1092 & 1093 | Western & Contemporary Native American Art

WESTERN &

FRONT/BACK COVER

53

G. Russell Case (American, b. 1966)

Towards Crooked Mesa, 2010 $8,000 - 12,000

WESTERN & CONTEMPORARY NATIVE AMERICAN ART

SALE 1092

1 November 2022

10am MT | Denver Lots 1–250

SALE 1093

October 21, 2022 - November 2, 2022

Timed Online

Available for bidding only at hindmanauctions.com

PREVIEW HOURS

Monday, October 17 – Friday, October 21 | By appointment Monday, October 24 – Friday, October 28 | 10:00am – 4:00pm Saturday, October 29 | By appointment

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Monday - Friday | 9:00am – 4:00pm

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All property must be paid for within seven days and picked up within thirty days per our Conditions of Sale.

CONTENTS

Western Art | Lots 1-192 4

Contemporary Native American Art | Lots 193-250 130 Hindman Team 168 Inquiries 169 Conditions of Sale 161 Upcoming Auction Schedule 175

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 Michael L. Wilkie, Chicago, Illinois

An Elegant Lady, Texas Mildred and Harlan Pratt Private Collector, Denver, Colorado

PROPERTY FROM THE COLLECTIONS OF Dominic Pangborn, Grosse Pointe, Michigan Robert P. Hunter, Jr. and Barbara Hunter, Alpharetta, Georgia Legendary Dealer Norm Flayderman Leonard and Joan Horvitz, Moreland Hills, Ohio Kenneth Edwards Bob and Sharon Sturm, Kittredge, Colorado Rick Rosner, Boulder, Colorado David Neuenswander John Foxley, Lyons, Wisconsin Larry Goldstone

Ronald Borko, Brookfield, Wisconsin General Walter B. Ratliff, Boerne, Texas Murtis M. Smith, Cedar Falls, Iowa Private Collection, Atlanta, Georgia Private Collection, Chicago, Illinois Private Collection, Denver, Colorado Private Collection, Virginia Private Collection, Santa Fe, New Mexico

A Lady, Sedona, Arizona

A Texas Collection

Prominent Missouri Collection

PROPERTY SOLD TO BENEFIT

The Acquisitions Fund of the Buffalo Bill Cody Center of the West

OPPOSITE 119 Martin Grelle

(American, b. 1954)

Late Autumn Gather, 1991

$30,000 - 50,000

WESTERN

1 Raphael Lillywhite (American, 1891-1958)

Aspens in the Fall oil on canvas signed Raphael Lillywhite (lower left) 30 x 24 inches

$2,000 - 3,000

2 Curt Walters (American, b. 1950) Unadorned, Oak Creek Canyon, Arizona oil on canvas signed Curt Walters (lower left) 40 x 40 inches

Property of a Lady, Sedona, Arizona

Provenance: Jones Gallery, LaJolla, California $6,000 - 8,000

3 Robert Moore

(American, b. 1957)

Aspen Grove oil on canvas signed R. Moore (lower right) 30 x 40 inches Property from the Estate of Mildred and Harlan Pratt

Provenance:  Trailside Galleries, Jackson, Wyoming $2,000 - 3,000

4 Clyde Aspevig (American, b. 1951)

Autumn at Willow Flats oil on canvas signed Aspevig (lower right) 24 x 36 inches Property from the Estate of Mildred and Harlan Pratt

Provenance: Trailside Galleries, Jackson, Wyoming $10,000 - 15,000

5 Robert William Wood (American, 1889-1979)

At The Foothills oil on canvas signed Robt Wood (lower right) 25 x 30 inches

Provenance: Altermann & Morris Galleries, Santa Fe, New Mexico

$2,000 - 4,000

6 Henry Arthur Elkins (American, 1847-1884)  Forest with River oil on canvas signed HA Elkins (lower right) 20 x 36 inches

Property from the Collection of the Legendary Dealer Norm Flayderman $2,000 - 4,000

7 Arturo Chavez (American, b. 1947)

Night Light, 1990 oil on canvas signed Usner (lower right); signed, titled and dated (verso) 30 x 48 inches

$3,000 - 5,000

8 Darren Kingsley (American, 20th Century) Tree Line oil on canvas signed Kingsley (lower left) 30 x 36 inches

Provenance:

Jackson Hole Art Auction, Jackson, Wyoming, September 14, 2013, Lot 274 Acquired from the above by present owner

$3,000 - 5,000

9 Michael Lynch (American, b. 1950)

Taos Pattern, 1989 oil on board signed MJ Lynch (lower right) 30 x 40 inches

$3,000 - 5,000

10 David Shepherd (English, 1931-2017)

Untitled Landscape, 1980 oil on canvas signed David Shepherd (lower right) 28 x 60 inches

$3,000 - 5,000

11 Clyde Aspevig (American, b. 1951)

Chama River oil on board signed C. Aspevig (lower right) 8 x 13 inches

Property from the Collection of General Walter B. Ratliff, Boerne, Texas

$1,500 - 2,500

13

Curt Walters (American, b. 1950) Chisos Mountains, 1986 oil on canvas signed Curt Walters and dated (lower right) 32 x 80 inches

Provenance: Altermann & Morris Galleries, Santa Fe, New Mexico

$20,000 - 30,000

14 Clyde Aspevig (American, b. 1951)

Teton Evening  oil on canvas

Aspevig

x

left)

Property from the Estate of Mildred and Harlan Pratt

Provenance:

Galleries, Jackson,

$8,000

15 Albert Bierstadt (German/American, 1830-1902)

The Mountain Top at Sunset, Western Landscape card laid to paper 6 1/2 x 10 inches

Property from the Collection of Leonard and Joan Horvitz, Moreland Hills, Ohio

Provenance: Wildenstein & Co. Inc., New York, New York

Exhibited: Corcoran Gallery of Art, Washington, D.C., “Wilderness,” October - November, 1971. Catalogue no. 21.

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 September 18, 2022.

$8,000 - 12,000

To begin to penetrate a painting such as Albert Bierstadt’s The Mountaintop at Sunset, Western Landscape, you ought to have some understanding of the 19th-century fascination—mania is not too strong a word—for mountains. British art critic John Ruskin’s (1819-1900)  essays on mountains and rock forms is a good place to start, as is the recent book by naturalist and cultural historian Robert Macfarlane, Mountains of the Mind. Prior to the close of the 18th century, mountains were a locus of fear in the human imagination. Mountains were harsh and hostile. Gods lived there, death dwelled there, and the forbidding conditions coalesced into myths of monsters—giants, troll, wild men. But as the science of geology peeled back some of the truths about mountains—that they were formed and eroded over eons of deep time, that fossils on their summits revealed that some of them had once been the floors of oceans, that the ice in their never-melting glaciers seemed almost alive—they became objects of desire and exploration. Guided parties, with proper climbing costumes and gear, ascended peaks from well-appointed inns and lodges that sprang up at their bases. Amateur scientists became serious scientists, uncovering and publishing their findings. The Old Testament fear of mountains gave way to a New Testament vision of mountains as emblems of divine beauty and libraries of the stories of the Earth. In that spirit, The Mountaintop at Sunset, Western Landscape, with its fiery light falling like a spotlight on two snowy crests, emerges as a dispensation, a moment Bierstadt—who loved to roam and paint mountains—seems to feel he was permitted to see and share through his art. The brooding peaks are like old men who keep their wisdom close until the light finds them and reveals their million-year long conversation.

Albert Bierstadt was born near Dusseldorf but emigrated with his family to the bustling whaling town of New Bedford, Massachusetts. An early aptitude for art led to formal training back in Dusseldorf, a center of German Romanticism— Goethe, Beethoven, Wagner, and the surreal, majestic landscapes of Caspar David Fredrich. Bierstadt returned to the States, where Emerson, Cooper, Melville, and the Hudson River School painters were transforming the American landscape into a kind of philosophical consciousness through art and letters. In 1859, Bierstadt traveled with the Lander Expedition to the Rocky Mountains, where he found the inspiration he sought. Quick success once he returned to New York was tempered by the Civil War but the flock of artists and immigrants who headed west in his wake were inspired, in part, by his panoramic landscapes that combined elements of the beautiful and the sublime.

- James D. Balestrieri

16 Clyde Aspevig

18 Clyde Aspevig

Too Cold,

b. 1951)

Soon,

Provenance:

20 Charles Partridge Adams (American, 1958-1942)

The Arapahoe Peaks - Autumn  oil on canvas signed Charles Partridge Adams (lower left) 11 x 9 inches Property from a Private Collection, Atlanta, Georgia $2,000 - 4,000

21

Thomas deDecker (American, b. 1951)

Majestic Rocky Mountains, 2022 oil on canvas signed Thomas deDecker (lower right); signed, titled and dated (verso) 24 x 20 inches

$2,000 - 3,000

22 Thomas deDecker (American, b. 1951)

Mystic Late Afternoon, 2022 oil on canvas signed Thomas deDecker (lower left); signed, titled and dated (verso) 20 x 24 inches

$2,000 - 3,000

23 Clyde Aspevig

(American, b. 1951)

The Pond, 1984 oil on board

signed Aspevig and dated (lower left)

10 x 16 inches

Property from the Estate of Mildred and Harlan Pratt

Provenance:

Trailside Galleries, Jackson, Wyoming

$2,000 - 3,000

24 Scott Christensen (American, b. 1962)

Gallatin Valley  oil on canvas signed Christensen (lower right)

30 x 40 inches

Property from the Estate of Mildred and Harlan Pratt

$2,000 - 4,000

25

Scott Christensen (American, b. 1962)

Lily Pond oil on canvas signed Christensen (lower right)

24 x 30 inches

Property from the Estate of Mildred and Harlan Pratt

Provenance: Trailside Galleries, Jackson, Wyoming

$1,500 - 2,500

26 Robert Moore (American, b. 1957)

Black Waters oil on canvas signed R.Moore (lower right) 24 x 36 inches Property from the Estate of Mildred and Harlan Pratt

Provenance:

Trailside Galleries, Jackson, Wyoming

$2,000 - 3,000

27 Robert Moore (American, b. 1957)

January Sunset, 1997 oil on board signed R. Moore (lower right); signed, titled and dated (verso) 24 x 30 inches

Property from the Estate of Mildred and Harlan Pratt

$1,500 - 2,500

28 Richard Iams (American, b. 1950)

December Twilight oil on board signed Richard Iams (lower right) 30 x 52 inches

$2,000 - 4,000

29 Richard Iams (American, b. 1950) Silence and Solitude oil on board signed Richard Iams (lower right) 48 x 50 inches

$2,000 - 3,000

30 Merrill Mahaffey (American, b. 1937) Lukachukai I, 1983 oil on canvas signed Merrill Mahaffey (lower right); signed, titled and dated (verso) 38 x 60 inches

$2,000 - 3,000

31 Arturo Chavez (American, b. 1947)

From Hopi Point, Grand Canyon, 1996 oil on canvas signed Usner (lower left); signed and titled (verso) 24 x 30 inches

$2,000 - 4,000

32

Henry C. Balink

(American, 1882-1963)

Canyon de Chelly, Arizona oil on board signed Henry Balink (lower left) 16 x 20 inches

Provenance: Covington Fine Arts Gallery, Inc., Tucson, Arizona $2,000 - 4,000

33

Arturo Chavez (American, b. 1947)

Santa Fe Baldy, 1986 oil on canvas signed Art Usner and dated (lower right) 24 x 30 inches

$2,000 - 4,000

34

William Otte (American, 1871-1957)

Spring on the Desert, Antelope Valley, California, 1923 pastel on paper signed William Louis Otte (lower right); signed, titled and dated (verso) 14 x 21 inches Property from the Collection of John Foxley, Lyons, Wisconsin

Provenance: William A. Karges Fine Art, Beverly Hills, California $2,000 - 4,000

35 William Otte

(American, 1871-1957)

California Coast pastel on paper signed William Louis Otte (lower left) 14 x 18 inches

Property from the Collection of John Foxley, Lyons, Wisconsin

$1,500 - 2,500

36 Millard Sheets

(American, 1907-1989)

Untitled Trees, 1977 watercolor on paper signed Millard Sheets and dated (lower right) 22 x 30 inches

Property from the Collection of John Foxley, Lyons, Wisconsin

$3,000 - 5,000

Provenance:

Exhibited:

37 Paul Dougherty

39

Artist Unknown

Western Mining Development, circa 1870 oil on canvas 18 x 24 1/2 inches

Provenance: Kennedy Galleries, Inc., New York, New York

$800 - 1,200

40 Artist Unknown

Western Mining Scene, circa 1870 watercolor on board 10 x 28 inches

Provenance: Kennedy Galleries, Inc., New York, New York

$800 - 1,200

Painted by that most prolific and infuriating of artists—“Anonymous”—these two splendid mining scenes, one an oil, the other a watercolor, bear no little resemblance, especially in the small figures, to the work of William McIlvaine (1813-1867). One of many artists who “rushed” to California in search of gold, McIlvaine found his fortune in brush and paint instead. With only circumstantial evidence to suggest attribution, and the possibility that the complexity of the engineering post-dates McIlvaine, we are left to reckon with the works themselves. In the oil, the the massive wooden sluice diverts, controls, and contains the flow of the river, dwarfing the miners in camp. This man-made wonder, seemingly a product of pure will, is set against a picturesque valley, dotted with trees. Mountains undulate in the distance under a promising blue sky. The mine in the watercolor is no less reflective of the miners’ industriousness—witness the area of felled trees at left that provided the raw materials for the camp and mine. At the moment, however, the miners are gathered, perhaps in anticipation of supplies arriving via mule team or in preparation for packing out the fruits of their labors. Both the oil and watercolor are painterly, yet each includes a wealth of details that point, perhaps, to their use as illustrations for an essay or book describing mining in the 19th-century American West.

- James D. Balestrieri

42 Joseph Lee

(American, 1827-1880) Kentfield, California, circa 1865 oil on canvas signed Joseph Lee (lower right) 20 x 36 inches

Provenance: Hirschl & Adler Galleries, Inc., New York, New York Private Collection

$30,000 - 50,000

Dewey Livingston’s book In the Heart of Marin: The History of Kentfield and Greenbrae, California features images of a reproduction of this painting (a reproduction held in the Anne T. Kent California Room of the Marin County Free Library) that labels every road, dwelling, and landmark in Lee’s work, painted when this was called Ross Landing, before it became Kentfield, California. According to Kentfield-Greenbrae Historical Society Board Member Richard Torney, the road leading in from the distance and running off to the right was part of the main highway between Sausalito and San Rafael up until the late 1920’s, and one of the names for this area was Ross Landing Red Hill Road. Among the many named places on this painting are: William Murray’s farm, LeCornec’s saloon and stables, Peter Smith’s mercantile and store, and the home of Paul and Catherine Treanton.

Little is known of Joseph Lee’s life, training, and career, as Edan Hughes writes in Artists in California, 1786-1940, other than that he was born in England in 1827, came to San Francisco in 1858, won a prize for design on tin, and made his career first as a sign painter and then as an easel painter whose speciality was meticulously rendered ships and landscapes. It is said that fewer than 100 of his works survive. Because of his attention to detail, his works are a kind of time capsule of California’s past. As such, many museums and institutions hold them for their scholarly and historical value as well as their artistic merits.

With thanks to the members of the Kentfield-Greenbrae Historical Society for the detailed background information.

- James D. Balestrieri

43 Theodore Robinson

(American, 1852-1896)

Landscape with Chapel oil on panel signed Robinson and titled illegibly (lower left)

5 1/4 x 15 3/4 inches

Property from the Estate of a Private Collector, Denver, Colorado

$2,000 - 3,000

44 Walt Gonske (American, b. 1942)

Adobe Gate with Hollyhocks oil on canvas signed Gonske (lower right); signed and titled (verso)

28 x 24 inches

Property from the Estate of Mildred and Harlan Pratt

Provenance: Trailside Galleries, Jackson, Wyoming

$2,000 - 4,000

45 Walt Gonske (American, b. 1942)

Morning Light oil on canvas signed Gonske (lower left); signed and titled (verso)

30 x 42 inches

Property from the Estate of Mildred and Harlan Pratt

$2,000 - 4,000

46 Sheldon Parsons  (American, 1866-1943) Cherry Blossoms and Adobe oil on board signed Sheldon Parsons (lower left) 9 x 12 inches

$2,000 - 3,000

47 Walt Gonske (American, b. 1942) Cobolleta, New Mexico oil on board

signed Gonske (lower right); signed and titled (verso) 16 x 20 inches

Property from the Collection of General Walter B. Ratliff, Boerne, Texas

Provenance:

Nedra Matteucci Galleries, Santa Fe, New Mexico Acquired from the above by the present owner $1,500 - 2,500

48 Eric Sloane (American, 1905-1985)

White Barn oil on board signed Eric Sloane (lower right)

x 28 inches

- 12,000

Born Everard Jean Hinrichs, it is often said that Eric Sloane created his first name from the middle letters of “America” and the last from the name of his revered teacher, Ashcan master John Sloan. Sloane’s works, whether they are of covered bridges in Connecticut, pueblos in Taos, or landscapes and cloud forms—such as the cloud mural he painted that covers an entire wall at the Smithsonian Air and Space Museum—are as American as his name. When he moved to Connecticut in the early 1950’s, he became fascinated with the people who settled in the area during the colonial era and in the early years of the Republic. He studied their tools and building techniques and made their homes, barns, and bridges one of his principal subjects. The barn in Stone Barn in Autumn, reverently fashioned of carefully laid out, patterned stones on a spectrum from white to slate, seems almost ecclesiastical, linking the bounty of the land with the blessings bestowed on those who tend it. The light falling on the barn, the beautiful fence, and the slumbering stone wall—all enfolded in autumnal repoussoir in the grand Hudson River School style—give the work a sense of peace and continuity.

- James D. Balestrieri

Eric Sloane

Provenance:

Fenn

50 John Modesitt

(American, b. 1955)

Just Made It oil on canvas signed Modesitt (lower left) 24 x 24 inches

Property from the Collection of General Walter B. Ratliff, Boerne, Texas

Provenance: Altermann Galleries & Auctioneers, Santa Fe, New Mexico, August 12, 2016, Lot 601 Acquired from the above by the present owner

$2,000 - 4,000

51 John Moyers

(American, b. 1958)

Study for Remnants of the Revolution, 2005 oil on board signed John Moyers (lower right); signed, titled and dated (verso) 12 x 16 inches

$1,500 - 2,500

52 John Moyers

(American, b. 1958)

Red Rock Rendevous oil on board signed John Moyers (lower right) 16 x 20 inches

Property from the Collection of General Walter B. Ratliff, Boerne, Texas

Provenance: Private Collection, Texas Fredericksburg Art Auction, Fredericksburg, Texas, May 2, 2015, Lot 236 Acquired from the above by the present owner

$3,000 - 5,000

53

G. Russell Case (American, b. 1966)

Towards Crooked Mesa, 2010 oil on board signed G. Russell Case (lower right); signed, titled and dated (verso)

inches

from a Private Collection, Denver, Colorado

Provenance:

Colorado

Acquired

Art

&

54 Gerard Curtis Delano (American, 1890-1972) Rider Canyon de Chelly watercolor on paper signed Delano (lower left) 12 x 17 inches Property from a Private Collection, Denver, Colorado

Provenance:

J.N. Bartfield Galleries, New York, New York Saks Gallery, Denver, Colorado $12,000 - 18,000

55

Burt Procter

(American, 1901-1980)

Toward Evening oil on panel signed Burt Procter (lower right) 28 x 32 inches

Property sold to Benefit the Acquisitions Fund of the Buffalo Bill Cody Center of the West

Provenance: Trailside Gallery, Jackson, Wyoming

$3,000 - 5,000

56

Burt Procter

(American, 1901-1980)

Figures Outside Adobe Structure oil on board signed Burt Procter (lower right) 18 x 36 inches

Property from the Collection of General Walter B. Ratliff, Boerne, Texas

Provenance:

Galerie Rodin, St. Louis, Missouri

Estate of Robert Gamm, St. Louis, Missouri Link Auction Galleries, St. Louis, Missouri, July 15, 2017, Lot 204

Acquired from the above by the present owner

$3,000 - 5,000

57

Burt Procter (American, 1901-1980)

Navajo Riders oil on board signed Burt Procter (lower left) 14 x 24 inches

Property from the Collection of General Walter B. Ratliff, Boerne, Texas

Provenance:

Braarud Fine Art, La Conner, Washington March in Montana, Coeur d’Alene, Idaho, 2017, Lot 296

Acquired from the above by the present owner

$2,000 - 4,000

58 Robert Duncan (American, b. 1952)

Travois Repairs, 1978 oil on panel

signed R. Duncan and dated (lower left) 15 x 30 inches

Property from the Collection of General Walter B. Ratliff, Boerne, Texas

Provenance: Altermann Galleries & Auctioneers, Santa Fe, New Mexico

$2,000 - 3,000

59 W. Steve Seltzer (American, b. 1945) Camp Discussion oil on board signed W.S. Seltzer (lower right) 19 x 23 inches

Property from a Private Collection, Atlanta, Georgia

$1,500 - 2,500

60

W. Steve Seltzer (American, b. 1945)

Fall Ride oil on board signed W.S. Seltzer (lower left)  24 x 36 inches

Property from a Private Collection, Atlanta, Georgia

$3,000 - 5,000

61 W. Steve Seltzer

(American, b. 1955)

Change is in the Wind oil on canvas, mounted on board signed W.S. Seltzer (lower right) 30 x 40 inches Property from a Private Collection, Denver, Colorado

$4,000 - 6,000

62 Michael Coleman (American, b. 1946) Sunnyland watercolor signed Michael Coleman (lower right) 12 x 14 inches

Property from a Private Collection, Atlanta, Georgia

Provenance: Altermann Gallery, Santa Fe, New Mexico

$1,500 - 2,500

66 Nicholas Coleman (American, b. 1978)

Buffalo Runner oil on canvas  signed Nicholas Coleman (lower right) 36 x 48 inches

Provenance: Buffalo Bill Art Show and Sale, Buffalo Bill Center of the West, Cody, Wyoming, 2012 Private Collection, Cody, Wyoming $4,000 - 6,000

65 Gib Singleton (American, 1936-2014)

The Cornpipe, edition 5/25, 1999 bronze signed Singleton, numbered and dated (verso) height 24 1/4 x width 10 x depth 7 inches

$4,000 - 6,000

64 Susan Terpning Huntington

(American, b. 1953)

Blackfoot Camp oil on canvas  signed and dated Susan T. Huntington 1981 (lower right); signed and titled (verso) 24 x 36 inches

Property from a Private Collection, Atlanta, Georgia

Provenance: Driscol Gallery, Denver, Colorado, 1982 Acquired from the above by the present owner

$3,000 - 5,000

67 Nicholas Coleman (American, b. 1978)

Horse Camp - At Dusk oil on canvas signed Nicholas Coleman (lower left);  36 x 48 inches

Provenance:

Jackson Hole Art Auction, Jackson, Wyoming, September 18, 2015, Lot 274

$10,000 - 15,000

68 Michael Coleman (American, b. 1946)

Native Reflections oil on board signed Michael Coleman (lower left) 18 x 16 inches

Provenance: Private Collection

Jackson Hole Art Auction, Jackson, Wyoming, September 14, 2018, Lot 102 $2,000 - 4,000

69 Joseph Henry Sharp (American, 1858-1953)

Brings the Flowers and Hunting Son  oil on canvas signed JH Sharp (lower right) 16 x 20 inches

Provenance:

Purchased in Taos, New Mexico, circa 1930, by Mr. Woodruff Lochausen, El Paso, Texas Thence by descent to great-niece of original owner Out of Africa - In Montana Gallery, Bozeman, Montana

$70,000 - 90,000

A deftly rendered firelight scene capturing a quiet moment in Taos.  John (Juan) Gomez, “Hunting Son” of Taos Pueblo was a favorite model of Sharp’s appearing in some of his most iconic paintings. J.H. Sharp will be long remembered not only for chronicling the Plains people in Montana, but his depictions of the interior lives of the people of Taos Pueblo. This painting exemplifies not only his sensitivity to the people of Taos Pueblo but the lasting relationships he formed. Painted in Sharp’s Taos studio, the corner fireplace illustrated, is now open to the public, as part of the Couse-Sharp Historic Site. According to the family who has maintained original ownership, the painting was purchased directly from Joseph Henry Sharp in Taos, 1930.

- Davison Packard Koenig, Executive Director, Curator, The Couse-Sharp Historic Site

70 Joseph Henry Sharp

(American, 1859-1953)

Where the Deer Come oil on board signed J.H. Sharp (lower right); titled (verso) 16 x 20 inches

Provenance:

Fenn Galleries Ltd., Santa Fe, New Mexico

Acquired from the above by the present owner

$80,000 - 120,000

Afternoon autumnal light floods the canyon floor, as a Taos Pueblo hunter awaits his quarry. In the fall Henry would pack up his fly rod and a skillet and head up the canyon with his favorite models, to spend the day painting and fishing. Most likely it is Elkfoot or Hunting Son pictured here in Taos Canyon, only several miles from Sharp’s home and studio now the Couse-Sharp Historic Site.

- Davison Packard Koenig, Executive Director, Curator, The Couse-Sharp Historic Site

71

Joseph Henry Sharp (American, 1859-1953)

Aspens on Gray Day, South Fork - Hondo Canyon oil on canvas signed J.H. Sharp (lower right) 20 1/4 x 24 1/8 inches

$30,000 - 50,000

The blush of autumn in Hondo Canyon, near the former mining camp of Amizette, now the entrance to Taos Ski Valley resort. Foreground of burning bush and scrub oak with aspens luring the eye up the ridgeline to Frasier peak. The artists of Taos would wait all year for the arrival of autumn, and race up into the mountains, first by horse, and later by motor carriage, to document the riot of color. A “gray day” in Taos still yields vibrant fall foliage, plenty to inspire Joseph Henry Sharp.

- Davison Packard Koenig, Executive Director, Curator, The Couse-Sharp Historic Site

72 Robert Duncan

(American, b. 1952)

Trip to the Trading Post , 1982 oil on canvas

signed R. Duncan and dated (lower right); signed, titled and dated (verso) 24 x 40 inches

Property from the Estate of Mildred and Harlan Pratt

Provenance: Trailside Galleries, Jackson, Wyoming

$3,000 - 5,000

73 Richard D. Thomas

(American, 1939-2019)

Sioux Raiding Party, 1994 oil on canvas signed Robert D. Thomas and dated (lower right) 30 x 40 inches

Property from the Estate of Mildred and Harlan Pratt

$3,000 - 5,000

75 Robert Pummill (American, b. 1936)

The Challenge, 1998 oil on canvas signed Pummill and dated (lower right)  36 x 48 inches

Property from the Estate of Michael L. Wilkie, Chicago, Illinois

$8,000 - 12,000

76 David Lemon (American, b. 1945)

Prairie Dispute, edition 9/24 bronze signed Lemon and numbered (base) height 25 1/2 x length 30 x width 14 1/2 inches

Property from the Estate of Michael L. Wilkie, Chicago, Illinois

$1,500 - 2,500

77 Dave McGary (American, b. 1958)

Gray Hawks Legacy, edition 7/60, 2000 painted bronze on wooden base signed David McGary, dated, and numbered 7/60 (on base) height 19 1/2 x width 37 x depth 3 inches

Property from the Collection of Leonard and Joan Horvitz, Moreland Hills, Ohio

Provenance:

Expressions in Bronze Gallery, Scottsdale, Arizona, 2001

$10,000 - 15,000

79 Arthur Putnam

(American, 1897-1986)

Combat: Indian, Horse and Buffalo bronze signed A Putnam and stamped A. Rudier Fondeur Paris (base) height 13 3/4 x width 11 1/2 x depth 8 inches

$5,000 - 7,000

78 Kim Mackey

(American, b. 1953)

From the Enemy’s Camp oil on canvas signed Mackey (lower left); signed and titled (verso)

18 x 24 inches

Property from a Prominent Missouri Collection

Provenance:

Charles M. Russell Benefit Auction, Great Falls, Montana, March 14, 2013, Lot 94

$2,000 - 3,000

80

Jud Hartmann

(American, b. 1948)

Pontiac, edition 15/20, 1999 bronze signed Hartman, dated, and numbered 15/20 (base)

height 25 x width 17 x depth 9 inches

Property from the Collection of Leonard and Joan Horvitz, Moreland Hills, Ohio

$2,000 - 3,000

81 Robert Griffing (American, b. 1940)

Cherokee Pride, 2013 oil on board signed Griffing and dated (lower right) 14 x 11 inches

Property from the Collection of Robert P. Hunter, Jr. and Barbara Hunter, Alpharetta, Georgia $2,000 - 3,000

82 Dave McGary (American, b. 1958)

The Rainmaker, edition 6/75, 2000 painted bronze on wooden base signed David McGary, dated, and numbered 6/75 (on base) height 29 x width 23 x depth 17 inches

Property from the Collection of Leonard and Joan Horvitz, Moreland Hills, Ohio $6,000 - 8,000

83 Ross Stefan (American, 1934-1999)

Happily May I Walk This Canyon Way, 1969 oil on canvas signed Ross Stefan (lower left); signed, titled and dated (verso) 18 x 24 inches $2,000 - 3,000

84 Ross Stefan

(American, 1934-1999)

The Traditionalist oil on canvas signed Ross Stefan (lower left); signed and titled (verso) 24 x 30 inches Property from the Estate of an Elegant Lady, Texas

$5,000 - 7,000

85 Ross Stefan (American, 1934-1999)

At Sanostee oil on canvas signed Ross Stefan (lower right); signed and titled (verso) 30 x 24 inches Property from the Estate of an Elegant Lady, Texas $3,000 - 5,000

86 Ross Stefan (American, 1934-1999) Canyon Songs oil on canvas signed Ross Stefan (lower right); signed and titled (verso) 28 x 40 inches

Property from the Estate of an Elegant Lady, Texas $6,000 - 8,000

87 Ross Stefan  (American, 1934-1999) Nambe Gold oil on canvas signed Ross Stefan (lower right); signed and titled (verso) 28 x 40 inches

Property from the Estate of an Elegant Lady, Texas $6,000 - 8,000

88 Ross Stefan (American, 1934-1999) Girl from Chinle oil on canvas signed Ross Stefan (lower left); signed and titled (verso) 24 x 30 inches

Property from the Estate of an Elegant Lady, Texas $2,000 - 4,000

89

John Moyers

(American, b. 1958)

Indian Maiden  oil on board signed John Moyers (lower left) 12 x 6 inches

Property from a Private Collection, Atlanta, Georgia

$1,000 - 2,000

90

John Moyers

(American, b. 1958)

Indian Holding Buffalo Skull oil on board signed John Moyers (lower right) 20 x 10 inches

Property from the Collection of General Walter B. Ratliff, Boerne, Texas

$2,000 - 4,000

91

Ned Jacob (American, b. 1938)

Crow Gun Case oil on board titled (verso) 48 x 24 inches

Property from the Collection of General Walter B. Ratliff, Boerne, Texas

$2,000 - 4,000

92 Edward Curtis

(American, 1868-1952)

Medicine Crow - Apsaroke, 1908 orotone, reprinted 1998 by The Center for Creative Photography signed Curtis with copyright credit in the negative 17 x 14 inches

$3,000 - 5,000

93 Ernest Berke

(American, 1921-2010)

Portrait Bust (Crazy Horse), edition 13, 1955 bronze signed Ernest Berke, dated and numbered (base) height 14 x width 17 x depth 7 1/2 inches

Property from a Private Collection, Chicago, Illinois

$2,000 - 4,000

94 Ernest Berke

(American, 1921-2010)

Man with Hat, edition 6, 1965 bronze

signed Ernest Berke, dated and numbered (base) height 18 1/2 x width 16 1/2 x depth 9 inches

Property from a Private Collection, Chicago, Illinois

$2,000 - 4,000

95 James Ayers (American, b. 1969) Indian Warrior, 2003 oil on canvas signed James Ayers and dated (lower right) 24 x 20 inches

$2,000 - 4,000

97 David Mann (American, b. 1948)

Signal at Sundown oil on canvas signed D. Mann (lower right)

x 18 inches

Provenance:

Altermann Galleries, Santa Fe, New Mexico

- 5,000

98 Adolf Alexander Weinman (American, 1870-1952)

Chief Black Bird, date modeled 1903, cast 1907 bronze

inscribed on proper right shoulder Roman Bronze Works NY; inscribed on proper left shoulder CHIEF / BLACK / BIRD... / OGALALLA / SIOUX. / A A WEINMAN

height 16 1/4 x width 12 1/2 x depth 11 1/2 inches

Property from a Private Collection, Virginia

Provenance:

Acquired directly from the artist by Dr. Edgar A. Lawrence, MD

Thence by descent, private collection of granddaughter

Illustrated:

Patricia Broder, Bronzes of the American West, New York, 1973, pp. 197-198.

$30,000 - 50,000

Adolph Alexander Weinman emigrated with his widowed mother to the United States from Germany when he was ten years old. At fifteen, having shown artistic promise, Weinman was apprenticed to Frederick Kaldenberg, an eminent carver of wood, ivory, and meerschaum pipes. In her brief biography of Weinman in Bronzes of the American West, Patricia Janis Broder writes: “It was perhaps Weinman’s early training in so delicate a medium as ivory that gave him such precision in his later work.” (p. 192). After studying at Cooper Union and the Art Students’ League of New York, under Augustus SaintGaudens, Weinman served as assistant to Saint-Gaudens, Daniel Chester French, and others, including Olin Levi Warner, whose interest in Native Americans fired Weinman’s own imagination. In 1904, Weinman opened his own studio and gained acclaim for a large sculptural group exhibited at the Louisiana Purchase Exposition in St. Louis. Two years earlier, while amassing reference for the St. Louis commission, Weinman attended Colonel Cummings’s “Wild West Show,” at New York’s Madison Square Garden. There, he met and made studies of several Sioux Natives, including Black Bird, a Sioux chief, who would inspire what is perhaps Weinman’s greatest bronze and most enduring image, Chief Black Bird, Ogalalla Sioux. Weinman sought to portray Native Americans as individuals, as opposed to “types,” and the artist’s sensitivity is readily seen in this portrait, which deftly juxtaposes the topography of experience against the wisdom of a lifetime in the lines around the eyes and mouth and in the clarity of the eyes themselves. Contrast this with the lightness of the headdress—a weightlessness that makes it seem as though a breeze is ruffling the feathers—a feat difficult to achieve in bronze. Weinman’s classical training and precision can also be found in his design for one of our most elegant coins, the “Walking Liberty” half dollar, issued by the U.S. Mint from 1916-1947.

- James D. Balestrieri

99 Robert Farrington Elwell (American, 1874-1962)

Native Americans Dancing oil on canvas signed R.F. Elwell (lower left) 24 x 35 1/2 inches

$2,000 - 4,000

100 Ken Laager (American, b. 1953) Rendezvous, 2001 oil on canvas signed Ken Laager and dated (lower left) 24 x 36 inches

Property from the Collection of Robert P. Hunter, Jr. and Barbara Hunter, Alpharetta, Georgia

Provenance: Jackson Hole Art Auction, Jackson, Wyoming, September 15, 2007, Lot 25

$2,000 - 3,000

101 Don Oelze (American, b. 1965)

Weary

Property

Provenance:

Charles

$15,000

102 Joe Beeler

(American, 1931-2006)

Dog Soldiers, edition 8/15 bronze signed Joe Beeler and numbered (base) height 18 1/4 x length 32 x width 13 inches Property from the Estate of Mildred and Harlan Pratt

Provenance: Trailside Galleries, Jackson, Wyoming

$5,000 - 7,000

103

Earle Erik Heikka (American, 1910-1941)

Hardrock, edition 24/50, 1933 bronze signed E.E. Heika, numbered and dated (base) height 12 x width 11 1/2 x depth 12 inches Property from a Prominent Missouri Collection

Provenance: Charles M. Russell Benefit Auction, Great Falls, Montana, 2010, Lot 158 Acquired from the above by the present owner

$2,000 - 4,000

104 Nick Eggenhofer (American, 1897-1985)

The Bone Picker, 1964 gouache on paper signed N. Eggenhofer and dated (lower left) 24 1/2 x 33 7/8 inches

Property from the Collection of General Walter B. Ratliff, Boerne, Texas

Provenance: Altermann Galleries & Auctioneers, Santa Fe, New Mexico

Exhibited:

Buffalo Bill Historical Center, Cody, Wyoming, “Nick Eggenhofer: Works from Cody Collections,” JuneSeptember, 1982

$2,000 - 4,000

105 Bruce Morgan (American, 20th Century)

Group of Three Works: Chuckwagon, A-Way-West, and Westward Ho painted wood

first height 16 1/2 x length 32 x width 12 inches; second height 13 3/4 x length 21 x width 10 1/4 inches; third height 15 1/2 x length 34 3/4 x width 11 inches

Property from a Prominent Missouri Collection

Provenance:

The Russell: Sale to Benefit the C.M. Russell Museum, Great Falls, Montana, March, 2018 and 2019

Acquired from the above by the present owner

$8,000 - 12,000

106 Marjorie Reed

(American, 1915-1996)

The Old Bradshaw Stage Crossing, Araby Wash oil on board signed Marjorie Reed (lower left); titled and signed (label, verso) 14 x 18 inches

Property from the Collection of General Walter B. Ratliff, Boerne, Texas

$1,500 - 2,500

107 Richard Lorenz

(German/American, 1858-1915)

The Vision of St. Hubert, 1908 oil on canvas signed R. Lorenz (lower left) 22 x 30 inches

Property from the Collection of Ronald Borko, Brookfield, Wisconsin

Provenance: Collection of Al Schraeger, Milwaukee, Wisconsin Acquired from the above by the present owner

Exhibited: Milwaukee Art Center, Milwaukee, Wisconsin, “Richard Lorenz: February 9, 1858 - August 3, 1915”, May - July, 1966

$4,000 - 6,000

108

Edmund Fraughton (American, b. 1939)

Trails End, edition 10/30, 1973 bronze signed Edmund J. Fraughton, numbered and dated (verso) height 14 1/2 x width 28 x depth 24 inches Property from the Estate of Mildred and Harlan Pratt

Provenance: Jensen Gallery, Jackson, Wyoming $5,000 - 7,000

109 Edmund Fraughton (American, b. 1939)

Bog Rider, edition 16/30, 1972 bronze signed Edmund Fraughton, numbered and dated (base) height 18 3/4 x width 33 x depth 23 inches Property from the Estate of Mildred and Harlan Pratt

Provenance: Jensen Gallery, Jackson, Wyoming $6,000 - 8,000

110

Clark Kelley Price (American, b. 1945)

Sun Up, 1982 oil on canvas signed and dated Clark Kelley Price (lower left) 24 x 48 inches

Property from the Estate of Mildred and Harlan Pratt Provenance: Trailside Galleries, Jackson, Wyoming

$3,000 - 5,000

111 Earle Erik Heikka (American, 1910-1941)

Rider with Mules, edition 1/36, 1977 bronze

signed E.E. Heika, numbered, dated and marked ADRI BUTLER (base) height 10 3/4 x length 16 1/2 x width 6 1/2 inches

Property sold to Benefit the Acquisitions Fund of the Buffalo Bill Cody Center of the West

$1,500 - 2,500

113

Oleg Stavrowsky

(American, 1927-2020)

Cold Coffee oil on board signed Oleg Stavrowsky (lower left); titled (verso) 18 x 24 inches

Property from the Estate of Mildred and Harlan Pratt

Provenance:  Trailside Galleries, Jackson, Wyoming

$1,500 - 2,500

114

Paul Strayer

(American, 1885-1981)

Hunting Camp at Night  oil on canvas signed Paul Strayer (lower left)

32 1/4 x 40 1/4 inches

$3,000 - 5,000

115 Olaf Weighorst

(Danish/American, 1899-1988)

The Ranch Cook oil on canvas signed O-Wieghorst (lower left) 20 x 24 inches

$10,000 - 15,000

The Ranch Cook is an extraordinary, and, in some ways, a singular painting by Olaf Wieghorst. If you imagine a painting as a stage picture, Wieghorst generally places us, the viewers, in the position of a theatrical audience, with an invisible barrier between us and the stage. Here, however, the artist breaks what is known as this “fourth wall,” and paints the mounted cowboy and cook looking out of the picture plane, directly at us. At this height and from this distance, we would seem to be riding in, out of the twilight, the gloaming. The two men  have not yet identified us. They’re wondering who’s out there—friend or foe?—when all we want is a cup of that cowboy coffee and a plate of whatever’s in that kettle over the fire. The overall feel, with the falling dusk and the light on the men’s faces, folds of clothing, as well as on the horse and wagon, is reminiscent of early American paintings by artists such as George Caleb Bingham.

From his earliest days in Denmark, Olaf Wieghorst, the American West, the horse, and art seemed bound to a single destiny. When his father saw some theatrical potential in the boy, he sent Olaf, who was a strong, strapping lad, to train to be an acrobat. In 1918, this led to work with an American film crew on a Western filmed in Denmark. When the shoot was finished, Olaf shipped out with the crew as they sailed back to the States. In New York, Olaf jumped ship, then enlisted in the U.S. Cavalry—just as they were about to leave for the southern border to pursue Pancho Villa, who had made an unwelcome incursion into New Mexico. Wieghorst spent four years in the southwest, exploring, on horseback, the landscape that would shape his aesthetic. He then worked as a cowboy and ranch hand and eventually found himself back in New York City, serving as a mounted police officer.

In the late 1930’s, Wieghorst met sculptor Joe Paulio, who was making a model of a horse in the police stables. Wieghorst helped Paulio secure a commission and this, in turn, inspired Wieghorst—who had always loved to draw—to begin to paint, sculpt, and make prints. Another artist saw Wieghorst’s work and encouraged him to submit it to the calendar companies.

A taste of success sent Wieghorst and his family west in 1944, and they settled in El Cajon, California. In art as in life, Wieghorst “stayed” on horses. As he observed, “I couldn’t have learned what I did from some teacher in art school, I learned about horses by sleeping, freezing, thirsting and starving with them. I learned by doing; I paint what I know.”

- James D. Balestrieri

116

Provenance:

117 Bill Anton (American, b. 1957)

A Night Cap oil on board signed Bill Anton (lower left) 24 x 30 inches

Property from the Estate of Mildred and Harlan Pratt

Provenance: Trailside Galleries, Jackson, Wyoming

$8,000 - 12,000

118 Bradford Williams (American, b. 1948)

Cool, Clear Water, edition 10/16, 1998 bronze with water feature signed Bradford Williams, numbered and dated (left edge) height 20 1/2 x width 27 x depth 17 inches Property from the Estate of Mildred and Harlan Pratt Provenance:

Buffalo Trail Galleries, Jackson, Wyoming $2,000 - 4,000

119 Martin Grelle

(American, b. 1954)

Late Autumn Gather,

signed

Grelle

and

120

Richard D. Thomas (American, 1939-2019)

Cowboys in the Snow, 1983 oil on board signed Richard D. Thomas and dated (lower right) 18 x 24 inches

Provenance: Breckenridge Galleries, Breckenridge, Colorado

$3,000 - 5,000

121

Richard D. Thomas (American, 1939-2019)

Line Camp Supplies, 1993 oil on canvas signed Richard D. Thomas and dated (lower left); signed, titled and dated (verso) 24 x 30 inches

$3,000 - 5,000

122 Richard D. Thomas (American, 1939-2019) Stubborn Streak, 1995 oil on board signed Richard D. Thomas and dated (lower right) 18 x 28 inches

Provenance: Breckenridge Galleries, Breckenridge, Colorado

$3,000 - 5,000

123

Gerald Harvey Jones (American, 1933-2017)

Outfitters Payday, edition

bronze

from the Collection of General Walter B.

Provenance:

125 Tim Cox (American, b. 1957)

Racing Sundown, 1996 oil on board signed A.T. Cox and dated (lower left) 20 x 30 inches

Provenance:

Jackson Hole Art Auction, Jackson, Wyoming, 2019, Lot 432

$8,000 - 12,000

126

Earle Erik Heikka

(American, 1910-1941)

Changing Saddles, edition 4/36, 1941 bronze signed E.E. Heikka, numbered and dated (base) height 12 x length 19 1/2 x width 8 inches Property from a Prominent Missouri Collection

$4,000 - 6,000

127

Jason Rich (American, b. 1970) The Crossing oil on canvas signed J Rich (lower left) 30 x 24 inches

Property from the Estate of Mildred and Harlan Pratt

Provenance: Trailside Galleries, Jackson, Wyoming

$2,000 - 3,000

128 Howard Rogers (American, b. 1932)

Evening Glow oil on canvas signed H. Rogers (lower right) 20 x 36 inches

Provenance:

Trailside Galleries, Jackson, Wyoming Jackson Hole Art Auction, Jackson, Wyoming, September 14, 2018, Lot 376

$2,000 - 4,000

129 Ross Stefan (American, 1934-1999)

Trail of the Rainbow, 1967 oil on canvas signed Ross Stefan (lower left); signed, titled and dated (verso) 18 x 24 inches

$2,000 - 3,000

130 Donald Spaulding

(American, B. 1926)

Saving Their Hides Oil on Board signed Don Spaulding SAHA ‘81 lower left 23 1/2 x 39 1/2 inches Property from the Collection of Bob and Sharon Sturm, Kittredge, Colorado

$2,000 - 3,000

131 Walter Winans

(American, 1852-1920)

Wild Bill Hickok, 1890 bronze

signed Walter Winans, dated and marked Op. 3 (base)

height 14 x length 13 x width 6 inches

$2,000 - 3,000

133 Richard Lorenz

(American, 1858-1915)

The Chase oil on canvas signed R. Lorenz (lower right) 25 x 30 inches

$8,000 - 12,000

German born Richard Lorenz studied at the Royal Academy at Weimar on a scholarship endowed by Franz Lizst. One of the members of the Pabst family—of “Blue Ribbon” fame—saw Lorenz’s work and encouraged him to come to Milwaukee, then the center of the panorama industry. Panoramas were movies before movies, canvases 25 x 250 feet installed inside round rooms with special lighting and 3-D diorama effects. Viewers lined up to see the “Crucifixion” or the “Battle of Atlanta.” You can still see one of these unique artworks at the Gettysburg battlefield. Lorenz’s speciality? Horses. Working his way back from San Francisco, where he had helped install a panorama, Lorenz fell under the spell of the West. He took a teaching position in Milwaukee and spent summers roaming and painting the Dakotas, Wyoming, Colorado, Arizona, and Texas. One of his students was none other than Frank Tenney Johnson, who went west because of Lorenz’s stories; another was Edward Steichen, one of the founders of modern photography. Never a prolific illustrator, Lorenz nevertheless won many prizes, saw his work hung at World’s Fairs, and was one of only two artists—the other was Frederic Remington—to be invited to the 1898 Trans-Pacific Exposition of Indian Nations. Lorenz was a character in a popular novel of the day and was also the subject of a Broadway play.

The Chase finds Lorenz in action mode, with the fleeing rider veering away from the viewer in a manner reminiscent of the artist’s contemporaries—Schreyvogel, Leigh, and Hansen, as well as Russell and Remington. The muscularity of the straining white mount is fantastic. The mane, tail, cloud of dust, and the lost hat and the rein in the wind bind the rider to the flow of the action. Whatever he’s done, there’s no turning back. The posse behind him—or whoever they are—are a blur in the kicked up dust, sketched with just enough detail, as if the rider is seeing them out of the corner of his eye. What’s more, Lorenz paints the cactus, grass, and ground with a rhythm that amplifies the wildness of this ride.

- James D. Balestrieri

134 Russ Vickers

(American, 1923-1997)

Time to Stop Running, 1980 oil on canvas

signed Russ Vickers and dated (lower right); signed, titled and dated (verso) 12 x 36 inches

Property from a Private Collection, Atlanta, Georgia

Provenance: Driscol Gallery, Denver, Colorado, 1982

$2,000 - 3,000

135 Jim Carson

(American, b. 1942)

An Unscheduled Stop oil on canvas signed Carson (lower left) 24 x 36 inches

Property from a Prominent Missouri Collection

Provenance:

The May Gallery, Jackson, Wyoming C.M. Russell Art Auction, Great Falls, Montana, March 17, 2010, Lot 100

$3,000 - 5,000

136 Harry Jackson

(American, 1924-2011)

Bustin’ One, edition 8/22, 1959 bronze signed Harry Jackson, titled, numbered and dated (base) height 12 1/2 x length 26 x width 11 1/2 inches Property from the Estate of Mildred and Harlan Pratt

Provenance: Trailside Galleries, Jackson, Wyoming

$2,000 - 3,000

137 Bob Scriver (American, 1914-1999)

To Ride a Bronc, edition 32/100, 1984 bronze signed Bob Scriver, titled, numbered and dated (base) height 20 1/2 x width 12 x depth 9 1/2 inches Property sold to Benefit the Acquisitions Fund of the Buffalo Bill Cody Center of the West

$1,500 - 2,500

138 Solon Hannibal Borglum (American, 1868-1922)

The Bucking Bronco bronze signed Solon Borglum (base) height 13 1/2 x width 13 x depth 6 1/4 inches

Property from the Estate of a Private Collector, Denver, Colorado

$3,000 - 5,000

139

Robert A. Winter (American, b. 1953)

Feeding Time, 1984 oil on Masonite signed Robert A. Winter and dated (lower right) 26 x 40 inches

Provenance:

C.M. Russell Auction, Awarded “Best in Show,” Great Falls, Montana, circa 1984

Private Collection, Pleasanton, California Bonhams, San Francisco, California, November 19, 2018, Lot 146

$2,000 - 3,000

140 Robert Lougheed

(American, 1910-1982)

Cedar Pastures, 1974 oil on board

signed Robert Lougheed (lower left); signed, titled and dated (verso)

12 x 16 inches

Property from the Collection of General Walter B. Ratliff, Boerne, Texas

Provenance:

Private Collection, Idaho Private Collection, Wyoming

Fredericksburg Art Auction, Fredericksburg, Texas, May 2, 2015, Lot 230

Acquired from the above by the present owner

$3,000 - 5,000

141 John Paul Strain

(American, b. 1955)

Fish for Dinner oil on canvas

signed, John Paul Strain (lower left); signed and titled (verso) 20 x 30 inches

Property from the Estate of Mildred and Harlan Pratt

Provenance: Trailside Galleries, Jackson, Wyoming

$1,500 - 2,500

142 Frederic Remington (American, 1861-1909)

The Buck Overtaken, circa 1888 oil on board signed Remington (lower right) 15 x 15 inches

Literature:

Peter H. Hassrick and Melissa J. Webster, Frederic Remington:  A Catalogue Raisonné of Paintings, Watercolors and Drawings, vol. I, Cody, Wyoming, 1996, p. 118, no. 229, illustrated Theodore Roosevelt, Ranch Life and the HuntingTrail, 1888, p. 141

Bears stamp reading “Property of The Century Co. / Union Square, New York”, publishers of the above

$20,000 - 30,000

President Theodore Roosevelt, the naturalist and conservationist, grew, perhaps not ironically, out of Theodore Roosevelt the hunter. Hunting brought Roosevelt close to nature, and to animals, game animals and others. His love of animals and respect for the natural world shines through his earliest writing on the subject, Ranch Life and the Hunting-Trail. In a chapter entitled “The Ranchman’s Life on Crag and Prairie,” Roosevelt recounts the sport of deer hunting “by the aid of hounds,” and goes on to name and describe the two hounds at the ranch. “One is a rough-coated, pure-blood Scotch stag-hound named Rob. The other, Brandy, is a track-hound, bell-mouthed, lop-eared, keen-nosed, and not particularly fast, but stanch as Death himself.” The hounds’ business is to tire and run down the deer once the hunter has shot it. It is an old sport, as old as the kinship between man and dog, but it is not easy. As Roosevelt writes, “A doe or a flying buck is borne to the ground with a single wrench… but a buck at bay is a formidable opponent, and no dog can rush in full on the sharp prong points.” Remington’s rendering of the fateful moment when the hound gets behind the six-point buck’s antlers and pulls it down by the neck meets the viewer’s eye as a kind of plein air tableau in black and white, a scene as Roosevelt might have come upon it, riding in pursuit.

Born in Canton, New York into a military family with a long history, Frederic Remington loved to draw and got into Yale’s College of Art but left after three semesters. He bounced from job to job—wishing he were camping and fishing instead. Unsurprisingly, he failed to win the approbation of his fiancee’s father. Remington drifted west into Kansas Territory, where he succumbed to get-rich quick schemes that ranged from sheep to saloons. After many trials, he won the hand of his fiancee, Eva Caton. Despite his ordeals, Remington’s first western goround produced one precious truth: caricatures and sketches could be worked up into artworks that would sell. He went back to New York, studied at the Art Students’ League, and soon began selling scenes of Western life to Harper’s and other periodicals that couldn’t print enough stories and scenes of the “Wild West.” The commission to illustrate Roosevelt’s Ranch Life and the Hunting-Trail would open other doors and lead to an esteemed career as an easel painter, bronze sculptor, and author. Remington would go on to create some of the most indelible images of the American West.

- James D. Balestrieri

143 Herman Herzog (American/German, 1832-1932)

Highland with Reindeer, 1878 oil on canvas laid to board signed H. Herzog and dated (lower left); title partially legible (verso) 24 1/4 x 36 1/4 inches Property from the Collection of Murtis M. Smith, Cedar Falls, Iowa

Provenance:

Baehlers of Georgetown, Inc., Georgetown, Colorado

- 8,000

144 Percival Leonard Rosseau (American, 1859-1937)

Two Hunting Dogs, 1904 oil on canvas signed Rosseau and dated (lower right) 25 1/2 x 21 3/8 inches Property from the Estate of a Private Collector, Denver, Colorado

Provenance:

Commissioned of the artist Thence by descent to the present owner $15,000 - 25,000

145 Percival Leonard Rosseau (American, 1859-1937)

Double Point, 1925 oil on canvas

signed Rosseau and dated (lower right); titled (verso)

24 x 40 inches

Property from the Estate of a Private Collector, Denver, Colorado

Provenance:

Commissioned of the artist

Thence by descent to the present owner

$30,000 - 50,000

147

Larry Fanning (American, b. 1938)

Bobcats, 1992 oil on canvas signed Larry Fanning and dated (lower right) 36 x 50 inches

Property from the Collection of Bob and Sharon Sturm, Kittredge, Colorado

$3,000 - 5,000

149

Richard MacDonald (American, b. 1946) Samburu, Cheetah Bust

1996 bronze signed R.

height

$1,500 - 2,500

edition

148 Charles Marion Russell (American, 1864-1926)

Wolf Facing Left ink on paper signed CMR with hallmark (lower left) 8 x 12 inches

Property from a Prominent Missouri Collection

Included as number CR.NE.830 in the Charles M. Russell online catalogue raisonné at www. russellraisonne.com

Bears a letter of confidence from Frederic G. Renner, October 26, 1967

$12,000 - 18,000

150 David Shepherd (British, 1931-2017)

Some Serengeti Notes oil on canvas signed David Shepherd and titled (lower right)  22 x 44 inches

Property from the Collection of the Legendary Dealer Norm Flayderman $15,000 - 25,000

151 David Shepherd (British, 1931-2017)

A Study of Lions, 1972 oil on canvas signed David Shepherd and dated (lower right) 22 x 44 inches

Property from the Estate of Michael L. Wilkie, Chicago, Illinois

$15,000 - 25,000

British artist David Shepherd devoted his life to painting and advocating for wildlife, the animals of Africa in particular. His efforts through the wildlife foundation he established earned him many accolades, including the Order of the British Empire. Shepherd began his career painting airplanes, reenactments of World War II air battles, and steam locomotives—he remained a train enthusiast and proponent of railroad preservation throughout his life—but a trip to Africa, where he had traveled to paint planes, transformed into a lifelong calling to paint elephants, big cats, rhinos, and all of the continent’s flora and fauna, great and small. Shepherd was also a renowned portrait artist whose commissions included Queen Elizabeth II.

David Shepherd was interested in getting the animals “right,” that is in depicting them real istically, correct in their anatomy, yet his work exudes empathy and fellow feeling; he always has an eye for the beauty of the beast in its natural habitat. Consider the trio of felines in the 1972 painting, Lions. Through three vignettes on a single canvas, Shepherd captures three distinct individuals in distinct poses, from distinct angles, under varying light. Flanking the magnificently maned male at center—who looks out at us, his left half in shadow, his right in light—are the female resting on a ledge at left under midday light and a younger male with his head cocked, as if listening, in mottled shade at right. Without anthropomorphizing them, Shepherd gives each “king of beasts” a personality, one that encourages us to think deeply about our relationship to animals, and to the natural world as a whole. Three Zebras extends this idea, setting what is presumably a zebra family against an impressionistic rendering of the zebra’s environment, and evoking the notion of continuity over generations, while Two Elephants presents the viewer with a confrontational, protective animal who seems to say, “Admire me, yes, but don’t get too close.” Looking at the shredded baobab branches bark strewn about, it’s a warning best heeded.

- James D. Balestrieri

152 David Shepherd

(British, 1931-2017)

Two Elephants, 1989 oil on canvas signed David Shepherd and dated (lower right) 24 x 34 inches

Property from the Estate of Michael L. Wilkie, Chicago, Illinois

$12,000 - 18,000

153 David Shepherd (British, 1931-2017)

Three Zebras, 1989 oil on canvas signed David Shepherd and dated (lower right) 18 x 26 inches

Property from the Estate of Michael L. Wilkie, Chicago, Illinois

$12,000 - 18,000

154 David Shepherd (British, 1931-2017) Syncerus Caffer, 1969 oil on canvas signed David Shepherd and dated (lower right) 16 x 22 inches

Property from the Estate of Michael L. Wilkie, Chicago, Illinois

$8,000 - 12,000

155 David Shepherd

(British, 1931-2017)

A Cheetah with Kill, 1980 oil on canvas signed David Shepherd and dated (lower right) 14 x 24 inches

Property from the Estate of Michael L. Wilkie, Chicago, Illinois

Provenance:

Richard Green - Fine Paintings, London, England $8,000 - 12,000

156

Craig Bone (Zimbabwean/American, b. 1955) Cheetah and Her Cubs acrylic on canvas signedCraig Bone (lower right) 46 1/2 x 66 1/2 inches

Property from the Collection of the Legendary Dealer Norm Flayderman

Commissioned of the artist by the present owner

$2,000 - 4,000

157

Tim Shinabarger

(American, b. 1966)

Canyon Lands, edition 23/30, 2011 bronze

signed Shinabarger, numbered and dated (base) height 26 1/2 x width 15 x depth 10 inches Property from a Prominent Missouri Collection

$2,000 - 4,000

158

Stefaan Eyckmans (Belgian, B. 1964) Agnus, 2006 oil on board signed S.A.H.J. Eyckmans and dated (lower right) 26 1/4 x 31 inches

Provenance: Elliott Yeary Gallery, Aspen, Colorado $3,000 - 5,000

159

Brent Lawrence  (American, b. 1962) Elk Triptych stainless steel  overall height 31 1/2 x 70 1/2 inches $1,500 - 2,500

160 Peter Fillerup (American, b. 1953)

The Catch, 1993 bronze and glass signed Fillerup and dated height 12 x length 10 x depth 12 inches

$2,000 - 4,000

161 Gib Singleton (American, 1936-2014)

End of the Day, edition 8/25, 1995 bronze signed Singleton, numbered and dated (right leg) height 21 1/2 x width 5 3/4 x depth 6 1/2 inches

$2,000 - 4,000

162

William Matthews (American, b. 1949)

Tuscarora Dawn watercolor on paper signed William Matthews (lower right) 18 x 24 inches Property from a Prominent Missouri Collection

Provenance: Broschofsky Galleries, Ketchum, Idaho

Bears a sticker from the William Matthews Frame Shop, Denver, Colorado $1,000 - 2,000

163

Nelson Boren

(American, b. 1952) Kneeling Cowboy with Chaps watercolor on paper signed Nelson Boren (lower left) 42 x 54 inches

Provenance:

Martin Harris Galleries, Jackson, Wyoming

$4,000 - 6,000

164

Nelson Boren (American, b. 1952) Clean Shirt watercolor on paper signed Nelson Boren (lower right) 62 x 43 inches

Property from the Collection of Leonard and Joan Horvitz, Moreland Hills, Ohio $4,000 - 6,000

165

Buckeye James C. Blake (American, b. 1946)

When the Sun Sets on the Sage, 1994 watercolor and ink on paper signed Buckeye Blake and dated (lower right)1 12 x 9 1/2 inches

$1,000 - 2,000

166 Howard Post (American, b. 1948)

Cowboy Conference, 2011 oil on canvas signed H.E. Post (lower right); signed, titled and dated (verso) 30 x 40 inches

$8,000 - 12,000

167

Howard Post  (American, b. 1948)

Before the Grand Entry oil on board signed HE Post (lower left) 18 x 24 inches Property from a Private Collection, Denver, Colorado

$3,000 - 5,000

168

Howard Post  (American, b. 1948) River Valley oil on canvas signed HE Post (lower left) 24 x 30 inches

Property from a Private Collection, Denver, Colorado

$4,000 - 6,000

169 Billy Schenck (American, b. 1947) Cowboy, 1978 pen and ink on paper signed Schenck and dated (lower right) 12 1/2 x 11 1/2 inches

Provenance: The Elaine Horwitch Gallery, Scottsdale, Arizona $1,500 - 2,500

170 Ed Mell (American, b. 1942) Rodeo Rider pastel on paper signed Ed Mell (lower right) 14 x 10 inches

Provenance: Collier Gallery, Scottsdale, Arizona $1,500 - 2,500

171

Mell

172

Gene Kloss

(American, 1903-1996)

Snow

Provenance:

174 Robert Daughters (American, b. 1929)

At Arroyo Hondo oil on canvas signed R. Daughters (lower left); titled (verso) 24 x 30 inches

Property from the Estate of an Elegant Lady, Texas

$7,000 - 9,000

175

Louisa McElwain (American, 1953-2013)

Riverbend, Sundown oil on canvas signed McElwain (lower right); signed and titled (verso) 15 x 30 inches

$6,000 - 8,000

176 Kim Douglas Wiggins (American, b. 1960)

Following the Morning Star , 2005 oil on canvas signed Kim Wiggins (lower right); signed, titled, and dated (verso) 30 x 40 inches

Property from the Collection of Leonard and Joan Horvitz, Moreland Hills, Ohio

Provenance:

Altermann Galleries, Santa Fe, New Mexico $7,000 - 9,000

177 Kim Douglas Wiggins (American, b. 1960)

Under the Lights of Taos, 2011 oil on board signed Kim Wiggins (lower right); signed, titled and dated (verso) 11 x 14 inches

Provenance:

Coors National Western Art Exhibit and Sale, Denver, Colorado

$1,500 - 2,500

178 William Sanderson (American, 1905-1990)

Mailboxes oil on board signed Sanderson (lower left) 12 x 22 inches

$4,000 - 6,000

Once shocking enough to spark violent public reactions, abstract painting has existed for over a century and become ubiquitous. With inspirations ranging from Monet’s waterlilies, Turner’s brooding seascapes, African masks, and Japanese prints, a diverse array of European painters in the early 20th century utilized disorienting innovations to successfully ignite an artistic revolution. They rebelled against every pictorial and cultural tradition dating back to the Renaissance, the Roman Empire, even Hellenic Greece.

Their names are now legendary: Kandinsky, Klee, Miro, Matisse, and of course Picasso, amongst countless others. But this revolution was international by design, and swept America as rapidly and even more completely than it did the Continent. Even before the center of the avant garde shifted from Paris to New York in the 1940s, surprising regional bastions of creative foment appeared around the United States. None were more fertile than a few peculiar, under-appreciated art colonies that emerged in remote, wild corners of the Southwest.

Ironically, the first artists to bring attention to the region were reactionary traditionalists intent on preserving the exacting techniques of the European academies against the rising modernist tide. Established in 1915, the Taos Society of Artists’ unique contribution was meant to be their “American” subject matter: idealized depictions of indigenous tribal peoples, Hispanic colonists, and of course, cowboys, painted in the style of the old masters. Soon, however, wave after wave of more radical types began arriving to take advantage of the light, clean dry air, majestic desert vistas, and profound mountain vibes. They brought with them new ideals in thought, lifestyle, and creative attitudes.

Raymond Jonson and Emil Bisttram were both born in the 1890s, in Iowa and Hungary, respectively. Accomplished artists and pedagogues who’d built solid reputations in Chicago and New York, Jonson discovered New Mexico in the 1920s, with Bisttram arriving a few years later. By the mid-1930s, they’d joined forces to all but take over the burgeoning art scene in Santa Fe, where they co-founded a short-lived but highly influential artistic movement they dubbed the Transcendental Painting Group. Specifically taking direction from the work and Bauhaus dictates of Wassily Kandinsky, and inspired by emerging “New Age” religions like Russian eccentric Helena Blavatsky’s Theosophy, TPG’s aim was to “defend, validate, and promote abstract art” with a specifically otherworldly, spiritual orientation.

Jonson was equally inspired by cutting edge science. Synchronistic with the secretive Manhattan Project developing nuclear weaponry mere miles away, Jonson’s mature work often resembled subatomic landscapes, or blueprint schema for laboratory equipment. He was as rigorous as a scientist in his ambitious experimentation with innovative studio techniques and materials. His compositions are dramatic, his colors tactical but intense. Bisttram was typically more subtle, his interests more mystical, and he remained more stylistically restless. It can be hard to believe his prolific, variegated oeuvre was produced by a single artist. What unified it was his passionate belief in the power of art to convey the nuanced, “transcendental” realities of inner human life, while refreshing viewers’ sensibilities through nuanced use of color, shape, and line.

The work of Western and Southwestern modern artists not only contributed to the dissemination of an array of international modern art movements, including art deco, cubism, expressionism, and surrealism. They also overtly incorporated recognizable elements of not only the landscape and atmosphere, but Native American, Hispanic, and distinctly Western aesthetics and design, producing unique regional modernist permutations that still anticipate greater appreciation by a wider audience. Their once esoteric interests in things like yoga and meditation are now mainstream, while tasteful non-objective abstraction is the elite visual language of our era. Millions have discovered the magic and beauty of Rocky Mountain living, enraptured by it just as these artists were. Emil Bisttram, Raymond Jonson, their colleagues, and students became influential trailblazers who raised the profile of the region, helping define how the wider world perceived it, and how its people defined themselves.

-Titus O’Brien

180 Raymond Jonson

(American, 1891 - 1982)

Tempera No. 21, 1955 tempera on board signed Jonson and dated (lower right) 19 3/4 x 14 3/4 inches

$2,000 - 4,000

181 Raymond Jonson

(American, 1891-1982)

Tempera No. 22, 1955 tempera on board signed Jonson and dated (lower right) 19 7/8 x 14 7/8 inches

$2,000 - 4,000

182 Raymond Jonson (American, 1891-1982)

Watercolor No. 6, 1950 acrylic on board signed Jonson and dated (lower right); signed, titled and dated (verso) 19 1/2 x 27 1/2 inches  Property from the Collection of Rick Rosner, Boulder, Colorado

$3,000 - 5,000

183 Emil Bisttram (American, 1872-1945)

Untitled Abstract, 1962 oil on board signed Bisttram and dated (lower right) 47 7/8 x 23 5/8 inches

$4,000 - 6,000

184 Jean Arnold (American, 20th Century)

Holladay: Roundabout, 2006 oil on canvas signed J. Arnold (lower right); signed, titled and dated (verso) 46 x 60 inches

Provenance: Plus Gallery, Denver, Colorado $1,500 - 2,500

185 Elias Rivera (American, 1937-2019) Untitled, 2008 oil on canvas signed Rivera (lower left) 60 x 84 inches

Provenance: Commissioned of the artist by the present owner $10,000 - 15,000

186

Rebecca Tobey (American, b. 1948)

Winged Bear, edition 30/40 bronze signed Tobey and numbered (base) height 17 1/2 x width 15 inches  Property from the Collection of Leonard and Joan Horvitz, Moreland Hills, Ohio

$1,500 - 2,500

187

B.C. Nowlin  (American, b. 1949) Under the Open Sky oil on canvas signed B.C. Nowlin (lower right); artist’s handprint (verso) 48 1/2 x 54 3/4 inches

$4,000 - 6,000

188 B.C. Nowlin

(American, b. 1949)

Living In  oil on canvas signed B.C. Nowlin (lower right); signed and with artist’s handprint (verso) 46 x 56 inches

Property from the Collection of Leonard and Joan Horvitz, Moreland Hills, Ohio

$3,000 - 5,000

189 Randy Lee White

(American, b. 1951)

Stands By, 1982 mixed media on canvas signed R. Lee White and dated (verso) 78 x 66 inches

Property from the Collection of Kenneth Edwards

Provenance: Elaine Horwitch Galleries, Santa Fe, New Mexico G. Wayne Ashton Galleries, Los Angeles, California Bonhams California

Acquired from the above by the present owner $2,000 - 4,000

190 Joe Ramiro Garcia (American, 20th Century)

Wishful Thinking, 2006 oil and acrylic on canvas laid on board signed and titled (verso) 42 x 42 inches

Provenance: LewAllen Contemporary, Santa Fe, New Mexico $800 - 1,200

191

John Nieto (American, 1936-2018)

Seated Delegate, 1984 oil on canvas signed Nieto (lower right); signed, titled and dated (verso) 40 x 30 inches

$7,000 - 9,000

192 John Nieto  (American, 1936-2018)

Shrouded Indian, 1986 acrylic on canvas signed Nieto (lower right); signed, titled and dated (verso) 60 x 48 inches Property from the Collection of Kenneth Edwards

Provenance: Santa Fe Art Auction, Santa Fe, New Mexico, November 2, 2002, Lot 249

$15,000 - 20,000

193 Fritz Scholder (Luiseño, 1937-2005)

Shy Navajo, 1970 acrylic on canvas signed Scholder (upper left); titled and dated (verso) 24 x 24 inches

Provenance:

Collection of Madeline Hedden Fenn Galleries, Santa Fe, New Mexico Economos Works of Art, Santa Fe, New Mexico

Acquired from the above by the present owner, 1992

$20,000 - 30,000

194 Fritz Scholder (Luiseño, 1937-2005)

Indian From the Plains, 1974 oil on canvas signed Scholder (upper left); signed, titled and dated (verso) 68 x 54 inches

Provenance: Maxwell Galleries, San Francisco, California ACA Galleries, New York, New York

$60,000 - 80,000

195 Fritz Scholder (Luiseño, 1937-2005)

Romona, 1974 acrylic on canvas signed Scholder (upper right); titled and dated (verso)

9 x 12 inches

Provenance:

The Collection of Tom and Mary Jane McClain Vanier Galleries, Scottsdale, Arizona, 2002

Exhibited: Museum of Northern Arizona, Flagstaff, Arizona, “Art & Soul: Tom & Mary Jane McClain Collection”, 1999

$3,000 - 5,000

196 Fritz Scholder (Luiseño, 1937-2005)

American Portrait with Beaded Collar, 1975 oil on canvas signed Scholder (upper left); titled and dated (verso)

40 x 30 inches

Provenance:

Cordier & Ekstron, Inc., New York, New York

$40,000 - 60,000

197 Fritz Scholder (Luiseño, 1937-2005) Landscape, 1978 acrylic on canvas signed Scholder (lower right); dated (verso) 16 x 20 inches

Published:

Joshua Charles Taylor, et. al., Fritz Scholder, Rizzoli, New York, 1982, plate 147, p. 135

$3,000 - 5,000

198 Fritz Scholder (Luiseño, 1937-2005)

Indian with Rattles, 1979 oil on canvas  signed Scholder (lower left); titled and dated (verso) 40 x 30 inches

Property from a Texas Collection

Provenance: Marilyn Butler Fine Art, Scottsdale, Arizona Joanne Lyon Gallery, Aspen, Colorado Purchased from the above by the present owner

Literature: Joshua C. Taylor, et. al., Fritz Scholder, Rizzoli, New York, 1982, p. 159

$50,000 - 70,000

199 Fritz Scholder (Luiseño, 1937-2005) Horse and Rider acrylic on canvas signed Scholder (lower right) 80 x 68 inches

Published:

Joshua Charles Taylor, et. al., Fritz Scholder, Rizzoli, New York, 1982, plate 58, p. 72 $80,000 - 120,000

201 Fritz Scholder (Luiseño, 1937-2005)

Portrait with Green Shadow, 1983 acrylic on canvas signed Scholder (lower right); titled and dated (verso)

80 x 68 inches

$20,000 - 40,000

203 Fritz Scholder (Luiseño, 1937-2005)

Orchid for Lloyd, 2002 acrylic on canvas signed Scholder (lower right); signed, titled and dated (verso)

40 x 50 inches

Property from a Private Collection, Santa Fe, New Mexico

$25,000 - 35,000

204 Juane Quick-To-See Smith (Confederated Salish/Kootenai, b. 1940) Untitled, from Porcupine Ridge Series, 1979 pastel on paper signed JQTS Smith (lower left) 30 x 22 inches

Provenance: Distinguished Corporate Collection Albuquerque Museum, New Mexico, gifted by Marge Devon $8,000 - 10,000

208

T.C. Cannon (Kiowa, 1946-1978)

Hopi with Manta, edition 48/200 woodblock print signed T.C. Cannon and numbered (lower left) 17 x 15 1/2 inches

$3,000 - 5,000

209

T.C. Cannon (Kiowa, 1946-1978)

Woman in Window, edition 48/200 woodblock print stamped T.C. Cannon (lower right); signed Walter Cannon and numbered (lower left) 17 x 15 1/2 inches

$3,000 - 5,000

210

Earl Biss

(Apsáalooke, 1947-1998)

Striped Blanket’s Raid, 1977 oil on paper, mounted on canvas signed Biss (upper right) 10 x 12 inches

$2,000 - 3,000

211 Earl

Could Be Anywhere,

on

signed Biss (upper

Provenance:

- 12,000

signed,

and dedicated (verso)

212 Earl Biss

(Apsáalooke, 1947-1998)

Riders in Purple and Blue, 1990 oil on canvas signed Biss (upper right); signed, titled and dated (verso)

16 x 20 inches

Property from the Collection of David Neuenswander

$2,000 - 3,000

213

Earl Biss

(Apsáalooke, 1947-1998)

Spotted Horse Warriors on a Calm Day, 1992 oil on canvas signed Biss (upper right); signed, titled, and dated (verso)

16 x 20 inches

$3,000 - 5,000

Biss

217 James Lavadour (Walla Walla, b. 1951)

Untitled (Blue Bridge), 2003 oil on paper signed Lavadour and dated (lower right) 14 x 20 inches

Provenance:  PDX, Portland, Oregon Trotta-Bono Contemporary, Los Angeles, California

$1,500 - 2,500

219 David Bradley (Chippewa, b. 1954)

Lewis + Clark: Postcard from the New World mixed media collage on board signed David Bradley and titled (verso) 26 x 31 inches

$3,000 - 5,000

218 David Bradley (Chippewa, b. 1954)

The Wish, 1982 oil on canvas signed David Bradley and dated (lower left); signed, titled and dated (verso) 14 x 11 inches

$1,500 - 2,500

220 David Bradley (Minnesota Chippewa, b. 1954)

Hollywood Indian, 2008 acrylic on paper, mounted on board signed David Bradley and dated (lower left); signed, titled and dated (verso) 30 x 22 inches

$3,000 - 5,000

221

Edgar Heap of Birds, Hock E Aye Vi (Southern Cheyenne, b. 1956) Brutal U.S. Republic Lost Human Respect, circa 1995 monoprint signed E.J. (lower right) 22 x 15 inches

Provenance:  Trotta-Bono Contemporary, Los Angeles, California $1,000 - 1,500

222

Edgar Heap of Birds, Hock E Aye Vi (Southern Cheyenne, b. 1956) American Leagues, circa 1995 lithograph signed CJ (lower right)  edition of 25; this example was the first completed and the template for the editioned series 22 x 31 inches  $1,500 - 2,500

223 Allan Houser (Chiricahua Apache, 1914-1994) Apache War Party, 1971 acrylic on canvas signed A. Houser and dated (lower left) 6 x 8 inches

Provenance: Purchased directly from the artist Triangle Galleries, Tulsa, Oklahoma $3,000 - 5,000

224 Allan Houser (Chiricahua Apache, 1914-1994) Eagle and Cougar stone signed Allan Houser (lower right) height 27 1/2 x width 29 x depth 7 1/2 inches $20,000 - 30,000

225 Allan Houser

(Chiricahua Apache, 1914-1994)

Drama on the Plains, edition 3/100, 1978 bronze

signed Allan Houser and numbered (lower edge) height 14 x width 16 1/4 x depth 8 inches Property sold to Benefit the Acquisitions Fund of the Buffalo Bill Cody Center of the West

$4,000 - 6,000

226 Allan Houser

(Chiricahua Apache, 1914-1994)

Camp Talk, edition 3/8, 1979 bronze signed Allan Houser and numbered (base) height 24 x width 18 x depth 20 inches Property from the Collection of Leonard and Joan Horvitz, Moreland Hills, Ohio

Provenance:

Glenn Green Galleries, Santa Fe, New Mexico, 1998

Acquired from the above by the present owner

$10,000 - 15,000

227 Allan C. Houser

(Chiricahua Apache, 1914-1994)

Playmates, edition 2/12, 1985 bronze

signed Allan Houser, numbered and dated (base) height 20 1/2 x width 11 x depth 11 1/2 inches

Provenance:

The Wall Gallery, Santa Fe, New Mexico, August 1987

Acquired from the above by the present owner

$8,000 - 12,000

228 Allan Houser

(Chiricahua Apache, 1914-1994)

Three Women, edition 11/20 bronze

signed A. Houser and numbered (base) height 5 1/4 x length 7 1/4 x width 2 3/4 inches $3,000 - 5,000

229 Al Qöyawayma

(Hopi, b. 1938)

Untitled, Corn Maiden, edition 8/17, 1992 bronze

signed Al Qöyawayma, numbered and dated (edge of base) height 12 x width 6 1/4 x depth 6 3/4 inches

$1,500 - 2,500

230 Michael Naranjo (Santa Clara, b. 1944) Eagle, edition 16/20 bronze

signed NARANJO and numbered (tail) height 10 x width 18 x depth 10 inches

$1,500 - 2,500

232

Dan Namingha (Hopi, b. 1950)

Shalako Mana, 1986 acrylic on canvas signed Dan Namingha and dated (lower right); titled (verso) 80 x 60 inches

Property from the Collection of Kenneth Edwards $4,000 - 6,000

231

Tony Da (San Ildefonso, 1940-2008)

Untitled, 1987

watercolor on paper, with turquoise cabochon signed Da and dated (lower right)

7 1/2 x 8 inches

$1,500 - 2,500

233

Dan Namingha (Hopi, b. 1950)

Hanging Shield acrylic on canvas signed Namingha (lower left); titled (verso) 24 x 30 inches

$2,000 - 4,000

234 Dan Namingha (Hopi, b. 1950)

Untitled oil on canvas signed Namingha (lower left) 14 x 30 inches

$1,000 - 1,500

235

Dan Namingha (Hopi-Tewa, b. 1950)

Dusk Series 1, 1990 acrylic on canvas signed Namingha and dated (lower right); signed, titled and dated (verso) 30 x 30 inches

Provenance: Niman Fine Art, Santa Fe, New Mexico

$2,000 - 3,000

236

Dan Namingha (Hopi-Tewa b. 1950)

Hopi Kachina, 1991 acrylic on paper signed Namingha and dated (lower right) 8 x 6 inches

Provenance:

Niman Fine Art, Santa Fe, New Mexico $1,000 - 2,000

237

Mateo Romero (Cochiti, b. 1966)

Untitled mixed media on board signed (lower left) 36 x 47 1/2 inches

Provenance: Santa Fe Art Auction, November, 2018, Lot 218 $2,000 - 4,000

238

Helen Hardin, Tsa-Sah-Wee-Eh (Santa Clara, 1943-1984)

Buffalo Hunt, 1977 acrylic on board signed Tsa-Sah-Wee-Eh and dated (lower right) 6 x 8 inches

$1,500 - 2,500

239

Helen Hardin, Tsa-Sah-Wee-Eh (Santa Clara, 1943-1984)

Desert Flute Player, 1979 acrylic on board signed Tsa-Sah-Wee-Eh and dated (lower right); titled (verso) 8 x 6 inches

$1,500 - 2,500

240 Helen Hardin, Tsa-Sah-Wee-Eh (Santa Clara, 1934-1984)

Ancient Symbols of Man mixed media on board signed Tsa-Sah-Wee-Eh (lower right) 7 3/4 x 9 1/2 inches

$2,000 - 3,000

241 Emmi Whitehorse (Diné, b. 1957)

Green Wood, 1996 oil on paper, mounted on canvas signed III (lower right); signed, titled and dated (verso) 39 1/2 x 51 inches

Provenance:

Jan Cicero Gallery, Chicago, Illinois

Exhibited:

Tucson Museum of Art, “SOLA Contemporary Southwest Images XII: The Stonewall Foundation Series,” 1997

$3,000 - 5,000

242 Tony Abeyta (Diné, b. 1965)

Untitled acrylic on canvas signed Tony Abeyta (upper rght) 26 x 24 inches

$3,000 - 5,000

243 Al Qöyawayma

(Hopi, b. 1938)

Pottery Jar, 1985 signed and dated (base) height 6 1/2 x diameter 18 1/2 inches

Provenance:

The Collection of William H. Saunders, M.D. and Putzi Saunders, Ohio

$4,000 - 6,000

244 Tony Da

(San Ildefonso, 1940-2008)

Red and Sienna Pottery Bear, with Turquoise signed DA (base)  height 4 3/4 x length 7 x width 3 3/4 inches Property from the Estate of Harlan and Mildred Pratt

$6,000 - 8,000

245 Alvina Yepa (Jemez, b. 1954)

Sgraffito Redware Pottery Jar in the form of a flower; decorated with two friezes of feeding hummingbirds; signed on base

height 6 inches x diameter 8 1/2 inches

Property from the Collection of Robert P. Hunter, Jr. and Barbara Hunter, Alpharetta, Georgia

$1,000 - 1,500

246 Richard Zane Smith (Wyandot, b. 1955)

In Memory of Summundawat, 1994 corrugated ceramic jar  signed Richard Zane Smith and dated on base  height 8 x diameter 13 1/2 inches

$2,000 - 3,000

247 Autumn Borts Medlock (Santa Clara, b. 1967)

Polished and Carved Redware Pottery Vessel, with stars and swirls, 2010 signed Autumn Borts Medlock and dated (base) height 3 1/2 x length 5 1/2 x width 3 inches

Provenance:

Shiprock Santa Fe, Santa Fe, New Mexico, 2012 Acquired from the above by the present owner

$1,500 - 2,500

249 Diego Romero (Cochiti, b. 1964)

Pottery Bowl, Stary Night inscribed CHONGO MADE AND PAINTED ME and titled (exterior of rim) height 2 5/8 x diameter 7 1/2 inches

$3,000 - 5,000

250 Virgil Ortiz (Cochiti, b. 1969)

Untitled Pottery Mano Figure, 2009 signed Virgil Ortiz and dated (base

left foot) height 21 1/2

width

Private Collection  Shiprock Santa Fe, private purchase, Sept. 2, 2009  $3,000 - 5,000

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ALISON LYNCH ASSOCIATE CATALOGUER

Inquiries

AMERICAN FURNITURE,

FOLK & DECORATIVE ARTS

BEN FISHER

VICE PRESIDENT, SENIOR SPECIALIST BENJAMINFISHER @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

ELIZABETH KEITHLEY CATALOGUER

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 CATALOGUER

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. VICE PRESIDENT BUSINESS DEVELOPMENT DIRECTOR SAN DIEGO, SENIOR SPECIALIST 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

HANA THOMSON G.G. ASSOCIATE SPECIALIST

MADELINE SCHROEDER, G.G. ASSOCIATE SPECIALIST

GINA O’CONNOR DEPARTMENT COORDINATOR

MARIELLE EPSTEIN DEPARTMENT COORDINATOR

COUTURE & LUXURY ACCESSORIES

TIMOTHY LONG DIRECTOR, SENIOR SPECIALIST TIMOTHYLONG @HINDMANAUCTIONS.COM

TANNER BRANSON CATALOGUER

MARIELLE EPSTEIN 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 OF PHOTOGRAPHY

DAVID JACKSON PHOTOGRAPHY SUPERVISOR

GABBY BOSHARA CARMEN COLOME

JORDYN COX*

ALEXANDRIA DREAS*

CHAD FEIERSTONE

DAIJA GUY*

LIM HWOANG

CAITLIN KELLYTHOMPSON

DEOGRACIAS LERMA

BERTO MARTINEZ

AMELIA MOORE

LIBBY MOORE

MIKE REINDERS*

BILL ROSS

RACHEL SMITH

DALLAS TOLENTINO

CORY TOWE HARLEY WINCE

* LEAD PHOTOGRAPHY TEAM FOR SALE 1092

Guide for Prospective Sellers and Buyers

GUIDE FOR PROSPECTIVE SELLERS

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

• Details

or

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.

Updated 9/7/22

GUIDE FOR PROSPECTIVE BUYERS

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.

Condition Reports

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.

Bidding at Auction

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 Increments

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:

$0 - $500

$25

$500 - $1,000 $50 $1,000 - $2,000 $100 $2,000 - $5,000 $250 $5,000 - $10,000 $500 $10,000 - $20,000 $1,000 $20,000 - $50,000 $2,500 $50,000 - $100,000 $5,000 $100,000 - $200,000 $10,000

Above > $200,000 At Auctioneer’s Discretion

In-House Bidding

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.

Live Bid Online

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.

Absentee Bidding

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.

Telephone Bidding

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.

A. BEFORE THE 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. VIEWING LOTS

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.

B. REGISTERING TO BID

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.

2. NEW BIDDERS

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

Conditions of Sale

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.

D. AFTER THE AUCTION

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-five percent (25%) of the hammer price up to and including $400,000; twenty percent (20%) of any amount in excess of $400,001 up to and including $4,000,000; and twelve percent (12%) of any amount in excess of $4,000,001. 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.

2. TAXES

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.

3. MAKING PAYMENT

(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.

6. YOUR FAILURE TO PAY

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.

7. SHIPPING, COLLECTION, AND STORAGE

(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).

8. EXPORTING, IMPORTING, AND ENDANGERED SPECIES

(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.

3. ADDITIONAL WARRANTY FOR BOOKS

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.

F. OUR LIABILITY TO YOU

(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.

Upcoming Auction Schedule

SALE 1080 JEWELS ONLINE

OCTOBER 3 | CHICAGO | ONLINE

SALE 1081 & 1082

THE COLLECTION OF ROBERT AND MARY MONTGOMERY

PALM BEACH | OCTOBER 6 LIVE + ONLINE PALM BEACH | OCTOBER 7 ONLINE

SALE 1083 DINING AT HOME

OCTOBER 10 | CHICAGO | ONLINE

SALE 1085 WATCHES

OCTOBER 12 | CHICAGO | LIVE + ONLINE

SALE 1090

GOLD BOXES AND VERTU FROM THE ESTATE OF A PROMINENT KANSAS CITY COLLECTOR OCTOBER 18 | CHICAGO | LIVE + ONLINE

SALE 1086 & 1087

EUROPEAN FURNITURE & DECORATIVE ARTS OCTOBER 18 | CHICAGO | LIVE + ONLINE OCTOBER 19 | CHICAGO | ONLINE

SALE 1092 & 1093

WESTERN ART, INCLUDING CONTEMPORARY NATIVE AMERICAN

NOVEMBER 1 | DENVER | LIVE + ONLINE NOVEMBER 2 | DENVER | TIMED ONLINE

SALE 1095

AMERICAN HISTORICAL EPHEMERA & PHOTOGRAPHY NOVEMBER 3-4 | CINCINNATI | LIVE + ONLINE

SALE 1097

BOOKS & MANUSCRIPTS, INCLUDING AMERICANA NOVEMBER 8-9 | CHICAGO | LIVE + ONLINE

SALE 1099 & 1100

ANTIQUITIES & ANCIENT ART

NOVEMBER 10 | CHICAGO | LIVE + ONLINE NOVEMBER 11 | CHICAGO | ONLINE

SALE 1103

EARLY 20TH CENTURY DESIGN NOVEMBER 17 | CINCINNATI | LIVE + ONLINE

SALE 1104

MODERN DESIGN NOVEMBER 18 | CHICAGO | LIVE + ONLINE

SALE 1122

EUGENE ATGET PHOTOGRAPHS SOLD BY THE MUSEUM OF FINE ARTS HOUSTON DECEMBER 6 | CHICAGO | LIVE + ONLINE

SALE 1131

PHOTOGRAPHS SESSION II DECEMBER 6 | CHICAGO | LIVE + ONLINE

SALE 1113

AMERICAN & EUROPEAN ART DECEMBER 7 | CHICAGO | LIVE + ONLINE

To be offered in Sale 1093 Western & Contemporary Native American Art Online Bob Wade Cowgirl on Horseback Estimate: $1,000 - 2,000

(American,