Sale 1239 | Western & Contemporary Native American Art

WESTERN & CONTEMPORARY

NATIVE AMERICAN ART

1 NOVEMBER 2023

WESTERN & CONTEMPORARY NATIVE AMERICAN ART

SALE 1239

1 November 2023

10:00am MT | Denver | Live + Online Lots 1–220

PREVIEW

Auction Room and Galleries 2737 Larimer Street, Suite C, Denver, CO 80205 westernart@hindmanauctions.com

Monday October 23 10:00am–5:00pm

Tuesday October 24 10:00am–5:00pm

Wednesday October 25 10:00am–5:00pm

Thursday October 26 10:00am–5:00pm

Friday October 27 10:00am–5:00pm

Saturday October 28 By Appointment

Sunday October 29 By Appointment

Monday October 30 10:00am–5:00pm

Tuesday October 31 10:00am–5:00pm

PROPERTY PICK UP HOURS

Monday–Friday | 9:00am–4:00pm By appointment 303.825.1855

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

All lots in this catalogue with a lower estimate value of $5,000 and above are searched against the Art Loss Register database

To view the complete catalogue, sign up to bid, and read our Conditions of Sale, visit hindmanauctions.com or the Hindman App. All bidders must agree to Hindman’s Conditions of Sale prior to registering to bid. For bid support contact: 312.280.1212 or bid@hindmanauctions.com.

WESTERN & CONTEMPORARY NATIVE AMERICAN ART

LOTS 1–220

PROPERTY FROM THE TRUSTS AND ESTATES OF Property from the Estate of Michael Pernikoff

Property from the Estate of Ruthann “Rudy” Bengston, Grand Haven, Michigan

Property from a St. Louis Estate

PROPERTY FROM THE COLLECTIONS OF

Property from a Private Collection, Chicago, Illinois

Property from a Private Collection, Colorado

Property from a Private Collection Curated by Janet and Daniel Hidding

Property from a Private Collection, Houston, Texas

Property from a Private Kansas Collection

Property from the Collection of Audrey and Harris Yett

Property from the Collection of Brian D. Rogers, St. Charles, Illinois

Property from the Collection of Gary F. Glasgow

Property from the Collection of George C. Kaiser, Milwaukee, Wisconsin

Property from the Collection of Jessica G. Bruozis, Chicago, Illinois

Property from the Collection of Jo Anna Cline Yates, Lookout Mountain, Tennessee

Property from the Collection of John Foxley, Lyons, Wisconsin

Property from the Collection of Leslie B. Cohen, Peoria, Illinois

Property from the Collection of Linda and Roger Nace, Phoenix, Arizona

Property from the Collection of Michael Santini and Roberta Kiss, Mequon, Wisconsin

Property from the Collection of Mr. Jim Foos

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

Property from the Collection of Sean Ryon

Property from the Collection of Stanley B. Slocum

Property from the Collection of Elena and Veloy Vigil

PROPERTY SOLD TO BENEFIT

Property being Sold to Benefit the Acquisition Fund of the Indianapolis Museum of Art at Newfields

Property from an Estate, Sold to Benefit the Wichita Art Museum

Property sold to Benefit the Wisconsin Humane Society

OPPOSITE Lot 30

WESTERN ART

LOTS 1–160

30

$3,000

Mountains

oil on canvas

13 1/2 x 24 inches

$1,000 - 2,000

1 Jay Moore (American, b. 1964)

signed Moore (lower left)

2 Jay Moore (American, b. 1964)

Pikes Peak Morning oil on canvas

signed Jay Moore (lower right)

x 36 inches

- 5,000

3 Jay Moore (American, b. 1964)

South Rim - Grand Canyon oil on canvas signed Moore (lower left) 10 x 20 inches

$800 - 1,200

4 Ray Boynton (American, 1883-1951) Mountain Study oil on canvas 18 x 24 inches

Provenance: The Artist

Thence by descent to present owner

Lot Note: This painting has remained in the custody of Boynton family members since its creation. Ray Boynton gifted the painting to his sister, Alma Mae Boynton Maresh. Since her passing in 1957, the painting has been passed down generationally.

$2,000 - 4,000

5 Peter Hurd (American, 1904-1984)

Rolling Hills watercolor on paper signed Peter Hurd (lower left)

9 x 12 inches

Property from the Collection of Stanley B. Slocum

$800 - 1,200

6 Rod Goebel (American, 1946-1993)

High Mesas oil on canvas signed Rod Goebel (lower left); signed and titled (verso) 20 x 24 inches

Property from the Collection of Gary F. Glasgow

$1,000 - 2,000

7 Robert Wood (American, 1889-1979) Desert Landscape, 1944 oil on canvas signed Rob Wood and dated (lower left)

25 x 30 inches

Provenance: Meinhard Galleries, Houston, Texas

$1,000 - 2,000

Provenance:

8 Wilson Hurley (American, 1924-2008)

Tonto Plateau, 1975 oil on canvas signed Wilson Hurley and dated (lower left) 30 x 24 inches

Property from the Collection of Brian D. Rogers, St. Charles, Illinois

Baker Gallery of Fine Art, Lubbock, Texas

$8,000 - 12,000

9 Thomas Hill (British/American, 1829-1908) Yosemite oil on board signed T. Hill (lower right) 21 1/2 x 15 inches

Property from the Collection of Leslie B. Cohen, Peoria, Illinois $8,000 - 12,000

10

Albert Bierstadt (American, 1830-1902)

Mountain Landscape oil on paper laid to board signed ABierstadt (lower right)

9 3/4 x 13 3/4 inches

This painting is included in Melissa Speidel’s catalogue raisonné database of the artist’s works. It is accompanied by a letter of opinion from Melissa Speidel, issued May 20, 2023.

$4,000 - 6,000

11

Rod Goebel (American, 1946-1993)

Red Willows at Arroya Seco oil on canvas signed Rod Goebel (lower left)

30 x 30 inches

Property from an Estate

Provenance:

Trailside Galleries, Scottsdale, Arizona

$2,000 - 3,000

13

Michael Stack (American, b. 1947)

An Evening Sky at Cochise County, 1994 oil on canvas

signed Michael Stack (lower left)

14 x 22 inches

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

Provenance:

Altermann & Morris Galleries, Santa Fe, New Mexico

$3,000 - 5,000

12

Roy Swenson (American, b. 1937)

Last Snow oil on canvas signed R. Swenson (lower right) 38 x 49 inches

Property from the Collection of Michael Santini and Roberta Kiss, Mequon, Wisconsin

Provenance: El Presidio Gallery, Tucson, Arizona

$1,500 - 2,500

14

Thomas deDecker (American, b. 1951)

Tranquil Sunset, 2023 acrylic on board signed Thomas deDecker (lower left); signed, titled and dated (verso) 20 x 24 inches

$2,000 - 3,000

15

Thomas deDecker (American, b. 1951)

Rocky Mountain Meadows, 2023 oil on board signed Thomas deDecker (lower left); signed, titled and dated (verso) 36 x 36 inches

$3,000 - 5,000

16 Francois Koch (South African/American, b. 1944)

Misty Morning, Montana, 2007 oil on canvas signed Francois Koch and dated (lower right) 30 x 40 inches

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

$3,000 - 5,000

17 Andrew Peters (American, b. 1954)

Grouse Mountain Glade, 2007 oil on canvas signed Andrew Peters (lower left) 30 x 36 inches

Property from a Private Collection, Chicago, Illinois

Provenance: Trailside Galleries, Scottsdale, Arizona

$3,000 - 5,000

18 Jack Wilkinson Smith (American, 1873-1949)

Coastal Scene oil on board signed Jack Wilkinson Smith (lower right)

16 x 20 inches

Property from a Private Kansas Collection

$4,000 - 6,000

19 John Fery (Austrian/American, 1859-1934) Fall in Minnesota oil on board signed J. Fery (lower right)

8 3/4 x 14 inches

Property from the Collection of Stanley B. Slocum

Provenance: Images Gallery, Minneapolis, Minnesota

$2,000 - 3,000

20

Ralph Albert Blakelock, Attributed (American, 1847-1919)

Indian Camp oil on canvas 20 x 32 1/4 inches

Provenance:

Macbeth Gallery, New York, New York

Purchased from the above by A. Irving Tallis, Buffalo, New York, 1934

Thence by descent to Henry Tallis, Williams Bay, Wisconsin

Acquired from the above by Taylor B. Williams, Harbert, Michigan, circa 1972

Accompanied by a statement of confidence from close personal friend of R.A. Blakelock, Mr. Harry W. Watrous, New York, New York.

$3,000 - 5,000

21

M.C.

(American, b. 1953)

Enchantress Waterfall - Yellowstone, 2000 oil on canvas signed M.C. Poulsen (lower right); signed, titled and dated (verso) 24 x 12 inches

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

$1,000 - 2,000

Poulsen

22

Harry Jackson (American, 1924-2011)

Sacagawea: First Working Model for A Monument, number 30, 1977

bronze

signed Harry Jackson, numbered, dated and inscribed (base) height 26 1/2 x width 12 1/4 x depth 7 inches

Property from a St. Louis Estate

$3,000 - 5,000

23

Harry Jackson (American, 1924-2011)

Sacagawea II - Painted, number 200, 1980

bronze

signed Harry Jackson, numbered and dated (verso) height 17 3/4 x width 8 1/2 x depth 6 3/4 inches

Property from a Private Collection

$3,000 - 5,000

24

Harry Jackson (American, 1924-2011)

Algonquin Chief, number 3, 1971

bronze

signed H. Jackson, numbered and dated (verso)

height 8 1/2 x width 5 3/4 x depth 4 1/4 inches

Property from a Private Collection

$1,000 - 2,000

Spotted Tail Goes to Washington, edition 18/25, 1999

bronze

signed G. Goodacre, numbered and dated (base) height 41 x width 20 x depth 12 inches

Property from a Private Collection

$8,000 - 12,000

25 Glenna Goodacre (American, 1938-2020)

Kathryn Woodman Leighton

Running Crow oil on canvas signed Kathryn W Leighton (lower left); titled (verso, stretcher bar) 44 x 36 inches

Provenance: The Collection of Edward Bazinet, 5-Bar-6 Ranch, Paradise Valley, Montana $12,000 - 18,000

Like many artists, Kathryn Leighton’s career sounds like a series of fortuitous meetings, accidents, and opportunities seized. Born in New Hampshire, Kathryn Woodman studied art before she married Edward Leighton, a young lawyer. Edward supported his wife’s interest in art and when the couple moved to Los Angeles in 1910, Kathryn opened her own studio. Leighton’s brother, Frederic, served as mayor of Los Angeles from 1916-1919 and used his celebrity to advance his sister’s career. By 1918, Leighton had decided to make portraits of Native Americans her principal subject and she soon established herself in what was then a heavily male-dominated field. At a party given in Los Angeles by artist Jack Wilkinson Smith, Leighton met Charles Russell, who invited her to visit him at the Russell home in Montana’s Glacier Park.

Upon her visit to Montana, Kathryn was introduced to the elders of the Blackfeet tribe and officials of the Great Northern Railway. These officials, in turn, commissioned her to paint a series of twenty portraits to illustrate a nationwide lecture tour on the tribe. Leighton’s approach is minimalist, illustrative and post-Impressionistic, with an almost Fauvist use of wide fields of bright color to define the picture plane. It is clear, looking at a painting like Running Crow, that Leighton adapted aspects of the strong color and geometries of Native American art. For the remainder of her career, Leighton would travel coast to coast, painting numerous Indigenous subjects from a wide range of peoples.

–James D. Balestrieri

(American, 1875-1952)

27

Olaf Wieghorst (Danish/American, 1899-1988)

Son of Many Mules oil on board

signed O. Wieghorst (lower left); signed and titled (verso) 10 x 8 inches

Property from the Collection of Brian D. Rogers, St. Charles, Illinois

Accompanied by a Certificate of Authenticity, written by George K. Thackeray of Thackeray Gallery, San Diego, California, issued March 29, 1976.

$2,000 - 4,000

28

Michael Coleman (American, b. 1946)

Split Bonnet oil on board signed Michael Coleman (lower left) 12 x 16 inches

$1,000 - 2,000

29

Will Shuster (American, 1893-1969)

Provenance:

Portrait of an Indian Chief oil on canvas signed Will Schuster (lower left) 24 x 20 1/4 inches

The Owings Gallery, Santa Fe, New Mexico $4,000 - 6,000

“Mysteries

Stream” was painted by Eanger Irving Couse in 1920. Father and Son images were one of Couse’s favorite themes. However, this painting exhibits a harshness of outline and angularity of form that seems intensely emotional compared with his earlier work. Considering the date, it is not unreasonable to speculate that these were how world events related to WWI affected his work.

–Virginia Couse Leavitt, August 25, 2023

30

Eanger Irving Couse (American, 1866-1936)

Mysteries of the Stream oil on canvas

signed E.I. Couse (lower right)

35 x 46 inches

Property from a Private Collection Curated by Janet and Daniel Hidding

Provenance:

E.I Couse Estate, Taos, New Mexico, 1936

Kibbey W. Couse, Taos, New Mexico

Maurice J. Sternberg Galleries, Chicago, Illinois, 1978

Exhibited:

Carnegie Institute, Pittsburg, Pennsylvania, 1921

Lotos Club, New York, New York, February 7 - 15, 1921

St. Louis Art Museum, St. Louis, Missouri, “16th Annual Exhibition”, September 5 - October 25, 1921

Palace of the Legion of Honor, San Francisco, California, “The Southwest Exhibition/Paintings by Artists of Taos and Santa Fe”, November 1 - December 31, 1928, #96, under the title Land of the Sky Blue Water

Published:

Oakland Tribune, Oakland, California, “Artists and Their Works”, November 25, 1928, illustrated Included in the Eanger Irving Couse Catalogue Raisonné, #1378.

$200,000 - 300,000

of the

31

John Moyers (American, b. 1958)

Solitary Song, 2002 oil on canvas

signed John Moyers and dated (lower right) 60 x 30 inches

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

Provenance:

Sold: Jackson Hole Art Auction, Jackson, Wyoming, September 15, 2012, Lot 12-124

Acquired from the above by the present owner

Exhibited:

Prix de West Invitational, National Cowboy Hall of Fame, Oklahoma City, Oklahoma, 2002

$8,000 - 12,000

John Moyers is one of the preeminent contemporary painters of the American West. Moyers studied in California, but a workshop in British Columbia taught by Robert Lougheed, where he painted animals en plein air set his course. It was there that Moyers met his future wife, Terri, an exceptional artist in her own right. The son of Cowboy Artists of America painter William Moyers, John Moyers is himself a longtime CAA member and past president of the organization. Unlike many Western artists, John Moyers paints both the historic and present-day West. In Solitary Song, however, the viewer feels the subtle influence of the Taos Founders—Bert Phillips and E. Martin Hennings most of all—in the lyrical treatment of the flutist and the impressionistic yellow aspens that surround him. Moyers seems to want us to get as lost in the scene—and in the past— as the musician is lost in his melody.

–James D. Balestrieri

32

Bill

Pair of Bookends: Maiden and Flute Player, edition 9/50, 1996

bronze

each signed Bill Nebeker, numbered and dated (base) largest height 9 x width 6 1/2 x depth 5 3/4 inches

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

$1,000 - 2,000

33 Jud

Akwesanse, edition 3/8, 1985

bronze signed Hartmann, numbered and dated (base) height 26 1/2 x width 5 1/2 x depth 15 inches

The Laumeister Collection from The Bennington Center for the Arts, Bennington, Vermont

$1,000 - 2,000

Nebeker (American, b. 1942)

Hartmann (American, b. 1948)

34 Fred Fellows

(American, b. 1934)

Dancing Back the Past, edition 12/50

bronze

signed Fellows and numbered (base)

height 18 x width 18 3/4 x depth 10 inches

Property from a Private Collection Curated by Janet and Daniel Hidding

$1,000 - 2,000

35 Dave McGary

(American, 1958-2013)

Four Bears, edition 12/75, 1990

bronze

signed Dave McGary, numbered and dated (verso)

height 17 1/4 x width 10 x depth 8 1/4 inches

Property from the Estate of Michael Pernikoff

$2,000 - 3,000

1958-2013)

Strikes with Thunder, edition 9/100, 1989

bronze

signed Dave McGary, numbered and dated (verso)

height 12 1/2 x width 9 x depth 7 inches

Property from the Estate of Michael Pernikoff

$2,000 - 3,000

Rain in the Face, edition 36/75, 1990

bronze signed Dave McGary, numbered and dated (verso)

height 11 1/4 x width 9 x depth 9 3/4 inches

Property from the Estate of Michael Pernikoff

$2,000 - 3,000

36 Dave McGary (American,

37 Dave McGary (American, 1958-2013)

M.C. Poulsen (American, b. 1953)

Ben Knighthorse oil on board signed MC Poulsen (lower right); signed, titled and dated (verso) 30 x 24 inches

Property from the Collection of Robert P. Hunter, Jr. and Barbara Hunter, Alpharetta, Georgia $3,000 - 5,000

39 John DeMott (American, b. 1954)

A Time Not Forgotten oil on canvas

94 x 54 inches

Provenance: DeMott Gallery at Vail, Colorado, 1998

$8,000 - 12,000

40 Lajos Markos (American, 1917-1993)

The Lost Track oil on canvas signed L. Markos (lower right)

28 x 36 inches

Property from a Private Collection, Colorado

$2,000 - 3,000

41 Frank McCarthy (American, 1924-2002)

The Signal, 1979 oil on board

signed McCarthy and dated (lower left)

24 x 36 inches

Property from a Private Collection Curated by Janet and Daniel Hidding

Exhibited: Thomas Gilcrease Institute of American History and Art, Tulsa, Oklahoma, “Gilcrease Rendezvous, 1984”, May 5 - July 8, 1984

$12,000 - 18,000

Frank McCarthy began his career working easel-to-easel with the great illustrators of the form’s Golden Age. They labored and brawled through the 1950’s and 60’s, living the bohemian life in “The Bullpen,” a hive of artists in Midtown Manhattan. They lived from assignment to assignment as Madison Avenue “Mad Men” dreamed up campaigns for everything from pulp novels to cigarettes, from brassieres to Buicks. McCarthy illustrated books and magazine stories and painted posters for Hollywood—James Bond films in particular. In 1974, McCarthy left the commercial art world and moved to Arizona, where he would paint distinctive action scenes that seemed to leap from the stories of the Old West.

In The Signal, McCarthy riffs on a theme he would return to time and again throughout his career: the moment before a battle commences, when war parties coordinate an attack by signaling with a blanket or robe. In this painting, McCarthy adds a note of drama, making the signal a full buffalo hide, resplendently waving while the rest of warriors wait just behind the brow of the hill, out of sight. In the foreground and in the distance, McCarthy’s trademark buttes, rocks, and dry grasses, in high key and detail, set the stage.

–James D. Balestrieri

42 David Mann (American, b. 1948)

Indian Riders oil on canvas signed D. Mann (lower right) 24 x 36 inches

$4,000 - 6,000

43 David Mann (American, b. 1948)

The Bonnet Maker oil on canvas signed D. Mann (lower left) 24 x 30 inches

Property from the collection of Joanne L. Otis

Provenance:

Altermann & Morris Galleries, Santa Fe, New Mexico

$4,000 - 6,000

44 William Acheff (American, b. 1947)

Corn Dancer, 1990 oil on canvas signed Wm Acheff and dated (lower right); signed, titled and dated (verso) 16 x 26 inches

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

Provenance: J.N. Bartfield Galleries, New York, New York

$8,000 - 12,000

45 Star Liana York (American, b. 1952) Rose in Bloom bronze signed SL York (base)

height 20 1/2 x width 18 x depth 18 inches

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

46 Larry Riley (American, b. 1947)

Canyon de Chelly oil on canvas signed Larry Riley (lower left) 30 x 40 inches

This lot is located in Denver. The Laumeister Collection from The Bennington Center for the Arts, Bennington, Vermont $1,000 - 2,000

47 John DeMott (American, b. 1954)

A New Doll, 2000 oil on board signed DeMott and dated (lower left); signed, titled and dated (verso)

50 x 30 inches

Property from an Estate

Provenance: Trailside Galleries, Scottsdale, Arizona, March 2000

$6,000 - 8,000

Herding Near Monument Valley oil on board

Property

Provenance: Trailside Galleries, Jackson, Wyoming

$5,000 - 7,000

$3,000

49 John Fawcett (American, b. 1952)

A Spoonful of Sugar oil on board signed Fawcett (lower right) 20 x 24 inches

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

- 5,000

48 Ray Swanson (American, 1937-2004)

signed Ray Swanson (lower right); signed and titled (verso) 24 x 36 inches

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

50 Gene Kloss (American, 1903-1996)

Corn Husking Time, edition 45/50 etching

signed Gene Kloss, titled and numbered (lower edge) 9 x 12 inches

Property from the Collection of Stanley B. Slocum

$800 - 1,200

51 Gene Kloss (American, 1903-1996)

Morning at the Pueblo, edition 69/75 etching

signed Gene Kloss, titled and numbered (lower edge) 9 x 12 inches

Property from the Collection of Stanley B. Slocum

$700 - 900

52 Gene Kloss (American, 1903-1996)

Song of the Buffalo Hunt, edition 21/25 etching

signed Gene Kloss, titled and numbered (lower edge) 11 x 14 inches

Property from the Collection of Stanley B. Slocum

$700 - 900

53

Dorothy Brett (American, 1883-1976)

Deer Hunter, 1967

oil on board

signed DE Brett and dated (lower edge)

41 x 22 inches

Property from the Collection of Sean Ryon Provenance:

The artist

Purchased directly from the above

Thence by descent to present owner

$15,000 - 20,000

It was nearly 100 years ago that Dorothy Brett (10 November 1883 – 27 August 1977) first arrived in Taos, New Mexico from England, in 1924, with Frieda and D.H. Lawrence. Leaving behind a life of royal status in Great Britain and her circle of friends among the Bloomsbury Group, she chose to remain in Taos and make a go of it. In London she had studied at the Slade School of Art for 6 years. She had already established a career as a well-recognized painter in London. Most visitors to her home and studio were making pilgrimages to Taos to hear Brett’s firsthand accounts of her time with D.H. Lawrence, perhaps the best known of any Taos resident.

In Taos, Brett befriended the people of Taos Pueblo, with whom she became enamored, many of whom she relied upon as confidants. At the time of her arrival, there was already a well-formed group of men, known as the Taos Society of Artists creating paintings of the Native Peoples.

The paintings Brett created in Taos bore a difference from those of her Taos painter contemporaries; they were ephemeral, awash in light and color, full of movement and form. She learned every nuance of Puebloan ceremonials, documenting them in her paintings of ceremonies through memory. Brett never relied on photography, although some believed her to do so as her depictions were quite spot on. She would check in with her Pueblo friends among the Taos people to confirm that she had gotten it right in her paintings.

In the painting Deer Hunter, Brett used rows of aspen trees to create a grand, staged depiction of the Pueblo people and their carrying out of a ceremonial blessing to the deer that provides sustenance to the people of the Pueblo. At foreground, horses carry the freshly harvested deer to be worn as a robe during the Christmas Day Deer Dance, a ceremony which remains the same to this day. During the ceremony, hunters young and old wear these robes, made of deer hides complete from head to tail, draped over themselves. Using canes in each hand as they walk, they mimic and honor the deer of the forest. We know the setting is winter in Deer Hunter due to the snow-covered mountain just beyond the tree line. Brett’s Deer Hunter gives the viewer a behind-the-scenes look leading up to the ceremonial dance for Christmas.

Dorothy Brett has remained under the radar of many curators and art collectors for far too long. Museums, curators and the public alike are continually searching for that extraordinary “undiscovered” female artist, much like Hilma af Klint. In the far away land of the Taos art colony, the Honorable Dorothy Brett’s time is now.

–Robert Cafazzo, Curator of the upcoming exhibit, “Dorothy Brett 100 Years in Taos”, The Millicent Rogers Museum, Taos, NM, 2024

54 Ross Stefan (American, 1934-1999)

Sunny Side of the Canyon oil on canvas signed Ross Stefan (lower left); signed and titled (verso) 16 x 20 inches

Property from the Collection of Michael Santini and Roberta Kiss, Mequon, Wisconsin

$2,000 - 3,000

55 Ross Stefan (American, 1934-1999)

Navajos at the Trading Post oil on canvas signed Ross Stefan (lower left); signed and titled (verso) 24 1/2 x 30 inches

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

Provenance: Sold: Scottsdale Art Auction, Scottsdale, Arizona, April 11, 2015, Lot 21

$2,000 - 4,000

56

Dale Nichols (American, 1904-1995)

White Dove of the Desert, 1953 oil on canvas signed Dale Nichols and dated (lower left) 30 x 36 inches

$20,000 - 30,000

57 Eve (Van Ek) Drewelowe (American, 1899-1989) River Walk, 1968 oil on board signed Eve Van Ek and dated (lower left) 24 x 20 inches

$2,000 - 3,000

58 Joseph Kleitsch (Hungarian/American, 1882-1931) Capistrano Mission oil on canvas signed Joseph Kleitsch (lower right); signed and titled (verso) 16 x 20 inches

$6,000 - 8,000

59 Charles Berninghaus (American, 1905-1988)

Summer Sunlight, Taos oil on board signed Charles Berninghaus (lower right) 16 x 20 inches

Property from the Collection of Gary F. Glasgow

$1,500 - 2,500

60 Kent Wallis (American, b. 1945)

Floral Still Life oil on canvas signed Kent R. Wallis (lower right) 30 x 36 inches

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

$2,000 - 3,000

61

Richard Schmid (American, 1934-2021)

Oranges and Limes and Nectarines and Pears, 1965 oil on canvas

signed Schmid (lower right); signed, titled and dated (verso) 14 x 30 inches.

Property from an Estate, Sold to Benefit the Wichita Art Museum

Provenance:

Blair Galleries, Santa Fe, New Mexico, August, 1967

Acquired from the above by the present owner

$4,000 - 6,000

Richard Schmid took what might be termed a transformational approach to traditional genres of painting—landscape, the nude, and the still life. His landmark book on technique, Alla Prima, went through eleven printings and an expanded version, Alla Prima II, is now in its fourth printing. Oranges and Limes and Nectarines and Pears draws its energy from the impressionism of Monet and Renoir, where the objects—the pears, apples, oranges, limes—as well as the mug, jug and tablecloth are rendered and made to seem round through the juxtaposition of shaded planar strokes. Don’t let the pleasant beauty of the piece fool you—Oranges and Limes and Nectarines and Pears is an achievement earned only after years of study and practice.

–James D. Balestrieri

Gladiolas, 1962 oil on canvas

signed Schmid (lower right); signed, titled and dated (verso) 24 x 36 inches

Property from an Estate, Sold to Benefit the Wichita Art Museum

Provenance: Reynolds Gallery, Taos, New Mexico, November, 1963

Acquired from the above by the present owner

$20,000 - 30,000

Richard Schmid, who might well be called the painter’s painter of our generation in terms of representational art because of the popular classes he taught as well as the instructional books and videos he created. Schmid developed a personal poetic approach to realism, and, throughout his career, as his website says, he extolled the virtues of the “Grand Manner, a certain mingling of virtuosity and unrestrained joy in art…” In Gladiolas, Schmid captures a moment of potential, when the bouquet has been unwrapped but not yet arranged in the vase. With broad, bravura strokes, Schmid conveys the vitality of the flowers and the sense of creativity that is about to take place as the flowers are artfully presented.

–James D. Balestrieri

62 Richard Schmid (American, 1934-2021)

63

James Elliott Bama (American, b. 1926)

Portraits of Larry Liebowitz and Dian Roland oil on canvas

each signed Jim Bama (lower right)

each 26 x 19 inches

Property from the Collection of Michael Santini and Roberta Kiss, Mequon, Wisconsin

Lot Note:

These portraits painted by James Bama depict two friends of the artist on their wedding day in 1961. The sitters, Larry and Dian, were amongst some of Bama’s closest friends, and often modeled for the artist, appearing on many of Bama’s book cover illustrations.

$12,000 - 18,000

64 Composition of Three Works:

Theodore Davis (American, 1908-1995)

Portrait of Frederic Remington ink on paper 6 x 5 inches together with Frederic Remington (American, 1861-1909)

Letter to Colonel McClellan, 1984 and Letter to Julie and Ralph, 1980 Property from a Private Collection

Provenance:

Gerald P. Peters Fine American Paintings, Santa Fe, New Mexico, circa 1990

$3,000 - 5,000

65

Leon Shulman Gaspard

(Russian/American, 1882-1964)

Moscow Maiden pastel

signed Leon Gaspard (lower left); inscribed From Leon Gaspard Sketch Rome (lower right)

7 1/2 x 6 1/4 inches

Property from the Collection of George C. Kaiser, Milwaukee, Wisconsin

Provenance:

Fenn Galleries, Santa Fe, New Mexico

$1,000 - 2,000

66

Leon Shulman Gaspard

(Russian/American, 1882-1964)

Team #10 - Russia

oil on board

5 x 7 inches

Property from the Collection of George C. Kaiser, Milwaukee, Wisconsin

Provenance:

The Estate of Leon Shulman Gaspard

Maxwell Galleries, San Francisco, California

Fenn Galleries, Santa Fe, New Mexico

$3,000 - 5,000

67 Edmund Henry Osthaus (American, 1858-1928)

Three Pointers, circa 1890 watercolor on paper signed Edm. H. Osthaus (lower left)

18 1/2 x 30 1/2 inches

Property from a Private Collection, Cleveland, Ohio

Property being Sold to Benefit the Acquisition Fund of the Indianapolis Museum of Art at Newfields

$8,000 - 12,000

68 Basil Nightingale (British, 1864-1940)

Horse Study, 1905 oil on canvas signed Basil Nightingale and dated (lower right) 24 x 36 inches

$1,000 - 2,000

69 Philip Russell Goodwin (American, 1881-1935)

Making for Camp oil on canvas

signed Philip R. Goodwin (lower right) 40 x 21 inches

Provenance:

Mongerson Wunderlich Galleries, Chicago, Illinois, circa 1992

Literature:

Outdoor Life, September, 1927, Cover illustration.

Larry Len Peterson, Philip R. Goodwin: America’s Sporting and Wildlife Artist. Hayden, ID: CDA Art Auction, 2001. p. 224, illustrated.

$100,000 - 200,000

I was once visiting a town lined with gift and souvenir shops. In the window of one, a wooden plaque extolled the virtues of camping and canoeing. I did a double take. The printed image of two men in plaid, paddling on a pine-ringed lake was a copy of a famous Philip R. Goodwin painting. I realized then that Goodwin’s influence on the American idea of “The Great Outdoors” is so pervasive that many Americans, when they dream of getting away to the woods, imagine scenes straight out of Goodwin’s canvases. Goodwin’s paintings made their way into the American unconscious through magazine covers, illustrations, advertising, and calendars. You might say Goodwin created the aesthetic that arose through LL Bean, Pendleton, and the Hudson Bay Company. In this, Goodwin ought to be counted among the very few artists - among them N. C. Wyeth and Norman Rockwell—who helped shape the national stories we tell about ourselves. The stories that blur history and heroism, reality and romance. The stories that define us as a people. Goodwin’s images—much like Thomas Moran’s—run right alongside our National Parks and our notions of wilderness.

Making For Camp is a classic, vintage Goodwin painting. It is quite a trudge, dragging your kit while seeking out a new place to camp, but the scenery, sport, company, and peacefullness make it worthwhile. With the right partner and canoe mate, you develop a rhythm in the woods—who is responsible for what, and in what order—and after some time, you fall into a wordless pattern: It’s dusk, soon to be dark. I drag the tent, you unpack the rest of the gear. There’s a peaceful sequence to things here in the natural world, in time outside of normal time. Goodwin captures this feeling of peace in a single image.

One of Howard Pyle’s most celebrated students, and one of the great American artists to emerge from the Brandywine School that also boasts alumni N.C. Wyeth, Frank Schoonover, W.H.D. Koerner and many others, Philip Goodwin made his name early in his career illustrating classic works like Theodore Roosevelt’s African Game Trails and Jack London’s Call of the Wild. A New York native, Goodwin spent summers in the American West, camping, hunting, fishing, and gathering reference material. Along the way, he became close friends with Charles Russell and Carl Rungius. Goodwin’s inimitable paintings call to mind the smells of pine forests and campfires, fresh trout sizzling beside thick slabs of bacon, and campfire coffee.

–James D. Balestrieri

70 Owen Gromme (American, 1896-1991) Red Fox and Pheasant, 1988 oil on canvas

signed O.J. Gromme and dated (lower right)

24 x 36 inches

Property Sold to Benefit the Wisconsin Humane Society

$3,000 - 5,000

71

Clark Bronson

(American, b. 1939)

Gobbler’s Roost, edition 14/75, 1979

bronze signed Clark Bronson, titled, numbered and dated (base) height 14 3/4 x width 13 1/2 x depth 12 inches

Property from a St. Louis Estate

$1,000 - 2,000

72

Clark Bronson

(American, b. 1939)

Bobwhite Burst, edition 49/75, 1981

bronze signed Clark Bronson, titled, numbered and dated (base) height 15 1/2 x width 15 x depth 13 inches

Property from a St. Louis Estate

$1,000 - 2,000

73 Clark Bronson

(American, b. 1939)

Majestic Fisherman, edition 29/75, 1982

bronze

signed Clark Bronson, titled, numbered and dated (base)

height 21 1/2 x width 21 1/2 x depth 16 inches

Property from a St. Louis Estate

$1,000 - 2,000

74 Krystii Melaine (Australian/American, b. 1963)

Eagles oil on board signed Krystii Melaine (lower left)

40 x 30 inches

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

$2,000 - 4,000

75 Krystii Melaine (Australian/American, b. 1963)

Flat Creek Duet, 2006 oil on board signed Krystii Melaine (lower left)

20 x 32 inches

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

$2,000 - 3,000

77

Gerald Balciar

(American, b. 1942)

Swans, edition 23/45, 2003

bronze

signed G. Balciar, numbered and dated (verso)

height 17 1/4 x width 16 x depth 14 inches

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

$1,000 - 2,000

76

Greg Messier

(American, b. 1950)

Trumpeter Swans, 2005

watercolor and gouache

signed Gregory F. Messier (lower left) 18 1/2 x 27 1/2 inches

The Laumeister Collection from The Bennington Center for the Arts, Bennington, Vermont

$600 - 800

78 Simon Combes (English/Kenyan, 1940-2004) Cheetah oil on canvas signed Simon Combes (lower right) 18 x 24 inches

$3,000 - 5,000

79 John Seerey-Lester (American, b. 1946) Tiger in the Grass, 1992 oil on board signed Seerey-Lester and dated (lower right); inscribed (verso) 12 x 16 inches

$3,000 - 5,000

80 Clark Bronson

(American, b. 1939)

Wings Against the Wind, Mallards, edition 35/75, 1981

bronze

signed Clark Bronson, titled, numbered and dated (base)

height 18 1/2 x width 23 x depth 21 1/2 inches

Property from a St. Louis Estate

$1,500 - 2,500

81 Clark Bronson

(American, b. 1939)

Honker’s Landing, edition 14/75, 1979

bronze signed Clark Bronson, titled, numbered and dated (base)

height 16 x width 15 3/4 x depth 22 inches

Property from a St. Louis Estate

$1,000 - 2,000

83 Clark Bronson (American, b. 1939)

The Big Boys, edition 31/75, 1984

bronze signed Clark Bronson, titled, numbered and dated (base) height 17 x width 30 x depth 15 inches

Property from a St. Louis Estate

$1,500 - 2,500

82 Sarah Woods (American, b. 1956)

Willow Watch, 1994 oil on panel signed S. Woods (lower right) 14 1/2 x 26 1/2 inches

The Laumeister Collection from The Bennington Center for the Arts, Bennington, Vermont

Provenance: Trailside Galleries, Jackson, Wyoming

Exhibited: Leigh Yawkey Woodson Art Museum, Wausau, Wisconsin, “Wildlife: The Artist’s View”

$800 - 1,200

84 Ralph Oberg (American, b. 1950)

The Interlopers, 2006 oil on board signed Oberg (lower left); signed, titled and dated (verso) 32 x 48 inches

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

$4,000 - 6,000

85

Olaf Wieghorst

(Danish/American, 1899-1988)

Mountain Ponies

oil on canvas

signed O. Wieghorst (lower left)

24 x 30 inches

Property from a Private Collection

Curated by Janet and Daniel Hidding

$15,000 - 20,000

From his earliest days in Denmark, Olaf Wieghorst, the American West, the horse, and art seemed bound to a single destiny. A strong, strapping young man, Wieghorst trained to be an acrobat. In 1918 this led to work with an American film crew on a Western filmed in Denmark. When the film crew returned to America, Wieghorst joined along. Once in New York he immediately enlisted in the U.S. Cavalry, as they were about to be posted to the Southwest in pursuit of Pancho Villa, who had crossed into New Mexico. For the next four years, Wieghorst explored the southwestern 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. There, in the late 1930’s, Wieghorst met sculptor Joe Paulio, who was creating a model of a horse in the police stables. Paulio inspired Wieghorst to begin painting, sculpting, and printmaking, and in 1944 he moved west and settled in El Cajon, California.

In art as in life, Wieghorst “stayed” on horses. He once 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.” Broadly speaking, Wieghorst was a realistic painter, but there is always something of the fable in his work, a sense of romance that aligns him with his Danish countryman, writer Hans Christian Andersen. In Mountain Ponies, the three subjects—all different from one another—confer in the artist’s characteristic high-altitude haze in shades of blue. The place itself is a sanctuary, a haven for the equine wildness Wieghorst loved and loved to paint.

–James D. Balestrieri

86 Terri Kelly Moyers (American, b. 1954)

Golden Afternoon oil on canvas signed Terri Kelly Moyers (lower left) 48 x 34 inches

Provenance:

Altermann & Morris Galleries, Santa Fe, New Mexico

$2,000 - 3,000

87 Joe Beeler (American, 1931-2006)

Thanks for the Rain, Artist’s Proof bronze signed Joe Beeler and numbered (base) height 17 x width 16 x depth 12 inches

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

$3,000 - 5,000

88 Joe Beeler (American, 1931-2006)

Cowboy Camp oil on canvas signed Joe Beeler (lower right) 18 x 26 inches

Property from a Private Collection, Chicago, Illinois

$2,000 - 4,000

89

Martin Grelle (American, b. 1954)

A Refuge from the Cold, 1991 oil on canvas

signed Martin Grelle and dated (lower right); signed and titled (verso) 36 x 60 inches

Property from a Private Collection, Chicago, Illinois

Provenance:

Sold: Altermann Galleries & Auctioneers, Santa Fe, New Mexico, November 13, 2011, Lot 218

$40,000 - 60,000

Light on the snow, the shadows cast, the trackways with bright edges and dark ruts. Your eye first falls there, away from the subject and center of Martin Grelle’s A Refuge From the Cold. Grelle paints with a sure hand, knowing that while you may start with the snow and tracks, your eye will rise to the horses and cowboys, and to the welcoming warmth of the cabin, with its snug fire sending smoke up the chimney. This is what makes Grelle one of the principal contemporary interpreters of the American West. Your eye, focusing on the foreground, reminds you of where these man and horses have been—out in the elements on cold winter’s day—and sets you up to appreciate where they have arrived, at home and hearth.

–James D. Balestrieri

Through

30 x 45 inches

Property

Provenance: The Legacy Gallery, Scottsdale, Arizona

$4,000 - 6,000

Coconino Brushpoppers, 1999 oil on board signed Dan Mieduch and dated (lower left) 24 x 36 inches

$4,000 - 6,000

90 Dan Mieduch (American, b. 1947)

91 Dan Mieduch (American, b. 1947)

Winter’s Icy Gauntlet, 1998 oil on board signed Dan Mieduch and dated (lower left)

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

92

Gerald Harvey Jones (American, 1933-2017)

In for Supplies

oil on canvas

signed G. Harvey, Austin (lower left)

24 x 30 inches

Property from a Private Collection, Chicago, Illinois

Provenance:

Saks Galleries, Denver, Colorado

Sold: Altermann Galleries & Auctioneers, Santa Fe, New Mexico, November 14, 2010, Lot 6

$30,000 - 50,000

G. Harvey’s In For Supplies places us outside the general store on a snow-encrusted moonlit night. The scene is placid. The horses seem entirely at ease. What is the urgency that necessitated this trip to town on a cold night? What are the “supplies” in the title? Is it serious? Is someone ill and in need of medicine? Or is it simply that someone is short of a key ingredient for a recipe—or a party? Harvey lets us wonder. Whatever the mystery is, it lies behind the orange light in the window and it will remain a mystery, though we might well make up stories of our own—like medicine or sugar for a cake—to explain the painting. And perhaps that’s the point, an essential point behind all of the arts: the artist will always leave something to the imagination, something for us to interpret—an unclear ending, an open door. These are the things that draw us to art and keep us coming back.

–James D. Balestrieri

93

The New Fillies, 1983 oil on canvas signed G. Harvey and dated (lower left); signed, titled and dated (verso) 24 x 30 inches

Property from a Private Collection, Chicago, Illinois

Provenance:

Sold: Scottsdale Art Auction, Scottsdale, Arizona, April 2, 2011, Lot 183

$40,000 - 60,000

Gerald Harvey Jones, forever known to the world as G. Harvey, created a style of painting that makes his work instantly recognizable. Adapting the nostalgic Belle Epoque light and the thick, wide, Post-Impressionist paint strokes of French artists like Edoard Cortes to the poetry of American cities and Western scenes, G. Harvey’s facture—a new word for the way an individual artist creates—blurs past and present, then and now, so that as your eye wanders through and across one of his canvases, time becomes irrelevant. The underpinning of his beautifully executed compositions is duty—people going about their daily lives, doing what they have to do, even in a downpour, as in The New Fillies. The counterpoint to the misty gray rain in the painting is the soft yellow-orange glow of the light from the cabin windows, their reflection in the puddles, and the hue of the cowboy’s slicker. The cowboy’s mount knows where it is going but somehow Harvey paints the wisp of a question—and even concern—on the faces of the fillies as they wonder where they are being led, etching a subtle poignancy into the fabric of the work.

–James D. Balestrieri

Gerald Harvey Jones (American, 1933-2017)

Cowboys Together signed H. Rogers (lower left)

30 x 44 inches

Property from a Private Collection, Chicago, Illinois

Provenance:

Trailside Galleries, Scottsdale, Arizona

$3,000 - 5,000

Cowboys oil on canvas signed Cottrell (lower left)

22 x 24 inches

Property from a Private Collection, Chicago, Illinois

Provenance: Trailside Galleries, Scottsdale, Arizona

$2,000 - 3,000

94 Sheila Cottrell (American, b. 1954)

95 Howard Rogers (American, b. 1932)

96

Grant Speed (American, 1930-2011)

Quick Tied by the Texas Rangers, edition 17/30, 1975 bronze signed UG Speed, numbered and dated (base) height 12 1/2 x width 19 1/4 x depth 9 inches

Property from the Estate of Michael Pernikoff

$1,500 - 2,500

97 Keith Christie (American, 1935-2017)

The Buck Hunter, 1984 oil on canvas signed K. Christie and dated (lower left); signed, titled and dated (verso)

20 x 24 inches

Property from a Private Collection Curated by Janet and Daniel Hidding

$1,000 - 2,000

98 Keith Christie (American, 1935-2017)

Rodeo’s Roots, 1983 oil on canvas signed K. Christie and dated (lower left); signed, titled and dated (verso)

18 x 24 inches

Property from a Private Collection Curated by Janet and Daniel Hidding

$1,000 - 2,000

100 Harry Jackson (American, 1924-2011)

Marshall III, edition 325/1000, 1979

bronze

signed Harry Jackson, numbered and dated (base)

height 10 1/2 x width 11 x depth 3 3/4 inches

Property from a Private Collection

$1,500 - 2,500

99 Harry Jackson (American, 1924-2011)

Marshall II, number 29, 1979

bronze signed Harry Jackson, numbered and dated (base)

height 16 1/2 x width 18 x depth 6 inches

Property from a Private Collection

$4,000 - 6,000

101 Harry Jackson (American, 1924-2011)

Pony Express - First Study, number 32, 1969

bronze signed H. Jackson, numbered and dated (base)

height 10 1/4 x width 12 x depth 6 3/4 inches

Property from a Private Collection

$2,000 - 3,000

102 Harry Jackson (American, 1924-2011)

John Wayne - First Study, number 13, 1981

bronze signed Harry Jackson, numbered and dated (base) height 24 1/2 x width 24 x depth 9 inches

Property from a Private Collection

$15,000 - 25,000

Spindle Sided Armchair with leather and Chimayo Weavings with matching ottoman chair height 32 x depth 36 x width 28 inches; ottoman height 12 1/2 x width 19 1/2 x depth 18 1/2 inches

Provenance:

From a Cora, Wyoming Ranch

$6,000 - 8,000

Spindle Sided Couch with leather and Chimayo Weavings, circa 1945 height 32 x width 74 x depth 36 inches

Provenance:

From a Cora, Wyoming Ranch

$8,000 - 12,000

103 Thomas Molesworth (American, 1890-1977)

104 Thomas Molesworth (American, 1890-1977)

106

Thomas Molesworth (American, 1890-1977)

Spindle Sided Armchair with leather and Chimayo Weavings with matching ottoman chair height 32 x depth 36 x width 28 inches; ottoman height 12 1/2 x width 19 1/2 x depth 18 1/2 inches

Provenance:

From a Cora, Wyoming Ranch

$6,000 - 8,000

105

Thomas Molesworth (American, 1890-1977)

Coffee Table with Leather Top and Brass Tacks, circa 1945 height 18 1/2 x width 18 1/2 x length 30 1/2 inches

Provenance: From a Cora, Wyoming Ranch

$3,000 - 5,000

107

Original Club Chair and custom-made ottoman with later ledger drawing upholstery chair height 34 x depth 36 x width 29 1/2 inches; ottoman height 12 x width 25 x depth 19 inches

Literature:

Terry Winchell, Molesworth: The Pioneer of Western Design, Salt Lake City, Utah, 2005, illustrated pp. 202, 228

$8,000 - 12,000

Thomas Molesworth (American, 1890-1977)

108 Thomas Molesworth (American, 1890-1977)

Burled Wood Floor Lamp height 58 inches

Literature:

Terry Winchell, Molesworth: The Pioneer of Western Design, Salt Lake City, Utah, 2005, illustrated pp. 202, 228

$8,000 - 12,000

109

William Standing (American, 1904-1951)

Cabin on the Prairie oil on board signed Wm Standing (lower right)

12 x 15 1/2 inches

$2,000 - 4,000

110

Charles Hittell (American, 1861-1938)

Mission San Francisco Solano, 1907 oil on canvas signed C.J. Hittell and dated (lower right) 8 3/4 x 15 1/4 inches

$1,000 - 2,000

111 Gerald Harvey Jones (American, 1933-2017) Country Barn oil on canvas signed G. Harvey (lower right) 10 1/2 x 14 inches

$3,000 - 5,000

112

Dan Young (American, b. 1959)

A New Winter Coat oil on board signed Young (lower right); signed and titled (verso) 16 x 20 inches

Property from a Private Collection, Chicago, Illinois

Provenance: Legacy Galleries, Jackson, Wyoming

$700 - 900

113

Grant MacDonald (American, b. 1944)

East of the Sunset, 2004 oil on canvas signed Grant Macdonald and dated (lower right); signed, titled and dated (verso) 20 x 24 inches.

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

Provenance: Morris & Whiteside Galleries, Hilton Head Island, South Carolina

$2,000 - 3,000

114

Gene Kloss (American, 1903-1996)

Southwestern Summer, 1945 etching

signed Gene Kloss and titled (lower edge)

8 1/4 x 11 inches

Property from the Collection of Stanley B. Slocum

$800 - 1,200

115

Gene Kloss (American, 1903-1996)

Noonday Shadows etching signed Gene Kloss and titled (lower edge)

7 x 8 1/2 inches

Property from the Collection of Stanley B. Slocum

$800 - 1,200

116

Elliot Torrey (American, 1867-1949)

Oil Derricks, Southern California oil on canvas signed Elliot Torrey (lower right) 20 x 24 inches

Property from the Collection of John Foxley, Lyons, Wisconsin

Provenance: Bonhams, San Francisco, California, April 24, 2018, Lot 138

$4,000 - 6,000

117

Bror Nordfeldt (Swedish/American, 1878-1955)

Country Home oil on canvas signed Nordfeldt (lower right) 20 x 23 1/2 inches

$1,500 - 2,500

oil on canvas

each panel signed JD and numbered (lower right); each signed, titled, numbered and dated (verso) each panel 80 x 28 inches

Property from the Collection of Audrey and Harris Yett

118 Joellyn Duesberry (American, 1944-2016)

Chama Triptych, 1996

$4,000 - 6,000

Property from the Private Collection of Elena and Veloy Vigil LOTS 119–143

A well-respected and prolific painter, sculptor and printmaker, Veloy Vigil is best known for his use of bright colors and abstract expressionistic brushwork. With a career spanning over three decades, Vigil’s body of work is vast and varied, inspired by a love of nature rooted in his rural upbringing, the spirituality that pervaded his everyday life, and the influence of family, friends and artists who surrounded him throughout his career.

This session of art within the November 1st auction represents a select group of works from the Private Collection of Elena and Veloy Vigil. This group of art showcases an incredible array of artworks—ranging in style, subject, composition, and media— that were not only created by Veloy Vigil but were also inspired by his creations.

Born in Denver, Colorado in 1931, Vigil discovered his affinity for fine art early in life. He had a keen awareness of his environment, and spent all of his free time, taking in the light, shapes and colors of nature. Though his skill was obvious to those around him, no one in his rural hometown quite knew what to make of his talent. It was not until after he had already lived a full life—serving in Korea in the Marine Corp, working as an assistant in an animal research hospital, fueling planes for Western Airlines, and raising four children with his wife Elena that—Vigil finally felt emboldened to pursue his passion. In the mid-1950s, the passion that had followed him since his youth led him to art school in Denver, Colorado. The final push to follow his dreams came from Elena, who would continue to be a source of encouragement for the rest of his career.

In 1958 Vigil began his professional art career working as a designer at American Greetings Corporation in Cleveland, Ohio. Surrounded by other like-minded, emerging artists, Vigil was able to expand his fine art knowledge with the encouragement of his colleauges. Still, the love of the American West was too much to ignore, and after six years in Ohio, the Vigil family returned to their roots.

Elena and Veloy Vigil opened their first gallery in Orange, California in the mid-1960s. Serving primarily as a studio

for Veloy, it was also a space where local artists could come together to create art. The gallery continued to move locations over the years, but always remained a place for artistic collaboration and exploration for Vigil, his contemporaries and eventually his two sons. Over the years, through camaraderie with their fellow artist friends, Veloy and Elena began collecting and trading works of art. Their collection quickly grew and became an eclectic mix of artist expression.

It was in 1981 that Elena and Veloy finally settled in Taos, New Mexico. With Veloy spending almost every waking hour in the studio painting, printing and promoting his art, Elena decided it was time to reopen the gallery on New Mexican ground. Naming the space Gallery Elena had been Veloy’s idea; he recognized how diligently she had worked at his side over so many years. Through the studio and gallery, their circle of artist friends continued to grow, as did the family’s extensive collection. The list of artists whose lives intertwined with the Vigils— through friendship, gallery representation, or both—is extensive. They admired these artists and friends, displayed their work proudly in their home and gallery, and were always eager to see new creations. Max Pruneda, Sam Scott, Keith Crown and Ray Vinella are among the artists whose work was shown at Gallery Elena and remained close friends with the family. The Vigils were deeply immersed in many facets of the fine art world, propelled by Veloy’s passion for innovation and bolstered by the steadfast support and business acumen of Elena.

Lots 119 through 143 showcase 15 of Veloy Vigil’s finest works in tandem with some of the artwork that shared space with the Vigil family—held in the family’s private collection, until now.

119 Veloy Vigil (American, 1931-1997)

Grandma’s Painting acrylic on canvas signed Vigil (lower edge center)

24 x 36 inches

Property from the Private Collection of Elena and Veloy Vigil

$1,000 - 2,000

120 Veloy Vigil (American, 1931-1997)

Altar Flowers, 1994 acrylic on canvas signed Veloy Vigil (lower right); signed and dated (verso)

42 x 42 inches

Property from the Private Collection of Elena and Veloy Vigil

$1,000 - 2,000

122 Veloy Vigil (American, 1931-1997)

Baile, edition 14/25, 1991

bronze

signed Veloy Vigil, numbered and dated (base) height 18 1/2 x width 12 x depth 6 inches

Property from the Private Collection of Elena and Veloy Vigil

$1,000 - 2,000

121 Veloy Vigil (American, 1931-1997)

Mujeres con Flores

acrylic on canvas

signed Veloy Vigil (lower right) 50 x 50 inches

Property from the Private Collection of Elena and Veloy Vigil

$1,500 - 2,500

123

Keith Crown (American, 1918-2010)

Summer Flower and the Sangre de Cristo, 1974 watercolor signed Crown, Taos and dated (lower right)

38 x 29 1/2 inches

Property from the Private Collection of Elena and Veloy Vigil

$1,000 - 2,000

124 Veloy Vigil (American, 1931-1997) Caballo Lindo acrylic on canvas signed Veloy Vigil (right edge)

11 x 14 inches

Property from the Private Collection of Elena and Veloy Vigil

$500 - 700

126 Veloy Vigil (American, 1931-1997)

Picado, edition 17/30, 1990

bronze

signed V. Vigil, numbered and dated (verso)

height 11 3/8 x width 7 3/4 x depth 2 1/2 inches

Property from the Private Collection of Elena and Veloy Vigil

$800 - 1,200

125 Veloy Vigil (American, 1931-1997)

Wyoming Color, 1993

acrylic on canvas

signed Veloy Vigil (lower right); signed, titled and dated (verso)

72 x 60 inches

Property from the Private Collection of Elena and Veloy Vigil

$2,000 - 3,000

128

Veloy Vigil (American, 1931-1997)

Cabello del Cielo, edition 1/25, 1996

bronze

signed V. Vigil, numbered and dated (base) height 36 x width 15 x depth 18 inches

Property from the Private Collection of Elena and Veloy Vigil

$1,500 - 2,500

127

Veloy Vigil (American, 1931-1997)

Noon Crossing acrylic on canvas

signed Veloy Vigil (lower right) 86 x 78 inches

Property from the Private Collection of Elena and Veloy Vigil

$3,000 - 5,000

129 Maximiliano Pruneda (American, b. 1948)

Six-Spirit Idol, 1987

mixed media

signed Pruneda and dated (base)

height 18 3/4 x width 10 1/2 x depth 3 inches

Property from the Private Collection of Elena and Veloy Vigil

$300 - 500

130

Maximiliano Pruneda (American, b. 1948)

River Crossing, 1989

mixed media

signed Max Pruneda and dated (base)

height 12 1/4 x width 30 1/2 x depth 4 inches

Property from the Private Collection of Elena and Veloy Vigil

$300 - 500

131 Maximiliano Pruneda (American, b. 1948)

Alter, 1992

acrylic on canvas

signed Max Pruneda and dated (verso) 42 x 36 inches

Property from the Private Collection of Elena and Veloy Vigil

$300 - 500

132 Veloy Vigil (American, 1931-1997)

Two Birds mixed media on paper signed V. Vigil (lower right)

22 x 28 inches

Property from the Private Collection of Elena and Veloy Vigil

$600 - 800

133 Veloy Vigil (American, 1931-1997) California Peacock acrylic on canvas signed Veloy Vigil (lower right) 42 x 42 inches

Property from the Private Collection of Elena and Veloy Vigil

$1,000 - 2,000

134 Veloy Vigil (American, 1931-1997)

Lace and Candles, 1994 acrylic on canvas

signed Veloy Vigil (lower right); signed, titled and dated (verso) 14 x 11 inches

Property from the Private Collection of Elena and Veloy Vigil $500 - 700

135 Veloy Vigil (American, 1931-1997)

Chamisa Valley, 1985 acrylic on canvas signed V. Vigil (lower edge center) 70 x 78 inches

Property from the Private Collection of Elena and Veloy Vigil

Exhibited: New Mexico State Capitol, Governor’s Gallery, Santa Fe, New Mexico, “Los Tres Vigils”, July 16August 23, 1999

$2,000 - 3,000

136 Ray Vinella (Italian/American, 1933-2019)

October Color oil on canvas

signed

Property

137 Jim Wagner (American, b. 1940)

Fish Board acrylic on

12

Property

R. Vinella, Taos (lower left); signed, titled and dated (verso) 14 x 18 inches

from the Private Collection of Elena and Veloy Vigil $800 - 1,200

snowboard

signed Jim Wagner, Taos (right edge)

x 60 inches

from the Private Collection of Elena and Veloy Vigil $600 - 800

138 Beatrice Mandelman (American, 1912-1998)

Abstract Collage mixed media on paper signed Mandelman (lower right) 12 x 9 5/8 inches

Property from the Private Collection of Elena and Veloy Vigil $1,000 - 2,000

139 Veloy Vigil (American, 1931-1997)

Full Gallop paper pulp and mixed media signed V. Vigil (lower right) 30 x 39 1/2 inches

Property from the Private Collection of Elena and Veloy Vigil

Exhibited: Hubbard Museum of the American West, Ruidoso, New Mexico, “The Vivid West of Veloy Vigil”, July 29October 18, 1999

$800 - 1,200

140

Veloy Vigil (American, 1931-1997)

Summit mixed media on paper signed V. Vigil (lower right)

47 1/2 x 35 1/4 inches

Property from the Private Collection of Elena and Veloy Vigil

Exhibited:

Hubbard Museum of the American West, Ruidoso, New Mexico, “The Vivid West of Veloy Vigil”, July 29 - October 18, 1999

$1,000 - 2,000

141

James G. Davis (American, 1931-2016)

Museum Case - London, 1980 oil on canvas signed James G. Davis and dated (verso) 77 x 65 inches

Property from the Private Collection of Elena and Veloy Vigil

Provenance: Yares Gallery, Scottsdale, Arizona

Bentley Gallery, Phoenix, Arizona

$1,500 - 2,500

142 Sam Scott (American, b. 1940)

Abstract , 1981 oil on canvas signed Scott (upper right); signed and dated (verso)

72 x 66 inches

Property from the Private Collection of Elena and Veloy Vigil

$1,000 - 2,000

143 Merrill Mahaffey (American, b. 1937) Granite acrylic airbrush on canvas signed Merrill Mahaffey (lower right)

28 x 30 1/4 inches

Property from the Private Collection of Elena and Veloy Vigil

$800 - 1,200

144 B.C. Nowlin (American, b. 1949)

Rendezvous oil on board signed Nowlin (left edge) 30 x 48 inches

$2,000 - 4,000

145

Robert Bissell (British, b. 1952)

The Lookouts, 2008 oil on linen signed R. Bissell, titled and dated (verso) 26 x 52 inches

Property from the Collection of Mr. Jim Foos

$1,000 - 2,000

146

Joe Ramiro Garcia (American, b. 1966)

Mind Reader, 2009 oil and alkyd on canvas laid on panel signed Joe Ramiro Garcia, titled and dated (verso) 36 x 42 inches

Property from a Private Collection, Colorado

Provenance:

LewAllen Galleries, Santa Fe, New Mexico, June, 2010

$800 - 1,200

$1,000

148 Theodore

(American,

Horse Drawing #71, 1986 oil on paper signed TJ Waddell and dated (lower right) 32 x 41 inches

Provenance: Art Planning Consultants, Inc., New York, New York Sold: Leslie Hindman Auctioneers, Denver, Colorado, May 6, 2017, Lot 57

Acquired from the above by the present owner

$2,000 - 4,000

147 Luis Jimenez (American, 1940-2006) Mustang, edition 25/50, 1997 lithograph signed Luis Jimenez dated and numbered (lower edge) 47 1/2 x 31 inches

- 2,000

Waddell

b. 1941)

149 Theodore Waddell (American, b. 1941)

Pink Horse #2, 1990 oil, watercolor and charcoal on paper signed TJ Waddell and dated (lower right) 22 x 30 inches

$2,000 - 3,000

150 Roy Schnackenberg (American, 1934-2018)

Indian on White Horse, 1983 oil on canvas signed Roy Schnackenberg (lower left) 81 x 100 inches

Property from a Private Collection, Chicago, Illinois

$3,000 - 5,000

151 Paul Pletka (American, b. 1946)

Thunder’s Swallow watercolor and pen on paper signed Pletka (lower right) 60 x 40 inches

Provenance: The Artist Purchased from the above with the assistance of Gallery 10, Scottsdale, 1993 Larsen Gallery, Scottsdale, Arizona

$5,000 - 7,000

152 Kim Wiggins (American, b. 1959)

Flute Player oil on canvas signed Kim Wiggins (lower left) 30 x 40 inches

Provenance: Sold: Heritage Auctions, Dallas, Texas, July 16, 2009, Lot 38206

$6,000 - 8,000

153 Gordon Snidow (American, b. 1936)

Crazy, together with original artist concept sketch, 2005 gouache

29 x 84 inches

Property from the Collection of Mr. Jim Foos

Provenance:

Claggett/Rey Gallery, Edwards, Colorado

Acquired from the above by the present owner

$15,000 - 20,000

154

Ed Mell (American, b. 1942)

Red Cliffs pastel on paper signed Ed Mell (lower right)

17 x 16 inches

Property from a Private Collection, Houston, Texas

$2,000 - 3,000

155

Ed Mell (American, b. 1942)

Desert Rain, 1984 pastel on paper signed Ed Mell (lower right)

17 1/2 x 13 inches

Property from a Private Collection, Houston, Texas

Provenance: Harris Gallery, Houston, Texas

$2,000 - 3,000

156

Ed Mell (American, b. 1942)

Tall Cliff

pastel on paper signed Ed Mell (lower right)

12 x 11 3/4 inches

Property from a Private Collection, Houston, Texas

Provenance: Harris Gallery, Houston, Texas

$1,500 - 2,500

157

Ed Mell (American, b. 1942)

Red Rocks

pastel on paper signed Ed Mell (lower right)

22 x 16 inches

Property from a Private Collection, Houston, Texas

$3,000 - 5,000

158 John Nieto (American, 1936-2018)

Rancho de Taos Church

acrylic on canvas

signed Nieto (lower left)

60 x 48 inches

Property from a Private Collection Curated by Janet and Daniel Hidding

Provenance: The Segal Gallery, New York, New York

$15,000 - 20,000

159

John Nieto (American, 1936-2018)

Chief Plenty Coups acrylic on canvas signed Nieto (lower right); faintly signed and titled (verso) 40 x 30 inches

Property from a Private Collection Curated by Janet and Daniel Hidding

$12,000 - 18,000

160

John Nieto (American, 1936-2018)

Two Works: Two Figures and Indian with Headband, together with a letter from the artist graphite on paper each signed Nieto (lower right) first 7 x 8 1/4 inches; second 8 x 8 inches

$2,000 - 3,000

161 Fritz Scholder (Luiseño, 1937-2005) Study for Pawnee Scout, 1973 pen and ink signed Scholder (lower left) 11 1/2 x 14 inches

Provenance: Orr’s Gallery, San Diego, California $2,000 - 3,000

162 Fritz Scholder (Luiseño, 1937-2005)

Indian with Peace Pipe, 1968 acrylic on canvas signed Scholder (lower right); titled and dated (verso) 20 x 18 inches

Property from the Collection of Gary F. Glasgow

Provenance: Elaine Horwitch Galleries, Santa Fe, New Mexico Gallery 10, Inc., Aspen, Colorado

Acquired from the above by the present owner

Exhibited:

Hayden Gallery, Massachusetts Institute of Technology, Cambridge, Massachusetts, “Fritz Scholder - Indians”, April 13 - May 5, 1973

$12,000 - 18,000

Provenance:

163 Fritz Scholder (Luiseño, 1937-2005)

Indian with Heart, circa 1970 acrylic on canvas signed Scholder (upper left) 54 x 68 inches

Elaine Horwitch Gallery, Santa Fe, New Mexico

Acquired from the above by a private collector, Pennsylvania, 1979 $50,000 - 70,000

Indian

signed

Provenance:

Gallery Moos, Ltd., Toronto, Ontario

Acquired from the above for a Private Collection, Westmount, Quebec, 1974

Sold: Waddington’s, Toronto, Ontario, December 1, 2018, Lot 822

Acquired from the above by the present owner

$60,000 - 80,000

164 Fritz Scholder (Luiseño, 1937-2005)

Profile, 1974

acrylic on canvas

Scholder (upper left); titled and dated (verso) 40 x 30 inches

165 Fritz Scholder (Luiseño, 1937-2005) Buffalo Ceremony, 1974 acrylic on canvas signed Scholder (lower left); signed, titled and dated (verso) 80 x 68 inches

Provenance: Elaine Horwitch Galleries, Santa Fe, New Mexico Private Collection of Anne Windfohr Marion Acquired from the above by the present owner $80,000 - 120,000

166 Fritz Scholder (Luiseño, 1937-2005) Sioux War Party, 1972 acrylic on canvas signed Scholder (upper right); signed, titled and dated (verso) 68 x 80 inches

$100,000 - 200,000

167 Fritz Scholder (Luiseño, 1937-2005)

Indian Cliche #1, 1975 acrylic on canvas signed Scholder (lower right); titled and dated (verso) 30 x 40 inches

$50,000 - 70,000

168

Fritz Scholder (Luiseño, 1937-2005)

Dancers at San Ildefonso oil on canvas

signed Scholder (lower left)

46 x 70 inches

Property from a Private Collection Curated by Janet and Daniel Hidding

$100,000 - 150,000

169 Laura Gilpin (American, 1891-1979)

San Ildefonso Dance, 1945 Silver Print

signed Laura Gilpin and dated in pencil (lower right, mat)

6 1/2 x 9 1/4 inches

Property from a Private Collection Curated by Janet and Daniel Hidding

$800 - 1,200

170

Fritz Scholder (Luiseño, 1937-2005)

Snake Dancers and Shadows, 1977

acrylic on canvas

signed Scholder (lower left); titled and dated (verso)

68 x 80 inches

Provenance:

Gerald P. Peters Fine American Paintings, Santa Fe, New Mexico

Private Collection of Anne Windfohr Marion

Acquired from the above by the present owner

Exhibited:

The Tucson Museum of Art, Tucson, Arizona, “Fritz Scholder: The Retrospective, 1960 - 1981”, 1981

$100,000 - 200,000

171

Fritz Scholder (Luiseño, 1937-2005)

American Portrait with Onlooker, 1975

acrylic on canvas signed Scholder (lower left); titled and dated (verso) 80 x 68 inches

Provenance:

D. Justin Lester Fine Art, Los Angeles, California

Private Collection of Anne Windfohr Marion

Acquired from the above by the present owner

Exhibited:

The Wheelwright Museum, Santa Fe, New Mexico, “Fritz Scholder: Major Indian Paintings, 1967 - 1977”, 1977

The Oakland Museum, Oakland, California (label verso)

Everson Museum of Art, Syracuse, New York (label verso)

$100,000 - 200,000

173

Earl Biss (Apsáalooke, 1947-1998) Autumn Pass oil on canvas signed Biss (upper right) 60 x 84 inches

Property from a Private Collection, Chicago, Illinois $20,000 - 30,000

172 Earl Biss (Apsáalooke, 1947-1998)

Figure with Baby, Artist’s Proof bronze signed Biss and numbered (base) height 8 1/2 x width 9 x depth 9 inches

Property from the Collection of Jessica G. Bruozis, Chicago, Illinois

$1,000 - 2,000

174 Earl Biss (Apsáalooke, 1947-1998)

Watering the Horses in the Spring, 1996 oil on canvas signed Biss (upper right); signed, titled and dated (verso)

16 x 19 3/4 inches

$4,000 - 6,000

175

Jaune Quick-To-See Smith (Confederated Salish/Kootenai, b. 1940)

Kalispel Series pastel on paper signed JQTS Smith (lower right)

41 1/2 x 29 1/2 inches

Provenance:

K. Phillips Gallery, Denver, Colorado

Purchased from the above by the present owner, circa 1980

$10,000 - 15,000

176

Jaune Quick-To-See Smith

(Confederated Salish/Kootenai, b. 1940)

El Morro, edition 99/100, 1981

color lithograph overworked by artist in acrylic and crayon signed JQTS Smith and numbered (lower edge) 30 x 22 1/4 inches

$2,000 - 4,000

177

Jaune Quick-To-See Smith

(Confederated Salish/Kootenai, b. 1940)

Cahokia, edition 19/20, 1989

color lithograph overworked by artist in pencil, oil stick and watercolor signed JQTS Smith, titled and numbered (lower edge) 30 x 22 1/2 inches

$2,000 - 4,000

178

Jaune Quick-To-See Smith (Confederated Salish/Kootenai, b. 1940) Winds of Change, Printer’s Proof, 1990 lithograph signed JQTS Smith, titled and numbered (lower edge) 30 x 22 1/4 inches

$600 - 800

179

Jaune Quick-To-See Smith (Confederated Salish/Kootenai, b. 1940) Ode to Chief Seattle (State II), edition 26/35, 1991 lithograph signed JQTS Smith, titled and numbered (lower margin) 22 1/4 x 30 inches

$800 - 1,200

180

Jaune Quick-to-See Smith (Confederated Salish/Kootenai, b. 1940)

Trade Canoe: A Western Fantasy, edition 34/40, 2015 lithograph signed JQTS Smith, numbered and dated (lower edge) 21 x 30 inches

$1,000 - 2,000

181

Jaune Quick-To-See Smith (Confederated Salish/Kootenai, b. 1940)

Sticky Mouth, edition 23/40, 1997

lithograph

signed JQTS Smith and numbered (lower edge)

26 5/8 x 21 3/4 inches

$800 - 1,200

182

Jaune Quick-To-See Smith (Confederated Salish/Kootenai, b. 1940)

Wasatch Winter, edition 38/75, 2002

lithograph

signed JQTS Smith, titled, numbered and dated (lower edge)

32 3/4 x 24 1/2 inches

$800 - 1,200

183

Jaune Quick-To-See Smith

(Confederated Salish/Kootenai, b. 1940)

Coyote in Quarantine, edition 62/95, 2020

lithograph

signed JQTS Smith, numbered and dated (lower edge)

26 1/2 x 20 inches

$800 - 1,200

Waiting at Summer Camp

Utah Alabaster signed D. Hyde (lower right edge)

height 21 x width 16 x depth 8 inches

Property from a Private Collection Curated by Janet and Daniel Hidding

$1,000 - 2,000

Letter Ghosts, edition 4/16, 2003

lithograph signed MKW, titled, numbered and dated (lower edge) 13 x 18 1/2 inches

$500 - 700

184 Marie Watt (American/Seneca Nation, b. 1967)

185 Doug Hyde (Nez Perce/Chippewa/Assiniboine, b. 1946)

186

Allan Houser (Chiricahua Apache, 1914-1994)

Buffalo Medicine Man

charcoal on paper signed Allan Houser (lower right)

17 x 16 inches

Property from the Collection of Stanley B. Slocum

$800 - 1,200

187

Allan Houser (Chiricahua Apache, 1914-1994)

Three Portraits charcoal on paper signed Allan Houser (lower right)

18 x 15 3/4 inches

Property from the Collection of Stanley B. Slocum

$800 - 1,200

188 Allan Houser (Chiricahua Apache, 1914-1994)

Acorn Harvest, edition 4/10, 1980

bronze

signed Allan Houser, numbered and dated (base)

height 37 x width 17 x depth 18 inches

Property from a Private Collection Curated by Janet and Daniel Hidding

$15,000 - 25,000

189

Allan Houser (Chiricahua Apache, 1914-1994)

War Pony, edition 2/20

bronze

signed Allan Houser and numbered (base)

height 24 x width 34 x depth 7 3/4 inches

Property from a Private Collection Curated by Janet and Daniel Hidding

$15,000 - 25,000

190

Craig Goseyun

(San Carlos Apache, b. 1960)

Mountain Spirit Dancer #II, edition 10/24, 1991

bronze signed Craig Goseyun, numbered and dated (base)

height 40 x width 32 x depth 24 inches

Property from a Private Collection Curated by Janet and Daniel Hidding

$1,500 - 2,500

191

Craig Goseyun

(San Carlos Apache, b. 1960)

Mountain Spirit Dancer #III, edition 12/14, 1992

bronze signed Craig Goseyun, numbered and dated (proper right heel)

height 38 x width 28 x depth 21 inches

Property from a Private Collection Curated by Janet and Daniel Hidding

$2,000 - 3,000

192

Sheldon Harvey

(Diné, b. 1978)

Two Abstract Apache Figures, 2011 wood, paint, feathers, textile each signed Sheldon Harvey and dated (verso) largest height 18 1/2 x width 7 x depth 4 1/4 inches

Property from a Private Collection, Colorado

$800 - 1,200

193 Tony Abeyta (Diné, b. 1965)

Winds Gentle Breeze acrylic and sand on canvas

signed Tony Abeyta (upper right)

72 x 109 inches

Property from a Private Collection Curated by Janet and Daniel Hidding $6,000 - 8,000

194 David Johns (Diné, b. 1948)

Abstract, 1986

acrylic on canvas

signed David Johns and dated (lower right)

54 x 71 1/2 inches

Property from a Private Collection Curated by Janet and Daniel Hidding

$800 - 1,200

Yeibichai

oil on canvas signed Abeita (lower right)

24 x 48 inches

Property from a Private Collection Curated by Janet and Daniel Hidding

$1,000 - 2,000

195 Jimmy Abeita (Diné, b. 1947)

196

Irene Bia (Diné, 20th century)

Navajo Weaving 72 x 49 inches

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

$800 - 1,200

197 Charles Loloma (Hopi, 1921-1991)

Single Loloma Cloud, edition 39/75 lithograph on gold foil signed Charles Loloma, titled and numbered (lower margin) 7 x 6 inches

$800 - 1,200

198

Tonita Peña (San Ildefonso, 1893-1949)

Untitled, circa 1930 gouache on paper 9 x 17 3/4 inches

$800 - 1,200

199

Dan Namingha (Hopi/Tewa, b. 1950)

Hopi Maidens, edition 13/20, 1974

bronze signed Namingha, numbered and dated (verso) height 4 1/4 x width 4 1/4 x depth 1 inch

Property from the Collection of Linda and Roger Nace, Phoenix, Arizona

Provenance: Glenn Green Galleries, Phoenix, Arizona

$800 - 1,200

200 Dan Namingha (Hopi/Tewa, b. 1950)

Corn Maidens acrylic on canvas signed Namingha (lower right) 50 x 40 inches

$5,000 - 7,000

201

Dan Namingha (Hopi/Tewa, b. 1950)

Mesa II, 1982 acrylic on canvas signed Namingha (lower left); titled and dated (verso)

84 x 72 inches

Property from a Private Collection Curated by Janet and Daniel Hidding

$6,000 - 8,000

202 Helen Hardin (Santa Clara, 1943-1984)

Hohokam Serenade of the Aged, 1977 gouache on board signed Tsa-Sah-Wee-Eh and dated (lower right); signed (verso)

16 x 20 inches

$2,000 - 3,000

Koshare Fishers, two figures with fish and watermelon bowls ceramic and stone each signed Kathleen Wall (proper left hip) overall height 35 x width 41 x depth 25 inches

$1,500 - 3,000

Kachina Dancers, 1981 oil on canvas signed Duane Dishta (lower right); and dated 16 x 20 inches

$800 - 1,200

203 Duane Dishta (Zuni, 1946-2011)

204 Kathleen Wall (Jemez, b. 1973)

205 Nathan Youngblood (Santa Clara, b. 1954)

Redware Pottery Vase signed Nathan Youngblood (base)

height 6 1/4 x diameter 4 3/4 inches

$800 - 1,200

206 Russell Sanchez (Santa Clara, b. 1963)

Red and Sienna Pottery Vase, with Avanyu and Turquoise Cabochon, 1989 signed Russell Sanchez, San Ildefonso Pueblo and dated (base)

height 6 1/2 x diameter 5 1/2 inches

Property from a Private Collection Curated by Janet and Daniel Hidding

$1,500 - 2,500

207 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

$800 - 1,200

208

Diego Romero

(Cochiti, b. 1964)

Agents of Oppression, Pottery Bowl

inscribed Chongo Made and Painted Me and titled along outer rim height 6 1/2 x diameter 11 1/2 inches

Property from a Private Collection Curated by Janet and Daniel Hidding

$3,000 - 5,000

210

$1,000

209 Gregory Lomayesva (Hopi, b. 1971)

Virgin, Puti and Corn mixed media paper on canvas 65 x 65 inches

Property from a Private Collection, Colorado

Provenance:

Peyton Wright Gallery, Santa Fe, New Mexico

$2,000 - 4,000

Stephen Mopope (Kiowa, 1898-1974)

Fancy Dancer, 1930 gouache on paper signed Mopope (lower right) 10 1/2 x 7 inches

- 1,500

211

Carl Sweezy (Southern Arapaho, 1881-1953)

Buffalo Hunters oil on board

signed Carl Sweezy and titled (lower right) 16 x 40 inches

$800 - 1,200

212 Allen Sapp (Canadian Cree, 1929-2015)

Cree Village oil on board

signed Allen Sapp (lower right)

19 1/2 x 23 1/2 inches.

Property from the Collection of Stanley B. Slocum

$1,000 - 2,000

213

Diane O’Leary (Comanche, 1935-2013)

Tee-Pee Village, 1986 gouache on paper signed OLeary and dated (lower right)

29 1/4 x 19 1/4 inches

$500 - 700

Seminoles of Florida, 1974 gouache on board signed Fred Beaver and dated (lower right) 24 x 16 inches

$800 - 1,200

Proud Basket Weaver, edition 2/12, 2013 bronze signed David P. Bradley and numbered (verso) height 9 1/2 x width 5 1/2 x depth 3 1/2 inches

$800 - 1,200

216

Richard

Untitled, circa 1960 gouache on paper signed Wah-pah-nah-yah (Dick West) (lower right) 19 1/2 x 14 1/2 inches

$2,000 - 3,000

214 Fred Beaver (Muscogee Creek/Seminole, 1911-1980)

215 David Bradley (Chippewa, b. 1954)

“Dick” West (Southern Cheyenne, 1912-1996)

217 Parker Boyiddle (Kiowa/Wichita/Delaware/Chicksaw, b. 1947) Kiowa Dog Soldier oil on canvas signed Boyiddle (lower right) 30 x 24 inches $800 - 1,200

218 Earl Eder (Sioux, b. 1944) Hide, 1977 oil on masonite signed Eder (lower right)

19 1/2 x 24 inches

$500 - 700

219 Jon Lightfoot (Cherokee, 1938-2018) Santa Fe Traders oil on canvas signed Lightfoot (lower right); signed and titled (verso) 28 x 22 inches

The Laumeister Collection from The Bennington Center for the Arts, Bennington, Vermont $800 - 1,200

220 Larry Ahvakana (Inupiat, 20th century)

Untitled (Self Portrait), 1973 acrylic on canvas signed with artist’s hallmark and dated (lower right) 22 x 32 inches

$500 - 700

Western & Contemporary Native American Art

LEADERSHIP

Alyssa D. Quinlan Chief Executive Officer alyssaquinlan @hindmanauctions.com

Jay Frederick Krehbiel Executive Chairman

Leslie Hindman Founder & Chairman Emeritus

Wes Cowan Vice-Chair

Maron Hindman Vice-Chair

Andrew Seltzer Interim Chief Operating Officer andrewseltzer @hindmanauctions.com

Molly Morse Limmer Executive Vice President, Deputy Chairman mollylimmer @hindmanauctions.com

AUCTION OPERATIONS, CLIENT SERVICES

Rita Swanberg Manager, Client Experience ritaswanberg @hindmanauctions.com

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Marco Gusella Vice President, Finance marcogusella @hindmanauctions.com

TRUSTS, ESTATES & PRIVATE CLIENTS Molly E. Gron, J.D. Managing Director mollygron @hindmanauctions.com

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Hannah Unger Manager hannahunger @hindmanauctions.com

Kathryn Hodge Senior Associate, West kathrynhodge @hindmanacutions.com

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APPRAISALS

Tim Luke, CAI, BAS, MPPA, ISA-AM Managing Director timluke @hindmanappraisals.com

LaGina Austin Senior Director, Appraisals & Valuations laginaaustin @hindmanappraisals.com

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MUSEUM SERVICES

Timothy Long Director, Museum Business Development & Corporate Client Services timothylong@ hindmanauctions.com

Briar Koehl Oleferchik Senior Manager, Museum Services briarkoehl@ hindmanauctions.com

FINE ART Monica Brown Vice President, Director Prints & Multiples monicabrown @hindmanauctions.com

Zack Wirsum Vice President, Director Post War & Contemporary Art zacharywirsum @hindmanauctions.com

Madalina Lazen Director, Senior Specialist European Art madalinalazen @hindmanauctions.com

Laura Paterson Director, Senior Specialist Photographs laurapaterson @hindmanauctions.com

Aaron Cator Senior Specialist Post War & Contemporary Art aaroncator @hindmanauctions.com

Katherine Hlavin Consultant Fine Art

Pauline Archambault Specialist, American Art

Alexandria Dreas Specialist, Head of Sale Western & Wildlife Art

Angela Whitaker Senior Appraiser, Fine Art

Julianna Tancredi Senior Researcher

Thea Andrus Cataloguer

Christina Kiriakos Cataloguer

John Martinez Department Coordinator

Sarah Gray Department Coordinator

EUROPEAN FURNITURE & DECORATIVE ARTS

Corbin Horn Vice President, Senior Specialist corbinhorn @hindmanauctions.com

Nick Coombs Senior Specialist nickcoombs @hindmanauctions.com

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Sam Cowan National Head of Sale, The Collected Home

Nicholas Gordon Associate Specialist

Alison Lynch Associate Cataloguer Tyler Wilson Department Coordinator

AMERICAN FURNITURE, FOLK & DECORATIVE ARTS

Ben Fisher Vice President, Senior Specialist benfisher @hindmanauctions.com

Leah Vogelpohl Specialist

Katie Benedict Associate Specialist

ANTIQUITIES & ANCIENT ART

Jacob Coley Director, Senior Specialist jacobcoley @hindmanauctions.com

Sean Galvin Associate Cataloguer

DESIGN

Hudson Berry Director, Senior Specialist hudsonberry @hindmanauctions.com

Sabrina Granados Associate Specialist

John Martinez Department Coordinator

BOOKS & MANUSCRIPTS

Gretchen Hause Vice President, Senior Specialist gretchenhause @hindmanauctions.com

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Joshua McCracken

Department Coordinator

ASIAN ART Annie Wu Vice President, Senior Specialist anniewu @hindmanauctions.com

Flora Zhang Specialist

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JEWELRY & WATCHES

Reginald Brack Senior Vice President, Director, Jewelry & Watches reginaldbrack @hindmanauctions.com

April Matteini, G.G. Associate Director, Jewelry Senior Specialist, Jewelry & Watches aprilmatteni @hindmanauctions.com

Karina Hammer, G.G. Senior Specialist karinahammer @hindmanauctions.com

Katie Hammond Guilbault, G.G. Senior Specialist San Diego katieguilbault @hindmanauctions.com

Sean Johnson Senior Specialist, Watches seanjohnson @hindmanauctions.com

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Ruth Thuston, G.G. Senior Specialist ruththuston @hindmanauctions.com

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Madeline Schroeder, G.G. Associate Specialist

Gina O’Connor Cataloguer

Camille Michelotti Department Coordinator

LUXURY HANDBAGS & COUTURE

Tanner Branson Specialist, Head of Sale tannerbranson@ hindmanauctions.com

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NATIVE AMERICAN, PREHISTORIC & TRIBAL ART

Danica Farnand Vice President, Senior Specialist danicafarnand @hindmanauctions.com

Erin Rust Specialist

William Norwood Department Coordinator

ARMS, ARMOR & MILITARIA

Tim Carey

Director, Senior Specialist timcarey @hindmanauctions.com

Emma Fulmer

ATF Manager and Senior Coordinator

Barrett Sharpnack Cataloguer

Tucker Etnoyer Cataloguer

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James Smith Director, Senior Specialist jamessmith @hindmanauctions.com

Joshua McCracken Department Coordinator

MARKETING & DESIGN

Ashley Galloway Vice President, Marketing

Zoë Bare Director, Photography

David Jackson Supervisor, Photography

Photographers:

Carmen Colome

Marisa Fabiilli

Chad Feierstone

Jared Hefel*

Kristen Hudson

Tyler Leiby

Deogracias Lerma*

Roberto Martinez

Libby Moore

Elizabeth Phillips

Mike Reinders*

Bill Ross

Maddie Scarpone

Rachel Smith

Dallas Tolentino*

Leanne Uzelac

Brian Maslouski Senior Designer

Jennifer Castle* Graphic Designer

*Lead Photography and Design for Sale 1239

Updated 9.27.23

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 description

• Details on signatures or marks

Shipping Arrangements

Buyers assume full responsibility for the packing and shipping of lots won at auction. Our Recommended Shippers offer a wide variety of local, domestic, and international shipping options.

In the interest of our clients, Hindman requires a written authorization from the buyer in order to release property to anyone other than the purchaser of record (including but not limited to our recommended shippers). You may submit the Shipping Release Form via fax to 312.280.1211 or email to shipping@hindmanauctions.com

Appraisals

Our exceptional team of specialists regularly appraises property by analyzing market trends and conducting comprehensive research. Specialists evaluate thousands of objects each year for auction, allowing them to closely monitor the nuances of the current market.

Professional appraisals are prepared for estate tax, gift tax, charitable contribution, insurance and for equitable distribution purposes.

• Estate Tax

• Gift Tax

• Charitable Contribution

• Insurance

• Appraisals for Corporate Valuation Needs

Our trust and estates department recognizes that each client and appraisal situation is unique and often involves multiple asset categories and residences. Fees for appraisals are determined by the number of specialists, hours involved and the necessary travel and expenses. Our competitive fees are negotiated based upon the express needs of each client and are competitive within the marketplace.

Please contact our Appraisals Department (appraisals@ hindmanauctions.com) for more information.

Estate Services

Estate settlement is a meticulous and multi-faceted process. Hindman provides executors, fiduciaries and beneficiaries throughout the country with confidential and customized appraisals and disposition services. All appraisals are prepared fully in accordance with USPAP guidelines and meet all current requirements set forth by the IRS.

We recognize that each client and appraisal situation is unique and often involves multiple asset categories and residences. Our Trusts and Estates department offers services that are tailored to meet our clients’ timelines and specifications.

Our specialists offer complimentary walk-through services with the goal of providing an accurate representation of each items’ value based on the current auction market. A detailed proposal outlining the manner in which a sale will be conducted from the initial value assessment to removal of the property and settlement is provided to all parties involved.

Please contact our Estate Services (inquiries@hindmanauctions.com) team for more information.

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:

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.

Conditions of Sale

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

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 except for those in Coins, Medals & Banknotes; Sports Memorabilia; and Arms, Armor & Militaria auctions we charge twenty-six percent (26%) of the hammer price up to and including $1,000,000; twenty percent (20%) of any amount in excess of $1,000,001 up to and including $5,000,000; and fifteen percent (15%) of any amount in excess of $5,000,001. For all lots offered in Coins, Medals & Banknotes we charge a buyer’s premium of twenty percent (21%) of the hammer price. Sports Memorabilia; and Arms, Armor & Militaria auctions we charge a buyer’s premium of twenty percent (20%) of the hammer price. 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.

Updated 8.1.23

Untitled (Three Riders)

Estimate: $500 - 700

To be offered November 2, Western and Contemporary Native American Art Online

ATLANTA

KRISTIN VAUGHN

VICE PRESIDENT

404.800.0192

KRISTINVAUGHN @HINDMANAUCTIONS.COM

CHICAGO MIRANDA MAXFIELD 312.334.4208

MIRANDAMAXFIELD @HINDMANAUCTIONS.COM

CINCINNATI VAUGHN H. SMITH 513.666.4987

VAUGHNSMITH @HINDMANAUCTIONS.COM

CLEVELAND

CARRIE PINNEY 216.292.8300

CARRIEPINNEY @HINDMANAUCTIONS.COM

Upcoming Auction Schedule

SALE 1218

FALL FASHION & ACCESSORIES

OCTOBER 3

CHICAGO | TIMED ONLINE

SALE 1226

AMERICAN FURNITURE, FOLK & DECORATIVE ARTS

OCTOBER 4

CINCINNATI | LIVE + ONLINE

SALE 1228

EUROPEAN FURNITURE & DECORATIVE ARTS

OCTOBER 10

CHICAGO | LIVE + ONLINE

SALE 1246

PRE-COLUMBIAN & ETHNOGRAPHIC ART

OCTOBER 12 | CHICAGO | ONLINE

SALE 1232

EUROPEAN ART

OCTOBER 17

CHICAGO | LIVE + ONLINE

SALE 1231

AMERICAN ART

OCTOBER 17

CHICAGO | LIVE + ONLINE

SALE 1267

TIME AND SPACE: WATCHES FROM THE COLLECTION OF GLEN DE VRIES

OCTOBER 18

NEW YORK | LIVE + ONLINE

SALE 1230

WATCHES

OCTOBER 18

NEW YORK | LIVE + ONLINE

SALE 1274

FOREVER YOUNG: PHOTOGRAPHS FROM THE JOE BAIO COLLECTION

OCTOBER 19

NEW YORK | LIVE + ONLINE

SALE 1293

ARMS, ARMOR & MILITARIA

OCTOBER 24

CINCINNATI | LIVE + ONLINE

SALE 1283

CANVAS & CLAY: THE COLLECTION OF JUDITH AND PHILIP SIEG, BELLEFONTE, PENNSYLVANIA

OCTOBER 26

NEW YORK | LIVE + ONLINE

SALE 1279

HAVING A BALL

OCTOBER 30

CHICAGO | TIMED ONLINE

SALE 1239 | 1240

WESTERN & CONTEMPORARY

NATIVE AMERICAN ART

NOVEMBER 1-2

DENVER | LIVE + ONLINE

SALE 1242

FINE BOOKS FROM THE DORROS FAMILY COLLECTION

NOVEMBER 9

CHICAGO | LIVE + ONLINE

SALE 1241

FINE PRINTED BOOKS & MANUSCRIPTS, INCLUDING

AMERICANA

NOVEMBER 10

CHICAGO | LIVE + ONLINE

SALE 1244

MODERN DESIGN

NOVEMBER 14 AM

CHICAGO | LIVE + ONLINE

SALE 1243

EARLY 20TH CENTURY DESIGN

NOVEMBER 14 PM

CHICAGO | LIVE + ONLINE

Offices

DENVER

MARON HINDMAN 303.825.1855

MARONHINDMAN @HINDMANAUCTIONS.COM

DETROIT PAM IACOBELLI 313.774.0900

PAMELAIACOBELLI @HINDMANAUCTIONS.COM

MIAMI ELIZABETH RADER, PHD 239.643.4448

ELIZABETHRADER @HINDMANAUCTIONS.COM

MILWAUKEE SARA MULLOY 414.220.9200

SARAMULLOY @HINDMANAUCTIONS.COM

NAPLES ALLISON DURIAN 239.643.4448

ALLISONDURIAN @HINDMANAUCTIONS.COM

NEW YORK

CAROLINE BAKER SMITH 212.243.3000 CAROLINEBAKERSMITH @HINDMANAUCTIONS.COM

PALM BEACH

ELIZABETH MARSHMAN 561.621.8461

ELIZABETHMARSHMAN @HINDMANAUCTIONS.COM

SAN DIEGO

KATIE GUILBAULT, G.G. VICE PRESIDENT 858.442.6104

KATIEGUILBAULT @HINDMANAUCTIONS.COM

SCOTTSDALE LOGAN BROWNING 480.546.5150

LOGANBROWNING @HINDMANAUCTIONS.COM

ST. LOUIS ANNA SHAVER 314.833.0833

ANNASHAVER @HINDMANAUCTIONS.COM

WASHINGTON, D.C.

MAURA ROSS

VICE PRESIDENT

202.853.1638

MAURAROSS @HINDMANAUCTIONS.COM

Earl Biss (Apsáalooke, 1947-1998)