—with their leaning, grasping fingers that will soon make an early night of fading day, and, perhaps, bring a hard, fast storm to the desert. If there is any trace of tradition in the painting, the viewer finds it in hints from, perhaps, the Hudson River painters, and, further back, in the swirling skies of an artist like J.M.W. Turner, though Mell’s edges are stronger and his shapes more clearly defined.
−James D. Balestrieri172
Forrest Moses (American, 1934-2021)
Stream at Cundijo, 1980
oil on canvas
signed Moses and titled (verso) 26 x 84 inches
Property from a Private Collection, Houston, Texas
Provenance:
Watson / deNagy & Company, Houston, Texas
$4,000 - 6,000
173
Joellyn Duesberry (American, 1944-2016)
Chama Triptych, 1996
oil on canvas
each panel signed JD and numbered (lower right); each signed, titled, numbered and dated (verso) each panel 80 x 28 inches
Property from the Collection of Audrey and Harris Yett
$4,000 - 6,000
174
Connie R. Townsend (American, b. 1953)
High Desert Fiesta, 2022 oil on canvas
signed Townsend, titled and dated (verso) 48 x 24 inches
Property from the Collection of Nicole Gerber
$500 - 700
176
Pam Davis (American, 20th Century)
New Mexico #10, 1999 oil on canvas signed Pam L. Davis (lower right) 48 x 60 inches
Property from the Collection of Nicole Gerber
$400 - 600
175 Barbara Gurwitz (American, b. 1942)
Harmony Valley oil on canvas signed Gurwitz (lower right); signed and titled (verso) 50 x 60 inches
Property from the Collection of Nicole Gerber $400 - 600
177
Gloria Gaddis (American, b. 1945)
Cloud Visions oil on canvas signed ggaddis (upper right) 48 x 45 inches
Property from the Collection of Nicole Gerber
$800 - 1,200
These six works of Beatrice Mandelman (American, 1912-1998), offered here on behalf of the Mandelman - Ribak Collection, provide insight into Mandelman’s fascinating preoccupation with color, form, and scale, uniquely filtering the tenets of abstraction through the influence of the western landscape of Taos, New Mexico.
Like many artists who would champion abstraction in the latter half of the twentieth century, Mandelman was part of the Works Progress Administration, working as a muralist and a printmaker from 1935 to 1942. She was friends with artists such as Jackson Pollock, Lee Krasner, Elaine de Kooning, and was responsible for giving them jobs when she worked at the WPA. In 1942 she married Louis Ribak (American, 1902-1979), a fellow artist, and both soon relocated to Taos, New Mexico. Though she was well on her way to meet the same renown as her companions in the WPA, Mandelman ultimately stepped away from the excitement of the New York art scene; she exchanged her connection to the art scene of the big city for the inspiration of the remote southwestern landscape.
Though it was already established as an artistic community, with artists being drawn to the area for the local desert vistas punctuated by the Pueblo architecture of the longstanding Native American population, during the 1940s Taos did not have any dedicated gallery spaces representing abstract art. Mandelman and Ribak closed this gap by creating their own epicenter of modern artists: the Taos Moderns. They founded and operated the Taos Valley Art School from 1947 to 1953, continuing to host artists in their own home thereafter. Though influenced by Cubism and Abstract Expressionism, Mandelman’s works are indebted mostly to the Taos landscape in their focus on horizontality, lively colors, and bold geometry.
Beatrice Mandelman brought the monumentality of muralism to a smaller scale, to allow closer study of color and texture. Though each of these six works are vertically oriented, each features strong horizontals and diagonals cutting through the plane, echoing the long horizons of the western landscape. The colors also echo a more western palette—vivid sky blues, dusty creams, blazing oranges, and rich scarlets. Mandelman’s colors delight the eye while also revealing her fascination with surface and texture. With the strength of the purity of each background layer—the blues of No.7 Blue and Rift #8 (Lots 181 and 184), the creams of Intimate Echose XVII and Rift #6 (Lots 179 and 182), etc.— Mandelman expertly controls the viewer’s access into each of these works, teasing interesting pops of color and texture through geometric shapes scattered throughout the surface, culminating with this texture erupting into the picture plane in the untitled collage, circa 1960 (Lot 180). These bold geometric forms themselves are often reminiscent of the regular adobe buildings so ubiquitous amid the local environment. Each of these works thus bridge the gap between American abstraction movements and the regional love of the native landscape, as emblematic of the rest of Mandelman’s oeuvre.
179
Untitled, circa 1960 collage with flocked paper 7 x 6 3/4 inches
Property from the Mandelman - Ribak Collection, Sold for the Benefit of the University of New Mexico
Provenance: 203 Fine Art, Taos, New Mexico
$800 - 1,200
178
Beatrice Mandelman (American, 1912-1998)
Intimate Echose XVII, circa 1980 acrylic on paper signed Mandelman (lower right) 22 1/2 x 14 inches
Property from the Mandelman - Ribak Collection, Sold for the Benefit of the University of New Mexico
$1,500 - 2,500
181
Beatrice Mandelman (American, 1912-1998)
Rift #6, circa 1986
acrylic on canvas
signed Mandelman (lower right)
36 x 24 inches
Property from the Mandelman - Ribak Collection, Sold for the Benefit of the University of New Mexico
Provenance:
Gary Snyder Fine Art, New York, New York
203 Fine Art, Taos, New Mexico
$3,000 - 5,000
180
Beatrice Mandelman (American, 1912-1998)
No. 7 Blue, circa 1986
acrylic on paper
signed Mandelman (lower right)
22 1/2 x 14 inches
Property from the Mandelman - Ribak Collection, Sold for the Benefit of the University of New Mexico
Provenance:
203 Fine Art, Taos, New Mexico
$1,500 - 2,500
183 Beatrice Mandelman (American, 1912-1998)
Rift #8, circa 1980
acrylic on canvas signed Mandelman (lower right)
36 x 24 inches
Property from the Mandelman - Ribak Collection, Sold for the Benefit of the University of New Mexico
Provenance: Gary Snyder Fine Art, New York, New York
203 Fine Art, Taos, New Mexico
$4,000 - 6,000
182
Beatrice Mandelman (American, 1912-1998)
Prokofiev, circa 1970
acrylic on canvas signed Mandelman (lower right)
31 1/2 x 23 5/8 inches
Property from the Mandelman - Ribak Collection, Sold for the Benefit of the University of New Mexico
Provenance: Gerald Peters Gallery, Santa Fe, New Mexico
$3,000 - 5,000
184
Eve (Van Ek) Drewelowe (American, 1899-1989)
Lily Against Lace, 1950 oil on linen signed Drewelowe, titled and dated (lower right) 28 1/2 x 21 1/2 inches
$1,500 - 2,500
185 Chuck Sabatino (American, b. 1935)
Calla Lillies, Some In, Some Out oil on canvas signed Sabatino (lower right); titled (verso) 40 x 30 inches
Provenance: Altermann Galleries & Auctioneers, Santa Fe, New Mexico
$1,000 - 2,000
186 Chuck Sabatino (American, b. 1935)
Curtis Photo, “Crying to the Spirits” oil on canvas signed Sabatino (lower left); titled (verso) 30 x 48 inches
$1,500 - 2,500
187
Loran Speck (American, 1943-2011)
Pewter with Pears oil on board signed L Speck (lower right) 16 x 13 1/2 inches
Property from a Corporate Art Collection, Oklahoma $1,500 - 2,500
188
Loran Speck (American, 1943-2011)
Pewter with Pears and Grapes oil on board signed L Speck (lower right) 20 x 16 inches
Property from a Corporate Art Collection, Oklahoma
Provenance: Altermann & Morris Galleries, Dallas, Texas $2,000 - 3,000
189
Loran Speck (American, 1943-2011)
Pewter with Persimmons oil on board signed L. Speck (lower right) 12 x 14 inches
Property from a Corporate Art Collection, Oklahoma
$1,500 - 2,500
190 Larry Fanning (American, b. 1938)
Horses, 2006
oil on canvas
signed Larry Fanning and dated (lower right)
28 x 42 inches
$2,000 - 4,000
191 Larry Fanning (American, b. 1938)
Lions, 1995
oil on canvas
signed Larry Fanning and dated (lower right)
30 x 46 inches
$3,000 - 5,000
193 Edmund Osthaus (German/American, 1858-1928)
Two Hunting Dogs
watercolor
signed Edmund Osthaus (lower left)
14 x 21 inches
Property from the Collection of Kristin Masterson $10,000 - 15,000
After completing his studies in Dusseldorf, Edmund Osthaus came to the United States in 1883, settled near his parents, who had moved from their native Germany to Ohio, and took a post as chief instructor at the Toledo Academy of Fine of Art. When the school closed, Osthaus, a keen hunter and angler, went on to fame as the foremost American painter of sporting dogs. Osthaus followed dog shows and sporting exhibitions across the nation, visiting shooting and fishing lodges, and executing commissions all along the way. Hunting Scene is a classic Edmund Osthaus sporting watercolor. Osthaus often painted dogs in pairs, contrasting breeds and coloration, and is especially noted for his ability to convey the glossiness of the canines’ coats in watercolor and for his portrayals of setters and pointers on high alert, as they are in Hunting Scene. In order to suggest the tension of the moment, the artist renders the environment, the grasses and trees of this thicket, with energetic, rhythmic brushstrokes. This kind of naturalism, that is, realism made to serve the subject, is another characteristic that makes Osthaus’s work so special.
−James D. BalestrieriBald
bronze
signed
$800 - 1,200
Ring-Neck
signed
Property
$1,500 - 2,500
196 Herb Booth (American, 1942-2014) Quail in Pine Forest watercolor on paper signed Herb Booth (lower right)
21 x 28 1/2 inches
Property from an Estate, Sold to Benefit the Wichita Art Museum
Provenance: City Gallery, Wichita, Kansas
$1,500 - 2,500
197 Roy Martell Mason (American, 1886-1972) Caught Out watercolor signed Roy M. Mason (lower left)
22 x 30 inches
Property from an Estate, Sold to Benefit the Wichita Art Museum
$1,500 - 2,500
Crow on a Buffalo Skull, number 65, 1966
bronze
signed Ernest Berke, numbered and dated (base)
height 4 3/4 x width 4 1/2 x depth 4 inches
Property from an Estate, Sold to Benefit the Wichita Art Museum
$800 - 1,200
Two Works: Raven VI B, edition 48/50, and Raven XI B, edition 31/50
bronze
each signed Eppler, titled and numbered (underside)
first height 12 x length 22 1/2 x width 6 inches; second height 16 x length 19 x width 22 1/2 inches
$2,000 - 4,000
Two Works: Raven Expresses an Opinion and Raven XII, edition 25/35
bronze
each signed Eppler and numbered (underside)
first height 11 1/2 x length 25 x width 6 inches; second height 10 1/2 x length 25 x width 12 1/4 inches
$2,000 - 4,000
201
Trevor Swanson (American, b. 1968)
Birds in Desert oil on canvas signed Trevor V. Swanson (lower right) 40 x 30 inches
Property from the Estate of Harry M. Cornell, Jr.
$1,500 - 2,500
202 Robert Bateman (Canadian, b. 1930)
Hummingbirds, 1988 oil on board signed Robert Bateman and dated (lower right)
12 x 14 1/2 inches
$6,000 - 8,000
204 Greg McHuron (American, 1945-2012)
Time Of The Golden Sage, 1981 oil on canvas signed Gregory I. McHuron and dated (lower left) 20 x 24 inches
Provenance: The American Western Collection, Bozeman, Montana
$2,000 - 4,000
205 Jim Morgan (American, B. 1947)
Snake River Dawn, 1996 oil on canvas signed Jim Morgan (lower left); signed and dated (verso) 29 5/8 x 23 5/8 inches
$2,000 - 4,000
Before the Rush, edition 32/40
bronze
signed Shinabarger and numbered (verso) height 11 1/4 x width 14 1/2 x depth 5 3/4 inches
Property from the Collection of Hope Connors
$800 - 1,200
206 Tim Shinabarger (American, b. 1966)
On The Move, edition 67/250
bronze signed Shinabarger and numbered (base) height 5 1/2 x length 7 x width 4 inches
Property from the Collection of Hope Connors
$800 - 1,200
208
George Phippen (American, 1915-1966)
Survival of the Fittest oil on canvas signed Geo Phippen (lower left) 30 x 40 inches
Property from a Corporate Art Collection, Oklahoma
Provenance: Overland Trail Fine Art Galleries, Scottsdale, Arizona
$4,000 - 6,000
209
George Phippen (American, 1915-1966)
Brahma-Tippen, The Great from India oil on canvas signed Geo. Phippen (lower left) 24 x 36 inches
Property from a Corporate Art Collection, Oklahoma
Provenance:
Connally & Altermann Art Gallery, Houston, Texas Overland Trail Fine Art Galleries, Scottsdale, Arizona
$4,000 - 6,000
210 Dan Ostermiller (American, b. 1956)
Ram, edition 13/20
bronze
signed Dan Ostermiller and numbered (hind leg)
height 16 1/2 x width 9 x depth 3 inches
Property from the Collection of Hope Connors
$800 - 1,200
211 Charles Marion Russell (American, 1864-1926)
An Awkward Situation
bronze signed C.M. Russell and stamped with Roman Bronze Works foundry mark (base)
height 4 x width 6 3/4 x depth 5 inches
Property from the Collection of Hope Connors
Provenance:
Altermann Galleries, Santa Fe, New Mexico
$1,000 - 2,000
213 A.M. Stockhill (American, 20th Century)
Burlap Sunset, 2007
oil on canvas signed AMS, titled and dated (verso) 24 x 60 inches
$1,000 - 2,000
212 Edward Aldrich (American, b. 1965)
Bison in Flowers oil on board signed Aldrich (lower right) 9 x 12 inches
Property from the Collection of Hope Connors
Provenance: Saks Galleries, Denver, Colorado $700 - 900
214
Ed Mell
(American, b. 1942)
Two Horses, edition 2/35
bronze
signed Ed Mell and numbered (base)
height 11 1/2 x width 15 1/2 x depth 8 1/2 inches
Property from the Smith Collection, Scottsdale, Arizona
$2,000 - 3,000
215 Ed Mell
(American, b. 1942)
Rising Phoenix, edition 23/50
bronze signed Ed Mell and numbered (base)
height 10 1/4 x width 7 x depth 5 1/2 inches
Property from the Smith Collection, Scottsdale, Arizona
$3,000 - 5,000
(American, b. 1942)
Two Horses, edition 32/35
bronze
signed Ed Mell and numbered (base)
height 9 1/2 x width 17 x depth 6 1/4 inches
$3,000 - 5,000
(American, b. 1942)
Toro Del Yermo, edition 16/30
bronze
signed Ed Mell and numbered (base)
height 7 1/2 x width 15 1/2 x depth 10 inches
Property from the Smith Collection, Scottsdale, Arizona
$2,000 - 3,000
Grief
$1,500
Property
Provenance:
$600 - 800
Property
$600
221
Jacqueline Rochester (American, 1924-2010)
Politically Correct oil on canvas signed Jacqueline Rochester (lower right); signed and titled (verso)
40 x 40 inches
Property from the Collection of Nicole Gerber
$500 - 700
222
Jacqueline Rochester (American, 1924-2010)
All Dogs (Horses & Bears) Go to Heaven oil and pastel on canvas signed Jacqueline Rochester (lower right)
36 x 36 inches
Property from the Collection of Nicole Gerber
$500 - 700
223
Connie R. Townsend (American, b. 1953)
Another Great Day oil on canvas signed Townsend (lower left); signed and titled (verso)
36 x 36 inches
Property from the Collection of Nicole Gerber
$500 - 700
224
Gene and Rebecca Tobey (American, 1945-2006 and American b. 1948)
Buffalo
ceramic
signed Tobey (left hind leg)
height 22 x width 21 x depth 12 inches
Property from the Estate of Harry M. Cornell, Jr.
$1,000 - 2,000
225
Gene and Rebecca Tobey (American, 1945-2006 and American b. 1948)
Dancing With The Wind, edition 1/50
bronze
signed Tobey and numbered (base)
height 11 x width 10 x depth 7 1/2 inches
Provenance:
Ray Tracey Galleries, Santa Fe, New Mexico, 2001
$1,000 - 2,000
226
Gene and Rebecca Tobey (American, 1945-2006 and American b. 1948)
Yellowstone, edition 84/150
bronze
signed Tobey and numbered (base)
height 5 1/2 x width 4 x depth 1 3/4 inches
Provenance:
Contemporary Southwest Galleries, Santa Fe, New Mexico, 1997
$300 - 500
227
Gene and Rebecca Tobey (American, 1945-2006 and American b. 1948)
Taos, edition 13
bronze
signed Tobey and numbered (base)
height 3 3/4 x width 1 1/2 x depth 1 1/4 inches
Provenance:
Frank Howell Gallery, Santa Fe, New Mexico, 2002
$300 - 500
228
Gene and Rebecca Tobey (American, 1945-2006 and American b. 1948)
Geronimo, edition 32/150
bronze
signed Tobey and numbered (verso)
height 6 1/2 x width 5 x depth 2 1/2 inches
Provenance:
Gallery A, Taos, New Mexico, 2001
$400 - 600
229 Martha Pettigrew (American, b. 1950)
Northern Exposure, edition 6/15 bronze signed Martha Pettigrew and numbered (base) height 88 1/2 x with 16 1/2 x depth 17 inches
$7,000 - 9,000
Domitila, edition VI/VI, 1977
bronze
inscribed Zúñiga, numbered and dated height 24 x width 17 x depth 20 inches
We are grateful to Mr. Ariel Zúñiga for his assistance in cataloguing this lot.
Provenance:
Private Collection, Florida
Galerie Ninety-Nine, Bay Harbor Islands, Florida
Literature:
Francisco Zúñiga, Ariel Francisco Zúñiga, Francisco Zúñiga: Catálogo
Razonado i Escultura, 1923-1993, Volume I, México: Fundación Zúñiga
Laborde, 1999-2006, no. 746, another cast illustrated
$15,000 - 25,000
230
Martha
(American, b. 1950)
The Enduring Navajo, edition 15/20
bronze signed Martha Pettigrew, titled and dated (verso) height 34 x width 14 x depth 11 inches
$2,000 - 4,000
A Taste of the Golden West oil on canvas signed Schenck, titled and dated (verso)
74 x 55 inches
Provenance:
Rancher Bar, Jackson, Wyoming
Private Collection
Hindman Auctions, Denver, Colorado, May 6, 2021, Lot 67
Acquired from the above by the present owner
$6,000 - 8,000
235 Sari Staggs (American, b. 1941) Dancing IV, 1990 watercolor on paper signed Sari Staggs and dated (lower right) 59 1/2 x 40 inches
$1,000 - 2,000
236 JD Challenger (American, b. 1941)
The Grandfather Dwells Above, 2004 oil on canvas signed Challenger and dated (lower left); signed, titled and dated (verso) 40 x 40 inches
$2,000 - 4,000
237 John Nieto (American, 1936-2018)
Two Works: Two Figures and Indian with Headband, together with a letter from the artist graphite on paper each signed Nieto (lower right) first 7 x 8 1/4 inches; second 8 x 8 inches
$2,000 - 3,000
Born in Denver, Colorado, John Nieto was of Mescalero Apache and Hispanic heritage and drew on both as inspiration for his art. Nieto studied at Southern Methodist University and ultimately resided in New Mexico, taking a global approach to his work based on his travels and studies. In Paris, the broad swaths of bright, contrasting colors Nieto saw in the Fauvist painters of the early 20th century both aroused and confirmed his own thoughts about his direction as an artist, while his interest in the philosophies and art of the Far East made their way into his practice. He described his process in spiritual terms, saying, “I’m in a trance when I paint. It’s like being a drummer—you don’t look at the drums, you just know intuitively where they are.” The coyote is a crucial animal in Native spirituality, a supernatural trickster god. At times an emblem of mischief; at other times he acts as a kind of Indigenous Prometheus, essential to the creation of humankind, and to bringing order and culture to the world. Poised Coyote is classic Nieto, from the fearless combination of colors that give the animal an otherworldly dimensionality to the thick line that surrounds the animal and makes it shimmer. The background, black apart from the coyote’s shadow and the band of deep purple at the top, suggest the role that Coyote plays, as a god, in bringing fire and light to humanity.
−James D. Balestrieri240
Allan Houser (Chiricahua Apache, 1914-1994)
Sacred Rain Arrow I, edition 2/12, 1977
bronze
signed Houser and numbered (base)
height 12 x width 6 1/4 x depth 2 1/2 inches
Property from the Collection of Linda and Roger Nace, Phoenix, Arizona
$5,000 - 7,000
239
Allan Houser (Chiricahua Apache, 1914-1994)
Apache War Party
colored pencil on paper
signed Allan Houser (lower right) 17 x 24 inches
Property from the Collection of Linda and Roger Nace, Phoenix, Arizona
Provenance: Glenn Green Galleries, Phoenix, Arizona
$2,000 - 3,000
242
Allan Houser
(Chiricahua Apache, 1914-1994)
Abstract Family, edition of 20, 1992
bronze
signed Allan Houser Haozous and dated (base)
height 12 1/4 x width 8 x depth 5 inches
$1,500 - 2,500
241
Allan Houser
(Chiricahua Apache, 1914-1994)
Going to Grandma’s, edition 18/30, 1994
bronze
signed Allan Houser, numbered, and dated (base)
height 24 3/4 x width 22 x depth 9 inches
$8,000 - 10,000
245
Joseph Lonewolf and Gregory Lonewolf (Santa Clara, 1932-2014 and Santa Clara, b. 1952)
Sgrafito Pottery Seed Jars
lot of 2, includes:
a Joseph Lonewolf jar; signed and dated 1973 (base); height 2 1/2 x diameter 2 5/8 inches
a Gregory Lonewold jar with repeating feathers; signed and titled Thick Billed Parrot (base); height 1 1/4 x diameter 1 1/4 inches
$1,000 - 1,500
243
Pablita Velarde (Santa Clara, 1918-2006) Double Eagle Dancers, 1972 gouache signed Pablita Velarde (lower right) 12 x 24 inches
$2,000 - 3,000
244
RC Gorman (Diné, 1932-2005)
Woman with Bowl, 1976 pastel on paper signed R.C. Gorman and dated (lower left) 22 1/2 x 28 1/2 inches
Property from the Collection of Linda and Roger Nace, Phoenix, Arizona
Provenance: Suzanne Brown Gallery, Scottsdale, Arizona
$2,000 - 3,000
246
Redware
249
Fritz Scholder (Luiseño, 1937-2005)
Indian at the Bar, 1969 acrylic on canvas signed Scholder (lower left); signed, titled and dated (verso) 30 x 30 inches
$50,000 - 70,000
One of the most important American artists of the latter half of the 20th century, Fritz Scholder, who was one-quarter Luiseño, held his Native heritage as well as the realities of contemporary Native American life up to the light of art. He twisted, distorted, and painted what he knew and saw of the difficulties of contemporary Native American life in its struggle to reconcile modernity with tradition. Scholder was born in Minnesota and studied with Oscar Howe. When his family moved to California, he continued his studies with Wayne Thiebaud. Painted in 1969, the year Scholder resigned from a teaching post at the Institute of American Indian Arts in Santa Fe and decided to travel to Europe and North Africa, Indian at Bar is one of the artist’s paintings of what he called “real Indians” that challenge assumptions. Indian at Bar comes across as both a condemnation of forced assimilation and as a satire on the Hollywood Western. The figure’s tipped hat, easy left hand hanging down, the lean against the bar with the knee partly bent, the beer at arm’s length, even the suggestion of a window at upper left, a vantage point, to see who’s coming in—with a different face, this could be Clint Eastwood pretending to be nonchalant while waiting for some foe. But, of course, it isn’t Eastwood, and that’s the point. Instead, it’s a re-appropriation of one of the visual tropes of the Western, a displacement of the cowboy-gunman by a Native American. “Is this what you want us to be?” Scholder’s painting seems to ask.
−James D. Balestrieri250 Fritz Scholder (Luiseño, 1937-2005)
Winter Incampment, 1970 oil on board signed Scholder (lower left); titled and dated (verso) 16 x 20 inches
Property from the Collection of Edith S. Peiser, Boca Raton, Florida
Provenance: Elaine Horwitch Gallery, Scottsdale, Arizona
Acquired from the above by the present owner, circa 1972
$12,000 - 18,000
251 Fritz Scholder (Luiseño, 1937-2005)
Mystery Woman in Mission Chair, 1987 acrylic on canvas signed Scholder (lower left) 40 x 30 inches
Provenance: Sena Galleries West, Santa Fe, New Mexico
$10,000 - 15,000
Indians Forever, Complete Portfolio of Eight Lithographs: Indian with Feather, Kachina Dancers, Indian with Pigeon, Indians with Umbrellas, Indian at the Bar, Waiting Indian, Buffalo Dancer and Indian at the Circus, each numbered 43/75 each signed Scholder and numbered (lower edge) each 30 x 22 inches
Property from a Private Collection, Chicago, Illinois
$6,000 - 8,000
253
Kay WalkingStick
(Cherokee/American, b. 1935)
Emblem Series, #172, 1981
acrylic and wax on heavy rag paper, bonded to board signed Kay WalkingStick, titled and dated (verso) 24 x 24 inches
Provenance: Wenger Gallery, La Jolla, California
$5,000 - 7,000
254
Jaune Quick-To-See Smith (Confederated Salish/Kootenai, b. 1940)
Kalispell Series #40
pastel on paper signed J QTS Smith (lower center)
41 1/2 x 29 1/2 inches
$6,000 - 8,000
255
Tony Da (San Ildefonso, 1940-2008)
Redware Pottery Jar with Turquoise Cabochons signed DA (base) height 3 3/8 x diameter 4 1/2 inches
$5,000 - 7,000
256
T.C. Cannon (Caddo/Kiowa, 1946-1978)
Portraits of the Brave Heart People. New York: Aberbach Fine Art, 1979.
Book includes diminutive copies of T.C. Cannon woodcuts: Collector #5, Hopi with Manta, Woman at The Window, His Hair Flows
Like a River, and Two Guns Arikara
7 5/8 x 6 inches
$4,000 - 6,000
257
Doug Hyde
(Nez Perce/Chippewa/Assiniboine, b. 1946)
Laguna Potter, edition 13/21
bronze signed D. Hyde and numbered (base) height 17 x width 8 1/4 x depth 9 1/2 inches
$800 - 1,200
258
Jacquie Stevens (Winnebago, 1947-2021)
Micaceous Pottery Jar, 2002 signed and dated (base) height 6 x diameter 6 inches
$600 - 800
259
Dan Namingha
(Hopi, b. 1950)
Hopi Maidens, edition 13/20, 1974
bronze signed Namingha, numbered and dated (verso) height 4 1/4 x width 4 1/4 x depth 1 inch
Property from the Collection of Linda and Roger Nace, Phoenix, Arizona
Provenance: Glenn Green Galleries, Phoenix, Arizona
$1,500 - 2,500
260
Apple Blossom, Rosemary Lonewolf (Santa Clara, b. 1954)
Sgraffito Redware Jar signed Apple Blossom, Ghahm (base) height 5 1/4 x diameter 4 1/4 inches
$500 - 700
261
Nathan Youngblood (Santa Clara, b.1954) Redware Pottery Vase signed Nathan Youngblood (base) height 6 1/4 x diameter 4 3/4 inches
$1,500 - 2,500
262
Nancy Youngblood (Santa Clara, b. 1955)
Miniature Carved Red and Buff Pottery Jar, 1981 signed and dated (base) height 2 1/2 x diameter 1 3/4 inches
$800 - 1,200
Miniature Carved Blackware Pottery
lot of 3, includes:
a canteen, with wood stopper signed and dated 1981
height 2 x diameter 2 1/2 inches
an ovoid-shaped jar, with Avanyu signed and dated 1982
height 2 x diameter 1 1/2 inches
a jar, deeply carved with Avanyu around shoulder signed and dated 1980
height 1 x diameter 1 1/2 inches
$3,000 - 4,000
Two Jars: Carved Blackware Jar with Avanyu Design, 1988 and Blackware Melon Jar, 1985 each signed Nancy Youngblood Cutler and dated (base) first height 3 1/8 x diameter 2 3/4 inches; second height 1 3/4 x diameter 2 1/4 inches
$1,500 - 2,500
Miniature
with lid and 32 ribs; signed and dated on base height 1 3/4 x diameter 1 1/2 inches
$1,500 - 2,500
Blackware Jars
lot of 3, includes:
the largest with 32 ribs, signed Nancy Youngblood Cutler and dated 1980; height 2 1/2 inches x diameter 3 3/4 inches
a miniature swirl with 16 ribs and dated 1981; height 1 1/2 x diameter 1 3/4 inches a miniature wedding vase with Avanyu carved around middle, signed and dated 1981; height 2 1/2 inches x diameter 1 1/2 inches
$2,000 - 2,500
267
(Diné, b. 1958)
Capturing Elk Medicine, edition 3/12, 1994
bronze signed OC Joe, numbered and dated (base) height 22 3/4 x width 13 x depth 10 inches
$1,500 - 2,000
268
Oreland Joe (Diné, b. 1958)
Red Valley Sunset, 1995
alabaster
signed OC Joe and dated (verso) height 32 1/2 x width 15 1/2 x depth 7 inches
$1,000 - 2,000
269 Linda Tafoya-Sanchez (Santa Clara, b. 1962)
Blackware Pottery Jar signed Linda Tafoya-Sanchez (base) height 11 1/4 x diameter 8 inches
Provenance: Blue Rain Gallery, Santa Fe, New Mexico, August, 2012 Private Collection, New Jersey
$1,500 - 2,500
270 Russell Sanchez (San Ildefonso, b.1963)
Inlaid and Etched Seed Jar , 1989 signed Russell Sanchez, San Ildefonso Pueblo and dated (base of jar and lid) jar height 4 1/2 x diameter 5 1/4 inches; height including lid 6 3/4 inches
$1,000 - 1,500
Maiden, edition 28/50, 2003
bronze
signed K. Obrzut, numbered and dated (base)
height 10 1/2 x width 6 1/2 x depth 6 inches
Property of a Scottsdale Arizona Estate
$1,000 - 1,500
Mask mixed media on paper signed Tony Abeyta (lower edge); signed and titled (verso) 10 1/2 x 9 1/2 inches
$1,000 - 2,000
Pueblo Runner, 2010
pottery and horsehair
signed Virgil Ortiz, Cochiti Pueblo (base)
height 12 1/2 x width 5 1/2 x depth 6 inches
Provenance: Shiprock Santa Fe, Santa Fe, New Mexico, August 20, 2011
Private Collection, New Jersey
$2,000 - 4,000
Jet
$800 - 1,200
Katsina Masks, pair, 1998 mixed media
each signed Gregory Lomayesva and dated (verso)
largest height 17 x width 15 1/4 x depth 5 1/2 inches
Property from the Smith Collection, Scottsdale, Arizona
$1,000 - 1,500
$800 - 1,200
LEADERSHIP
Jay Frederick Krehbiel Executive Chairman
Leslie Hindman Founder & Chairman Emeritus
Alyssa D. Quinlan Chief Executive Officer alyssaquinlan @hindmanauctions.com
Wes Cowan Vice-Chair
Maron Hindman Vice-Chair
Molly Morse Limmer Executive Vice President, Deputy Chairman mollylimmer @hindmanauctions.com
AUCTION OPERATIONS, CLIENT SERVICES
Maggie Porter Vice President, Sales Strategy maggieporter @hindmanauctions.com
Rita Swanberg Manager, Client Experience ritaswanberg @hindmanauctions.com
Dawnie Komotios Operations Director Cincinnati dawniekomotios @hindmanauctions.com
Nicole Joy Regional Manager Auction Operations nicolejoy @hindmanauctions.com
FINANCE
Marco Gusella Vice President, Finance marcogusella @hindmanauctions.com
TRUSTS, ESTATES & PRIVATE CLIENTS
Molly E. Gron, J.D. Managing Director mollygron @hindmanauctions.com
Miranda Maxfield Senior Manager mirandamaxfield @hindmanauctions.com
Samantha Schwartz Senior Associate samanthaschwartz @hindmanauctions.com
Nneka Dunham Manager nnekadunham @hindmanauctions.com
Hannah Unger Manager hannahunger @hindmanauctions.com
Kathryn Hodge Senior Associate, West kathrynhodge @hindmanacutions.com
Erin Madarieta Associate, East erinmadarieta @hindmanauctions.com
APPRAISALS
LaGina Austin Senior Director, Appraisals & Valuations laginaaustin @hindmanappraisals.com
Margaret Cece Appraisals Supervisor margaretcece @hindmanappraisals.com
MUSEUM SERVICES
Caroline Mujica-Parodi Director carolinemujica @hindmanauctions.com
Michael Shapiro Senior Advisor, Museums & Private Collections
Briar Koehl Oleferchik Manager, Museum Services
FINE ART Joseph Stanfield Senior Vice President, Fine Art josephstanfield @hindmanauctions.com
Zachary Wirsum Vice President Post War & Contemporary Art zacharywirsum @hindmanauctions.com
Monica Brown Vice President Prints & Multiples monicabrown @hindmanauctions.com
Katherine Hlavin Director, Senior Specialist katherinhlavin @hindmanauctions.com
Madalina Lazen
Director, Senior Specialist European Art madalinalazen @hindmanauctions.com
Laura Paterson Director, Senior Specialist
Photographs laurapaterson @hindmanauctions.com
Pauline Archambault Specialist
Angela Whitaker Associate Specialist
Alexandria Dreas Associate Specialist
Julianna Tancredi Senior Researcher
Thea Andrus Cataloguer
Christina Kiriakos Cataloguer
John Martinez Department Coordinator
EUROPEAN FURNITURE & DECORATIVE ARTS
Corbin Horn Vice President, Senior Specialist corbinhorn @hindmanauctions.com
Nick Coombs Senior Specialist nickcoombs @hindmanauctions.com
Donna Tribby Senior Specialist
Sam Cowan National Head of Sale, The Collected Home
Nicholas Gordon Associate Specialist
Elizabeth Reed Cataloguer
Alison Lynch Associate Cataloguer Tyler Wilson Department Coordinator
AMERICAN FURNITURE, FOLK & DECORATIVE ARTS
Ben Fisher Vice President, Senior Specialist benfisher @hindmanauctions.com
Jennifer Howe Senior Specialist jenniferhowe @hindmanauctions.com
Leah Vogelpohl Specialist
Katie Benedict Cataloguer
ANTIQUITIES & ANCIENT ART
Jacob Coley Director, Senior Specialist jacobcoley @hindmanauctions.com
DESIGN
Hudson Berry Director, Senior Specialist hudsonberry @hindmanauctions.com
Sabrina Granados Associate Specialist
John Martinez Department Coordinator
NATIVE AMERICAN, PREHISTORIC & TRIBAL ART
Danica Farnand Vice President, Senior Specialist danicafarnand @hindmanauctions.com
Erin Rust Specialist
William Norwood Department Coordinator
ARMS, ARMOR & MILITARIA
Tim Carey Director, Specialist timcarey @hindmanauctions.com
Emma Fulmer ATF Manager and Senior Coordinator
Barrett Sharpnack Cataloguer
Tucker Etnoyer Cataloguer
FINE BOOKS & MANUSCRIPTS
Gretchen Hause Vice President, Senior Specialist gretchenhause @hindmanauctions.com
Katie Horstman Senior Specialist katiehorstman @hindmanauctions.com
Danielle Linn Specialist
Emily Payne Specialist
Kaylan Gunn Associate Specialist
Francis Wahlgren Senior Consultant
Leslie Winter Associate Specialist
Joshua Mccracken Department Coordinator
ASIAN ART
Annie Wu Vice President, Senior Specialist anniewu @hindmanauctions.com
Flora Zhang Specialist
Megan Sadler Associate Specialist
Datura Zhou Department Coordinator
JEWELRY & WATCHES
Sally Klarr, G.G. Director, Senior Specialist sallyklarr @hindmanauctions.com
Katie Hammond Guilbault, G.G. Senior Specialist San Diego katieguilbault @hindmanauctions.com
Sean Johnson Senior Specialist, Watches seanjohnson @hindmanauctions.com
Ruth Thuston, G.G. Senior Specialist ruththuston @hindmanauctions.com
Marisa Palmer, G.G. Senior Appraiser marisapalmer @hindmanauctions.com
Karina Hammer, G.G. Specialist karinahammer @hindmanauctions.com
April Matteini, G.G. Specialist aprilmatteni @hindmanauctions.com
Madeline Schroeder, G.G. Associate Specialist Gina O’Connor Cataloguer
Morgan Reed Department Coordinator
Rachael Wasaff Department Coordinator
COUTURE & LUXURY ACCESSORIES
Timothy Long Director, Senior Specialist timothylong @hindmanauctions.com
Tanner Branson Cataloguer
Rachael Wasaff Department Coordinator
SPORTS MEMORABILIA
James Smith Director, Senior Specialist jamessmith @hindmanauctions.com
Joshua Mccracken Department Coordinator
MARKETING
Ashley Galloway Vice President
PHOTOGRAPHY Zoë Bare* Director
David Jackson Supervisor
Gabby Boshara
Carmen Colome
Chad Feierstone
Jared Hefel*
Lim Hwoang
Deogracias Lerma
Roberto Martinez*
Libby Moore*
Mike Reinders
Bill Ross
Rachel Smith
Dallas Tolentino
Harley Wince
DESIGN
Aimee Guzman Creative Director
Brian Maslouski Senior Designer
Jennifer Castle* Graphic Designer
*Lead Photography and Design for Sale 1137
Evaluation of Property
Hindman is pleased to provide complimentary auction estimates for items you’re considering consigning. You are welcome to submit items electronically (consign@hindmanauctions.com) or to contact any of our offices directly.
Our specialists are eager to help you learn more about your collection and current auction sale estimates.
To begin an estimate, our specialists will need:
• At least 3 photos
• Detailed description
• Details on signatures or marks
Shipping Arrangements
Buyers assume full responsibility for the packing and shipping of lots won at auction. Our Recommended Shippers offer a wide variety of local, domestic, and international shipping options.
In the interest of our clients, Hindman requires a written authorization from the buyer in order to release property to anyone other than the purchaser of record (including but not limited to our recommended shippers). You may submit the Shipping Release Form via fax to 312.280.1211 or email to shipping@hindmanauctions.com
Appraisals
Our exceptional team of specialists regularly appraises property by analyzing market trends and conducting comprehensive research. Specialists evaluate thousands of objects each year for auction, allowing them to closely monitor the nuances of the current market.
Professional appraisals are prepared for estate tax, gift tax, charitable contribution, insurance and for equitable distribution purposes.
• Estate Tax
• Gift Tax
• Charitable Contribution
• Insurance
• Appraisals for Corporate Valuation Needs
Our trust and estates department recognizes that each client and appraisal situation is unique and often involves multiple asset categories and residences. Fees for appraisals are determined by the number of specialists, hours involved and the necessary travel and expenses. Our competitive fees are negotiated based upon the express needs of each client and are competitive within the marketplace.
Please contact our Appraisals Department (appraisals@ hindmanauctions.com) for more information.
Estate Services
Estate settlement is a meticulous and multi-faceted process. Hindman provides executors, fiduciaries and beneficiaries throughout the country with confidential and customized appraisals and disposition services. All appraisals are prepared fully in accordance with USPAP guidelines and meet all current requirements set forth by the IRS.
We recognize that each client and appraisal situation is unique and often involves multiple asset categories and residences. Our Trusts and Estates department offers services that are tailored to meet our clients’ timelines and specifications.
Our specialists offer complimentary walk-through services with the goal of providing an accurate representation of each items’ value based on the current auction market. A detailed proposal outlining the manner in which a sale will be conducted from the initial value assessment to removal of the property and settlement is provided to all parties involved.
Please contact our Estate Services (inquiries@hindmanauctions.com) team for more information.
Conditions of Sale
All bidders with Hindman LLC must read and agree to Conditions of Sale posted in this catalogue prior to bidding at an auction.
Viewing Auction Items
It is highly recommended that all prospective bidders either view the sale via our online catalogue or contact Hindman LLC for further images or to schedule an appointment to view objects in person.
Estimates
Hindman LLC provides catalogue descriptions and pre-auction estimates for each lot included in the sale. These estimates are a guide for prospective bidders. They are not definitive. All pre-sale estimates are subject to revision.
We are happy to provide a condition report for lots with a low estimate of $300 and above. Nevertheless, intending buyers are reminded that condition reports are statements of our opinion only, and that each lot is sold “AS IS,” per our Conditions of Sale, as outlined in the back of this catalogue. All lots should be viewed personally by prospective buyers or their agents to evaluate the condition of the property offered for sale due to the highly subjective nature of condition reports.
The highest bidder acknowledged by the auctioneer will be the purchaser. In addition to the hammer price, the buyer agrees to pay Hindman LLC a buyer’s premium as well as any applicable taxes.
Bidding generally opens at half the low estimate and advances in the following order, although the auctioneer may vary the bidding increments during the course of the auction.
The standard bidding increments are:
Our auctions are free and open to the public with no obligation for attendees to bid. Registration requires your full contact information, photo identification, credit card information, your signature and agreement to the Conditions of Sale.. If you are the successful bidder, your paddle number and the hammer price will be announced by the auctioneer.
Hindman LLC allows absentee and live bidding through our website at hindmanauctions.com as well as absentee and live bidding through third party online bidding providers which vary by sale. For more information regarding online bidding please visit our website at hindmanauctions.com.
If you are unable to attend an auction, you may place an absentee bid, either through our website at hindmanauctions.com or through the bid form provided at the back of this catalogue. An absentee bid is the highest price you are willing to pay exclusive of buyer’s premium and applicable sales tax. Hindman LLC will exercise absentee bids at no additional charge. Absentee bids are always confidential, and bids are executed at the lowest price possible by the auctioneer according to reserves and competing bids.
You may register telephone bid requests either through our website at hindmanauctions.com or through the bid form provided at the back of this catalogue. Upon registering for a telephone bid, you will be called on the day of the auction by a Hindman representative approximately five lots before your item is scheduled to be sold. They will communicate to you the bidding activity and will relay your bids to the auctioneer at your discretion. Please note we can only accept telephone bids for lots with a low estimate of $500 or above unless otherwise noted online. Telephone bids may be requested up to 2 hours prior to the auction start time.
These Conditions of Sale set out the terms upon which Hindman LLC (“we,” “us,” or “our”) sells property by lot in this catalogue. You agree to be bound by these terms by registering to bid and/or by bidding in our auction.
1. LOT DESCRIPTIONS AND WARRANTIES
Our description of a lot, any statement of a lot’s condition, and any other oral or written statement about a lot—such as its nature, condition, artist, period, materials, dimensions, weight, exhibition or publication history, or provenance— are our opinion and shall not to be relied upon by you as a statement of fact. Except for the limited authenticity warranty contained in paragraphs E and F below, we do not provide any guarantee of our description or the nature of a lot.
2. CONDITION
The physical condition of lots in our auctions can vary due to age, normal wear and tear, previous damage, and restoration/repair. All lots are sold “AS IS,” in the condition they are in at the time of the auction, and we and the seller make no representation or warranty and assume no liability of any kind as to a lot’s condition. Any reference to condition in a catalogue description or a condition report shall not amount to a full accounting of condition and may not include all faults, inherent defects, restoration, alteration, or adaptation. Likewise, images in our catalogue may not depict a lot accurately, as colors and shades may appear different in print or on screen than on physical inspection. We are not responsible for providing you with a description of a lot’s condition in the catalogue or in a condition report.
3.
We offer pre-auction viewings, either scheduled or by appointment, that are free of charge. If you believe that the catalogue description or condition reports are not sufficient, we suggest you inspect a lot personally or through a knowledgeable representative before you bid on a lot to make sure that you accept the description and its condition. We recommend you hire a professional adviser if you are not familiar with how to address the nature or condition of an object. Hindman has several salerooms throughout the country and the location of sales, or individual items may vary. It is important to check with our website and be aware of where each lot is located, for both viewing and for shipping purposes.
4. ESTIMATES
Estimates of a lot account for the condition, rarity, quality, and provenance of the object and are based upon prices realized for similar objects in past auctions. Neither you nor anyone else may rely on our estimates as a prediction or guarantee of the actual selling price of a lot or its value for any other purpose. Estimates do not include the buyer’s premium, any applicable taxes, and any other applicable charges.
5. WITHDRAWAL
We may, in our sole discretion, withdraw a lot from auction at any time prior to or during the sale and shall have no liability to you for our decision to withdraw.
1. GENERAL
We reserve the right to reject any bid. By participating in the sale, you represent and warrant that:
(a) The bidder and/or purchaser is not subject to trade sanctions, embargoes or any other restriction on trade in the jurisdiction in which it does business as well as under the laws and regulations of the United States, and is not owned (nor partly owned) or controlled by such sanctioned person(s) (collectively, “Sanctioned Person(s)”); (b) Where you are acting as agent, your principal is not a Sanctioned Person(s) nor owned (or partly owned) or controlled by Sanctioned Person(s); and
(c) The bidder and/or purchaser undertakes that none of the purchase price will be funded by any Sanctioned Person(s), nor will any party be involved in the transaction including financial institutions, freight forwarders or other forwarding agents or any other party be a Sanctioned Person(s) nor owned (or partly owned) or controlled by a Sanctioned Person(s), unless such activity is authorized in writing by the government authority having jurisdiction over the transaction or in applicable law or regulation.
New bidders must register at least twenty-four (24) hours before an auction and must provide us with documentation of their identity.
(a) Individuals must provide photo identification (driver’s license, non-driver ID card, or passport) and, if not shown on the photo identification, proof of current address (a current utility bill or bank statement). (b) Corporate clients must provide a Certificate of Incorporation or its equivalent bearing the company’s
name and registered address, together with documentary proof of directors and beneficial owners. (c) Trusts, partnerships, offshore companies, and other business entities must contact us in advance of the auction to discuss our requirements. If we are not satisfied with the information you provide us in our bidder identification and other registration procedures, we may refuse to register you to bid, and if you make a successful bid, we may cancel the contract for sale between you and the seller. New bidders may be required to provide us with a financial reference and/or a deposit before we allow them to bid.
3. RETURNING BIDDERS
If you have not bought anything from us recently, then we may require you to register as a new bidder, as described in the paragraph above. Please contact us at least twenty-four (24) hours prior to the auction.
4. BIDDING FOR ANOTHER PERSON
If you are bidding as an agent on behalf of another person, your principal must be a registered bidder and must provide us with written authorization allowing you to bid. You, as the agent, shall accept personal liability to pay the purchase price and all other sums due unless we have agreed in writing before the auction that you are acting as an agent on behalf of your principal and that we will only seek payment from your principal.
5. BIDDING IN THE SALEROOM
If you wish to bid in the saleroom, you must first acquire a bidding paddle at least thirty (30) minutes before the auction.
6. OUR BIDDING SERVICES
We offer the following bidding services as a convenience to our clients, subject to these Conditions of Sale. We shall not be responsible for any error, omission, or failure, human or otherwise, in providing these services.
(a) Phone Bids: You must contact us at least twenty-four (24) hours prior to the auction to arrange a phone bid. We will accept bids by telephone for lots only if our staff is available to take the bids. We agree that we may record telephone bids.
(b) Internet Bids: You can bid in our live sales via our bidding platform or through third-party bidding sites.
(c) Written Bids: You can find a Written Bid Form at the auction location, or online at www.hindmanauctions.com. We must receive your completed Written Bid Form at least twenty-four (24) hours before the auction. We will endeavor to execute written bids at the lowest possible price consistent with the reserve. If you make a written bid on a lot that does not have a reserve and there is no higher bid than yours, we will bid on your behalf at approximately fifty percent (50%) of the low estimate or, if lower, the amount of your bid. The first written bid we receive of those for identical amounts will be given priority over other bids.
7. CREDIT CARD AUTHORIZATION HOLD
When you register to bid you may be asked to provide us with a valid credit card number. You authorize us to verify the validity of the credit card by placing a temporary authorization hold on the card that will remain until it falls off, usually within 2 to 7 days.
C. DURING THE AUCTION
1. BIDDING IN THE AUCTION
(a) Live Auctions. We will appoint an individual auctioneer to administer a live auction. The auctioneer may accept bids from (a) written bids left with us by bidders before the auction; (b) bidders in the saleroom; (c) telephone bidders; and (d) Internet bidders, including bidders through third-party bidding sites. Bidding generally starts below the low estimate and increases in steps, called bid increments. The auctioneer will decide at his/her sole option where the bidding should start and the bid increments. Bid increments may vary from auction to auction. You shall comply with all laws and regulations in force that govern your bidding.
(b) Online Auctions. The auctioneer will accept bids from Internet bidders, including bidders through third-party bidding sites. Bidding generally starts below the low estimate and increases in steps, called bid increments. The auctioneer will decide at his/her sole option where the bidding should start and the bid increments. Bid increments may vary from auction to auction. You shall comply with all laws and regulations in force that govern your bidding.
(c) Timed Auctions. Bids may only be submitted on our website between the dates and times specified in the lot’s description. Your bid is submitted once you place and confirm your bid amount. You agree that a bid is final once it is placed and that you may never amend or revoke your bid. You are fully responsible for any errors you make in bidding. Bidding generally opens at or below the low estimate and increases in steps (bidding increments) to be determined in Hindman’s sole discretion.
2. AUCTIONEER’S DISCRETION
The auctioneer shall have absolute discretion to (a) admit a bidder into or remove a bidder from the saleroom or online auction; (b) accept or refuse any bid; (c) change the order of the lots in the auction; (d) move the bidding backward or forward; (e) withdraw any lot from the auction; (f) divide any lot or combine any two or more lots; (g) reopen or continue the bidding even after the hammer has fallen; and (h) continue the bidding, determine the successful bidder, cancel the sale of the lot, or reoffer and resell any lot in the event that there is an error or dispute related to bidding or the application of the reserve, whether during or after the auction. You must provide us with written notice within three (3) business days of the date of the auction if you believe that the auctioneer has accepted the successful bid in error. The auctioneer will consider the claim and decide in good faith if the sale of the lot is final, whether he/she will cancel the sale of the lot, or whether he/she will reoffer and resell the lot. The auctioneer’s decision in exercise of this discretion is final. This paragraph does not in any way affect our ability to cancel the sale of a lot under other applicable provisions of these Conditions of Sale, including the rights of cancellation set forth in sections B(1), D(6), E(2), and G(1).
3. BIDDING ON BEHALF OF THE SELLER
The auctioneer may, at his/her sole option, bid on behalf of the seller up to one bidding increment before the reserve by making either consecutive or responsive bids. The auctioneer will not identify these as bids made on behalf of the seller. If a lot is offered without reserve, the auctioneer will open the bidding at a set increment lower than the lot’s low estimate and will solicit higher bids from that amount. If there are no bids on a lot, the auctioneer may deem the lot unsold.
4. SUCCESSFUL BIDS AND INVOICES
Subject to paragraph C(2), the contract of sale between the seller and the successful bidder is formed when the final bid is accepted and the auctioneer’s hammer strikes. The successful bid price is the hammer price, and we will issue an invoice only to the registered bidder who made the successful bid. While we send out invoices by mail and/or email after the auction, we shall not be responsible for telling you whether your bid was successful. You should contact us immediately after the auction to find out the success of your bid in order to avoid having to pay storage charges. Please note that Hindman will not accept payments for purchased lots from any party other than the purchaser, unless otherwise agreed between the purchaser and Hindman prior to the sale.
1. THE BUYER’S PREMIUM
In addition to the hammer price, the successful bidder agrees to pay us a buyer’s premium on the hammer price of each lot sold. On all lots we charge twenty-six percent (26%) of the hammer price up to and including $1,000,000; twenty percent (20%) of any amount in excess of $1,000,001 up to and including $5,000,000; and fifteen percent (15%) of any amount in excess of $5,000,001. If the bidder bids through a third-party platform the bidder agrees to pay us a surcharge equal to the fee levied by the third-party platform. The third-party platform fee is in addition to the buyer’s premium
The successful bidder is responsible for any applicable taxes, including any sales or use tax or equivalent tax wherever such taxes may arise on the hammer price, the buyer’s premium, and/or any other charges related to the lot. A sales or use tax is dependent upon a number of factors, including, but not limited to, our volume of sale and the place of delivery of the lot, regardless of the nationality or citizenship of the successful bidder. The applicable sales tax rate will be determined based upon the state, county, or locale to which the lot will be shipped or where it is picked-up in person. We collect sales tax in states where legally required.
(a) Immediately following the auction, you must pay the purchase price, consisting of the hammer price, plus the buyer’s premium, plus any applicable duties and sales, use, or other applicable taxes. Payment is due no later than by the end of the seventh (7th) calendar day following the date of the auction, which we refer to as the due date.
(b) We will only accept payment from the registered successful bidder. Once issued, we cannot change the buyer’s name on an invoice or reissue the invoice in a different name.
(c) You must pay for lots in US dollars in one of the following ways:
(i) Wire transfer.
(ii) Bank checks: You must make these payable to Hindman LLC, and we may impose other conditions. Once we have deposited your check, property cannot be released until five (5) business days have passed.
(iii) Personal checks: You must make these payable to Hindman LLC, and they must be drawn from US dollar accounts from a US bank. The property will not be released until the check has cleared and the funds are received by us.
(iv) Credit card: Credit card payments may not exceed $10,000 and a convenience fee of 3% will be added to each credit card payment.
(v) ACH Bank Transfer
(d) You must quote your invoice number when making a payment. All payments sent by post must be sent to Hindman LLC, 1338 West Lake Street, Chicago, IL 60607, ATTN: Client Accounting Department.
4. TRANSFERRING OWNERSHIP TO YOU
You will not own the lot and title will not pass to you until we have received full payment in good funds of the purchase price, even in circumstances where we have released the lot to you.
5. TRANSFERRING RISK TO YOU
Unless we have agreed otherwise with you, the risk in and responsibility for the lot will transfer to you from whichever is the earlier of the following: (a) when you collect the lot; or (b) the end of the thirtieth (30th) day following the date of the auction or, if earlier, the date the lot is taken into care by a third-party warehouse.
If you fail to pay us the purchase price in full in good funds by the due date, we will be entitled to do one or more of the following (as well as enforce any other rights and remedies we have by law) at our sole discretion:
(a) We can charge interest from the due date at a rate of up to one and one-half percent (1.5%) per month on the unpaid amount due.
(b) We can cancel the sale of the lot and sell the lot again, publicly or privately, on such terms as we believe appropriate, in which case you must pay us any shortfall between the amount you owe us and the resale price, plus all costs, expenses, losses, damages, and legal fees we incur due to the cancellation.
(c) We can pay the seller the amount due to them, in which case you acknowledge and understand that we will have all the seller’s rights to pursue you for such amount.
(d) We can hold you legally responsible for the amount you owe us and bring legal proceedings against you to recover the amount owed by you, plus other losses, interest, legal fees, and costs as allowed by law.
(e) We can reveal your identity and contact details to the seller.
(f) We can reject any bids made by or on behalf of you in future auctions or require you to provide us with a deposit before accepting any bids.
(g) We can exercise all the rights and remedies of a person holding security over any property in our possession owned by you, whether by way of pledge, security interest, or in any other way as permitted by the law of the place where such property is located. You will be deemed to have granted such security to us and we may retain such property as collateral security for your obligations to us.
(h) We can take any other action we deem necessary or appropriate.
(a) You must collect purchased lots within thirty (30) days of the auction. We can assist in making shipping arrangements by suggesting art handlers, packers, transporters, or experts, but you must arrange all transport and shipping with them, and we are not responsible for their acts, failure to act, or neglect. Hindman has several salerooms throughout the country and the location of sales, or individual items may vary. It is important to check with our website and be aware of where each lot is located, for both viewing and for shipping.
(b) If you do not collect any purchased lot within thirty (30) days following the auction, we may, at our sole option, (i) charge you storage and insurance costs; (ii) move the lot to another Hindman location or to a third-party warehouse, whereupon we will charge you transport costs, insurance costs, and administration fees for doing so, and you will be subject to the third-party storage warehouse’s standard terms and responsible for paying its standard fees and costs; or (iii) sell the lot in any commercially reasonable way we think appropriate.
(c) In accordance with applicable state law, if you have paid for the lot in full but you do not collect the lot within the time specified by the law of the state where the auction takes place, we may charge you state sales tax for the lot.
(d) Nothing in this paragraph is intended to limit our rights under paragraph D(6).
(a) The shipping of a lot is affected by United States export laws or the import laws of other countries. If you are outside the United States, then local laws may prevent you from importing a lot. You alone are responsible for seeking advice prior to bidding and meeting the requirements of any law or regulation applying to the export or import of a lot.
(b) Lots made of or including (regardless of the percentage) endangered and other protected species of wildlife—such as, among other things, ivory, tortoiseshell, crocodile skin, rhinoceros horn, whalebone, certain species of coral, and Brazilian rosewood—may be subject to export controls in the US and import controls in other countries. You should check the relevant wildlife laws and regulations before bidding on any lot containing wildlife material if you plan to export the lot from the United States, import the lot into another country, or ship the lot between states. Your purchase of a lot containing endangered and other protected species of wildlife is at your own risk, and you shall be responsible for any scientific test or other reports required for export from the
United States or for shipment between states. We will not cancel your purchase and refund the purchase price if your lot may not be exported, imported, or shipped between states, or if it is seized for any reason by a government authority. It is your responsibility to determine and satisfy the requirements of any applicable laws or regulations relating to import, export, and/or interstate shipping of a lot containing endangered and other protected species of wildlife.
E. WARRANTIES
1. SELLER’S WARRANTIES
For each lot, the seller gives a warranty that the seller (a) is the owner of the lot or a joint owner of the lot acting with the permission of the other co-owners or, if the seller is not the owner or a joint owner of the lot, has the permission of the owner to sell the lot or the right to do so by law; and (b) has the right to transfer ownership of the lot to the buyer without any restrictions or claims by anyone else. If either of the above warranties are incorrect, the seller shall not have to pay more than the purchase price (as defined in paragraph D(3) above) paid by you to us. The seller will not be responsible to you for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages, or expenses. The seller gives no warranty other than as set out above, and as far as the seller is allowed by law, all warranties from the seller to you, and all other obligations upon the seller that may be added to this agreement by law, are excluded. No employee or agent of Hindman is authorized to make a representation or provide other information, whether orally or in writing, that amends the seller’s warranties or creates an additional warranty on behalf of the seller with respect to a lot. Any such representation, other information, or additional warranty shall be null and void.
2. OUR LIMITED AUTHENTICITY WARRANTY
Our limited authenticity warranty, which lasts for one (1) year from the date of a live auction or three (3) months from an online only auction, is that the lots in our sales are authentic as defined in paragraph H, below. You must notify Hindman regarding concerns of authenticity in writing within one (1) year of the date of a live auction or within three (3) months of the date of an online only auction. Following receipt of that written notification, subject to the terms below, Hindman will refund the purchase price paid by the client. The terms of this limited authenticity warranty are as follows:
(a) It will be honored for claims notified in writing within a period of one (1) year from the date of a live auction or three (3) months from an online only auction. After such time, we will not be obligated to honor the limited authenticity warranty.
(b) It is given only for information shown in UPPERCASE type in the first line of the catalogue description (the Heading). It does not apply to any information other than that in the Heading, even if it is shown in UPPERCASE type.
(c) It does not apply to any Heading or part of a Heading that is qualified.
“Qualified” means limited by a clarification in a lot’s catalogue description or by the use in a Heading of one of the terms listed in the definition of “qualified” provided in paragraph H, below. Qualified Headings are not covered at all by this limited authenticity warranty.
(d) It applies to the Heading as amended by any saleroom notice.
(e) It does not apply where scholarship has developed since the auction, leading to a change in generally accepted opinion. Further, it does not apply if the Heading either matched the generally accepted opinion of experts at the date of the auction or drew attention to any conflict of opinion.
(f) It does not apply if the lot can only be shown not to be authentic by a scientific process that, on the date we published the catalogue, was not available or generally accepted for use, was unreasonably expensive or impractical, or was likely to have damaged the lot.
(g) Its benefit is only available to the original buyer shown on the invoice for the lot, issued at the time of the sale, and only if, on the date of the notice of claim, the original buyer is the full owner of the lot and the lot is free from any claim, interest, or restriction by anyone else. The benefit of this limited authenticity warranty may not be transferred by the original buyer to anyone else.
(h) In order to make a claim under the limited authenticity warranty, you must
(i) give us written notice of your claim within one (1) year of the date of a live auction or three (3) months from an online only auction ; (ii) at our option, pay for and provide us with the written opinions of two recognized experts in the field, mutually agreed upon by you and us, confirming that the lot is not authentic (we reserve the right to obtain additional opinions at our expense); and (iii) return the lot at your expense to the saleroom from which you bought it in the condition it was in at the time of sale.
(i) Your only right under this limited authenticity warranty is to cancel the sale and receive a refund of the purchase price paid by you to us. We will not, under any circumstances, be required to pay you more than the purchase price, nor will we be liable for any loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, other damages, or expenses.
(j) No employee or agent of Hindman is authorized to make a representation or provide additional information, whether orally or in writing, that amends the limited authenticity warranty or creates an additional warranty with respect to a lot. Any such representation, other information, or additional warranty shall be null and void.
If the lot is a book, then we give an additional warranty to the original buyer shown on the invoice for the lot issued at the time of the sale in the following circumstances:
(a) We will refund the purchase price to the original buyer if we, in our sole discretion, are convinced that the book is defective in text or illustration, subject to the following terms:
(i) This additional warranty does not apply to (A) the absence of blanks, half titles, tissue guards, or advertisements; or damage in respect of bindings, stains, spotting, marginal tears, or other defects not affecting the completeness of the text or illustration; (B) drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps, or periodicals; (C) books not identified by title; (D) lots sold without a printed estimate; (E) books that are described in the catalog as sold not subject to return; or (F) defects stated in any condition report or announced at the time of sale.
(ii) To make a claim under this additional warranty, you must give written details of the defect within twenty-one (21) days of the date of the sale and return the lot within twenty-one (21) days of the date of the sale to the saleroom at which you bought it in the same condition as at the time of sale.
(iii) Paragraphs E(2)(b), (c), (d), (e), (h), and (i) also apply to a claim under this additional warranty. (c) No employee or agent of Hindman is authorized to make a representation or provide other information, whether orally or in writing, that amends the additional warranty for books or creates an additional warranty with respect to a lot. Any such representation, other information, or additional warranty shall be null and void.
4. JEWELRY
(a) Colored gemstones (such as rubies, sapphires, and emeralds) may have been treated to improve their appearance through methods such as heating and/or various clarity enhancements. These methods are considered common by the international jewelry trade but may make a gemstone more fragile and/or cause the gemstone to require special care over time.
(b) All types of gemstones may have been improved by some method. You may request a gemological report for any item that does not have a report if the request is made to us at least three (3) weeks before the date of the auction and you pay the fee for the report.
(c) We do not obtain a gemological report for every gemstone sold in our auctions. When we do get gemological reports from internationally accepted gemological laboratories, such reports are described in the catalogue. Reports from American gemological laboratories describe any improvement or treatment to the gemstone. Reports from European gemological laboratories describe any improvement or treatment only if we request that they do so, but they do confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree on whether a gemstone has been treated, the amount of treatment, or whether that treatment is permanent. The gemological laboratories only report on the improvements or treatments known to them at the date they make the report.
(d) For jewelry sales, estimates are based on the information in any gemological report. If no report is available, assume that the gemstones may have been treated or enhanced.
5. WATCHES AND CLOCKS
(a) Almost all clocks and watches are repaired in their lifetime and may include parts that are not original. We do not give a warranty that any individual component part of any watch is authentic. Watchbands described as “associated” are not part of the original watch and may not be authentic. Clocks may be sold without pendulums, weights, or keys.
(b) As collectors’ watches often have very fine and complex mechanisms, you are responsible for any general service, change of battery, or further repair work that may be necessary. We do not give a warranty that any watch is in good working order. Certificates are not available unless described in the catalogue. (c) Most wristwatches have been opened to find out the type and quality of movement. For that reason, wristwatches with water-resistant cases may not be waterproof, and we recommend you have them checked by a competent watchmaker before use.
(d) Many of the watches offered for sale in this catalogue are pictured with straps made of endangered or protected animal materials such as alligator or crocodile skin. When straps are shown for display purposes only and are not for sale. We may remove and retain the strap prior to shipment from the sale site. Please check with the department for details on a lot with such a strap.
6. YOUR WARRANTIES
You warrant to us and the seller that (a) the funds you use for payment are not connected with any criminal activity, including tax evasion, and neither are you under investigation, nor have you been charged with or convicted of money laundering, terrorist activities, or other crimes; (b) where you are bidding on behalf of another person, (i) you have conducted appropriate customer due diligence on the ultimate buyer(s) of the lot(s) in accordance with all applicable anti-money laundering and sanctions laws, you consent to us relying on this due diligence, you will retain for a period of not less than five (5) years the documentation
evidencing the due diligence, and you will make such documentation promptly available for immediate inspection by an independent third-party auditor upon our written request to do so; (ii) the arrangements between you and the ultimate buyer(s) in relation to the lot or otherwise do not, in whole or in part, facilitate tax crimes; (iii) you do not know, and have no reason to suspect, that the funds used for payment are connected with or the proceeds of any criminal activity, including tax evasion, or that the ultimate buyer(s) are under investigation for, or have been charged with or convicted of, money laundering, terrorist activities, or other crimes.
(a) We give no warranty in relation to any statement made, or information given, by us or our representatives or employees about any lot other than as set out in the limited authenticity warranty or in the additional warranty for books, and as far as we are allowed by law, all warranties and other terms that may be added to this agreement by law are excluded. The seller’s warranties contained in paragraph E(1) are their own, and we do not have any liability to you in relation to those warranties.
(b) We are not responsible to you for any reason (whether for breaking this agreement or for any other matter relating to your purchase of, or bid for, any lot) other than in the event of fraud or fraudulent misrepresentation by us, or other than as expressly set out in these Conditions of Sale.
(c) WE DO NOT GIVE ANY REPRESENTATION, WARRANTY, OR GUARANTEE OR ASSUME ANY LIABILITY OF ANY KIND IN RESPECT OF ANY LOT WITH REGARD TO MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, DESCRIPTION, SIZE, QUALITY, CONDITION, ATTRIBUTION, AUTHENTICITY, RARITY, IMPORTANCE, MEDIUM, PROVENANCE, EXHIBITION HISTORY, LITERATURE, OR HISTORICAL RELEVANCE. EXCEPT AS REQUIRED BY LOCAL LAW, ANY WARRANTY OF ANY KIND IS EXCLUDED BY THIS PARAGRAPH.
(d) Our written and telephone bidding services, online bidding services, and condition reports are free services, and we are not responsible to you for any error, omission, or failure of these services.
(e) We have no responsibility to any person other than a buyer in connection with the purchase of any lot.
(f) If, despite the terms in paragraphs F(a)–(e) or E(2)–(3) above, we are found to be liable to you for any reason, we shall not have to pay more than the purchase price paid by you to us. We will not be responsible to you for any reason for loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, or expenses.
G. OTHER TERMS
1. OUR ABILITY TO CANCEL
In addition to the other rights of cancellation contained herein, we can cancel a sale of a lot if (i) any of your warranties in paragraph E(4) are not correct; (ii) we reasonably believe that completing the transaction is, or may be, unlawful; or (iii) we reasonably believe that the sale places us or the seller under any liability to anyone else or may damage our reputation.
2. RECORDINGS
We may videotape and/or audio record proceedings at any auction. We will keep any personal information confidential, except to the extent that disclosure is required by law. If you do not want to be videotaped, you may decide to make a telephone or written bid or bid online instead. Unless we agree otherwise in writing, you may not videotape or record proceedings at any auction.
3. COPYRIGHT
We own the copyright in all images, illustrations, and written material produced by or for us relating to a lot, including the contents of our catalogues, unless otherwise noted therein. You cannot use them without our prior written permission. We make no representation and offer no guarantee that the buyer of a lot will gain any copyright or other reproduction rights.
4. ENFORCING THIS AGREEMENT
If a court finds that any part of this agreement is invalid, illegal, or impossible to enforce, that part of the agreement will be treated as being deleted, and the rest of this agreement will not be affected.
5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES
You may not grant a security over or transfer your rights or responsibilities under these terms unless we have given our written permission. This agreement will be binding on your successors or estate and anyone who takes over your rights and responsibilities.
6. PERSONAL INFORMATION
We will hold and process your personal information in line with our privacy policy at www.hindmanauctions.com.
7. WAIVER
No failure or delay to exercise any right or remedy contained herein shall constitute a waiver of that or any other right or remedy, nor shall it prevent or restrict the further exercise of that or any other right or remedy. No single or partial exercise of such right or remedy shall prevent or restrict the further exercise of that or any other right or remedy.
8. LAW AND DISPUTES
This agreement, and any noncontractual obligations arising out of or in connection with this agreement, or any other rights you may have relating to the purchase of a lot will be governed by the laws of Illinois. You and we agree to try to settle the dispute by mediation submitted to JAMS, or its successor, for mediation in Illinois. If the dispute is not settled by mediation within sixty (60) days from the date when mediation is initiated, then the dispute shall be submitted to JAMS, or its successor, for final and binding arbitration in accordance with its Comprehensive Arbitration Rules and Procedures or, if the dispute involves a non-US party, the JAMS International Arbitration Rules. The seat of the arbitration shall be Illinois, and the arbitration shall be conducted by one arbitrator, who shall be appointed within thirty (30) days after the initiation of the arbitration. The language used in the arbitral proceedings shall be English. The arbitrator shall order the production of documents only upon a showing that such documents are relevant and material to the outcome of the dispute. The arbitration shall be confidential, except to the extent necessary to enforce a judgment or where disclosure is required by law. The arbitration award shall be final and binding on all parties involved. Judgment upon the award may be entered by any court having jurisdiction thereof or having jurisdiction over the relevant party or its assets. This arbitration and any proceedings conducted hereunder shall be governed by Title 9 (Arbitration) of the United States Code and by the United Nations Convention on the Recognition and Enforcement of Foreign Arbitral Awards of June 10, 1958.
H. GLOSSARY
authentic: a genuine example, rather than a copy or forgery of (a) the work of a particular artist, author, or manufacturer, if the lot is described in the Heading as the work of that artist, author, or manufacturer; (b) a work created within a particular period or culture, if the lot is described in the Heading as a work created during that period or culture; (c) a work of a particular origin or source, if the lot is described in the Heading as being of that origin or source; or (d) in the case of gems, a work that is made of a particular material, if the lot is described in the Heading as being made of that material.
buyer’s premium: the charge the buyer pays us along with the hammer price. catalogue description: the description of a lot in the catalogue for the auction, as amended by any saleroom notice.
due date: has the meaning given to it in paragraph D(3)(a).
estimate: the price range included in the catalogue or any saleroom notice within which we believe a lot may sell. Low estimate means the lower figure in the range, and high estimate means the higher figure. The mid estimate is the midpoint between the two.
hammer price: the amount of the highest bid the auctioneer accepts for the sale of a lot.
Heading: has the meaning given to it in paragraph E(2).
limited authenticity warranty: the guarantee we give in paragraph E(2) that a lot is authentic other damages: any special, consequential, incidental, or indirect damages of any kind or any damages that fall within the meaning of “special,” “incidental,” or “consequential” under local law.
purchase price: has the meaning given to it in paragraph D(3)(a).
provenance: the ownership history of a lot.
qualified: has the meaning given to it in paragraph E(2), subject to the following terms:
(a) “Cast from a model by” means, in our opinion, a work from the artist’s model, originating in his circle and cast during his lifetime or shortly thereafter.
(b) “Attributed to” means, in our opinion, a work probably by the artist.
(c) “In the style of” means, in our opinion, a work of the period of the artist and closely related to his style.
(d) “Ascribed to” means, in our opinion, a work traditionally regarded as by the artist.
(e) “In the manner of” means, in our opinion, a later imitation of the period, of the style, or of the artist’s work.
(f) “After” means, in our opinion, a copy or after-cast of a work of the artist. reserve: the confidential amount below which we will not sell a lot. saleroom notice: a written notice posted next to the lot in the saleroom and on www.hindmanauctions.com, which is also read to prospective telephone bidders and provided to clients who have left commission bids, or an announcement made by the auctioneer either at the beginning of the sale or before a particular lot is auctioned.
UPPERCASE type: type having all capital letters.
warranty: a statement or representation in which the person making it guarantees that the facts set out in it are correct.
Updated 1.13.23
SALE 1147
POST WAR & CONTEMPORARY ART
APRIL 19 | CHICAGO | LIVE + ONLINE
SALE 1174
PRINTS & MULTIPLES
APRIL 20 | CHICAGO | LIVE + ONLINE
SALE 1133
NATIVE AMERICAN ART, SESSION I
APRIL 21 | CINCINNATI | LIVE + ONLINE
SALE 1134
NATIVE AMERICAN ART, SESSION II
APRIL 24 | CINCINNATI | TIMED ONLINE
SALE 1183
PHOTOGRAPHS
MAY 2 | CHICAGO | LIVE + ONLINE
SALE 1137
WESTERN & CONTEMPORARY
NATIVE AMERICAN ART
MAY 4 | DENVER | LIVE + ONLINE
SALE 1182
WESTERN & CONTEMPORARY
NATIVE AMERICAN ART ONLINE
MAY 5 | DENVER | TIMED ONLINE
SALE 1175
EUROPEAN ART
MAY 18 | CHICAGO | LIVE + ONLINE
SALE 1177
AMERICAN ART
MAY 19 | CHICAGO | LIVE + ONLINE
To
ATLANTA
KRISTIN VAUGHN
VICE PRESIDENT 404.800.0192
KRISTINVAUGHN @HINDMANAUCTIONS.COM
CHICAGO
MIRANDA MAXFIELD 312.334.4208
MIRANDAMAXFIELD @HINDMANAUCTIONS.COM
CINCINNATI
VAUGHN H. SMITH 513.666.4987
VAUGHNSMITH @HINDMANAUCTIONS.COM
CLEVELAND
CARRIE PINNEY 216.292.8300
CARRIEPINNEY @HINDMANAUCTIONS.COM
DENVER
MARON HINDMAN 303.825.1855
MARONHINDMAN @HINDMANAUCTIONS.COM
DETROIT
PAM IACOBELLI 313.774.0900
PAMELAIACOBELLI @HINDMANAUCTIONS.COM
MIAMI
ELIZABETH RADER, PHD 239.643.4448
ELIZABETHRADER @HINDMANAUCTIONS.COM
MILWAUKEE
SARA MULLOY 414.220.9200
SARAMULLOY @HINDMANAUCTIONS.COM
NAPLES
ALLISON DURIAN 239.643.4448
ALLISONDURIAN @HINDMANAUCTIONS.COM
NEW YORK
CAROLINE BAKER SMITH 212.243.3000
CAROLINEBAKERSMITH @HINDMANAUCTIONS.COM
PALM BEACH
ELIZABETH MARSHMAN 561.621.8461
ELIZABETHMARSHMAN @HINDMANAUCTIONS.COM
SAN DIEGO
KATIE GUILBAULT, G.G. VICE PRESIDENT 858.442.6104
KATIEGUILBAULT @HINDMANAUCTIONS.COM
SCOTTSDALE LOGAN BROWNING 480.546.5150
LOGANBROWNING @HINDMANAUCTIONS.COM
ST. LOUIS
ANNA SHAVER 314.833.0833
ANNASHAVER @HINDMANAUCTIONS.COM
WASHINGTON, D.C.
MAURA ROSS VICE PRESIDENT 202.853.1638
MAURAROSS @HINDMANAUCTIONS.COM