Art of the American West — November 16, 2022 | John Moran Auctioneers by johnmoranauctioneers

Wednesday, November 16, 2022 SINCE 1969

AUCTIONEERS & APPRAISERS

Wednesday, November 16, 2022—10am Sale 230 145 East Walnut Avenue, Monrovia CA 91016 Previews: Friday, November 11th: 12-4pm Saturday, November 12th: 12-4pm Monday, November 14th: 12-4pm Tuesday, November 15th: 9am-5pm Or by appointment

Meet the Team Maranda Moran Head of Sale, Vice President maranda@johnmoran.com Jenny Wilson Fine Art Director jennifer@johnmoran.com

Anne Spink Fine Art Cataloguer anne@johnmoran.com

Shannon Dailey Senior Furniture and Decorative Arts Cataloguer shannon@johnmoran.com

Sally Andrew American Indian Cataloguer sally@johnmoran.com

Madison Ari Fine Art Cataloguer mari@johnmoran.com

Sarah Beaver Furniture and Decorative Arts Cataloguer sarah@johnmoran.com

Client Services Mario Esquivel Office Manager mario@johnmoran.com

Ella Fountain Client Services ella@johnmoran.com

SINCE 1969

AUCTIONEERS & APPRAISERS

3001

“Tsungani” Fearon Smith, Jr.

(b. 1948: Kwakwaka’wakw / Pacific Northwest Coast) Ceremonial moon mask Polychromed carved cedar wood Signed to reverse: Tsungani/86/© 24” H x 27” W x 8” D $1,000-1,500 Provenance: Galeria Capistrano, San Juan Capistrano, CA Private Collection, Southern California, acquired from the above, 1986 Notes: This lot is accompanied by a sales receipt and a Certificate of Authenticity from Galeria Capistrano, San Juan Capistrano, CA dated 12/14/86 and 1/19/8, respectively.

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3002

An Eskimo Inuit model kayak with figure

Late 19th/early 20th century A hide-covered kayak and figure with hide or gut parka, hunting tools and a carved wood fish all lashed to the model 5” H x 4” W x 18” L $800-1,200

w w w. j o h n m o r a n . c o m

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3003

David Manuel

(b. 1940) “John Wayne, Hondo, Lane, and Sam,” 1986 Patinated bronze on a wood base Edition: 4/7 Signed, titled, dated, and numbered to the base: David Manuel / ©1986 / [arrowhead symbol] 28” H x 12” W x 12” D; with base: 30” H x 15” W x 15” D $7,000-9,000 Provenance: Property from The Estate of Melinda Wayne Munoz (John Wayne’s daughter), through decent in the family

w w w. j o h n m o r a n . c o m

3004

A group of commemorative John Wayne jewelry items Late 20th/21st century Three works:

A 2004 John Wayne chased silver and gold commemorative belt buckle Etched to reverse: HY O Silver / 1/10 / 10K / .925 Designed with chased gold floral overlay, four synthetic rubies, and an elaborate chased silver back 3.25” H x 4.625” W; buckle bar: 1.5” W 206.5 grams gross A John Wayne 14k gold portrait pendant Stamped: [makers mark] / Further engraved: Melinda 2.625” H x 2” W 25.2 grams A John Wayne US Mint commemorative medallion Unmarked; within cellophane wrapper marked: US Mint Designed in 1979, a copper-colored two-sided medallion entitled: “John Wayne American,” with John Wayne portrait on front and horse and rider in desert on back Medallion: 1.1875” Dia.; wrapper: 2.5” H x 2.5” W 20.5 grams gross 3 pieces $700-900 Provenance: Property from The Estate of Melinda Wayne Munoz (John Wayne’s daughter), through decent in the family Notes: Dedication on buckle reads: Dean Smith Celebrity Rodeo / Melinda Wayne / Tribute to John Wayne / 2004 8

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3005

A large group of John Wayne fan mail

May 1979 Comprising various fan letters addressed to Wayne during his stay at UCLA Medical Center shortly before his death on June 11, 1979, mostly unopened Dimensions variable, largest letter: 6.5” H x 9.25” W approx. $300-500 Provenance: Property from The Estate of Melinda Wayne Munoz (John Wayne’s daughter), through decent in the family

w w w. j o h n m o r a n . c o m

3006

A group of John Wayne family photographs and ephemera

20th century Comprising black and white and color photographs depicting various Wayne family members and friends, some in frames; various magazines featuring John Wayne and the book “John Wayne in the Camera Eye”; and two colored lithographs with two John Wayne Commemorative electroplate coins in a leatherette folio Largest: 13.75” H x 10.5” W $200-300 Provenance: Property from The Estate of Melinda Wayne Munoz (John Wayne’s daughter), through decent in the family

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3007

Harry Jackson

(1924-2011) “The Marshal III,” 1979 Patinated bronze on a granite base From the edition of unknown size Signed, titled, dated, and inscribed in the casting: © Harry Jackson / 79; signed and titled again on base 10” H x 11.5” W x 3” D; with base: 11.5” H x 12” W” x 4” D $2,500-3,500 Provenance: Property from The Estate of Melinda Wayne Munoz (John Wayne’s daughter), through decent in the family Notes: The inscription in the casting reads: For Melinda from Dad.

w w w. j o h n m o r a n . c o m

3008

3009

(1878-1938) “Cowboy - Ed Breem” Watercolor and mixed media on paper Initialed lower center: K; estate stamp of W.H.D Koerner affixed verso Sight: 12.25” H x 10” W

(b. 1943) “Sunrise,” 1998 Oil on asymmetrical canvas Signed and dated lower right: Sinclair; signed again and ti 21”-37” H x 83.5”-85.5” W

William H.D. Koerner

$2,000-3,000 Provenance: Fenn Galleries, LTD., Santa Fe, NM Brian Lebel’s Cody Old West Auction, Santa Fe, NM, June 26, 2021, Lot 54 Literature: Bernard DeVoto, “You Jack O’Diamonds,” “The Saturday Evening Post,” Volume 203, Number 28, January 10, 1931, p.13, illustrated. Notes: A copy of “The Saturday Evening Post” in which this artwork is reproduced accompanies the lot.

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

Anthony Sinclair

$3,000-5,000

itled on the stretcher

w w w. j o h n m o r a n . c o m

3010

Mian Situ

(b. 1953) “Night Watch” Oil on canvas Signed lower right: Mian Situ; signed again on the frame; titled on gallery label verso 12” H x 16” W $4,000-6,000 Provenance: Broadmoor Galleries, Colorado Springs, CO The Estate of George David Sturges, acquired from above, 2019 Notes: In Mayen Olson frame, 2014

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

w w w. j o h n m o r a n . c o m

3011

Anthony Sinclair

(b. 1943) “Winter Wranglers,” 1992 Oil on canvas Signed and dated lower center: Anthony Sinclair ©; titled on the stretcher bar 24” H x 34” W $800-1,200

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

w w w. j o h n m o r a n . c o m

3012

Attributed to Frederic Sackrider Remington ANA

(1861-1909) Seventeen field sketches of various figural subjects Pencil or India ink on nine sheets of cream paper and one sheet of green paper Each: unsigned; three images indistinctly annotated in pencil Sight of largest: 12” H x 9” W $5,000-7,000 Notes: This lot is comprised of seven double-sided sheets and three single-sided sheets, all sandwich-mounted within 10 mats.

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

w w w. j o h n m o r a n . c o m

3013

After Fredric Remington

(1861-1909) “Rattlesnake” Patinated bronze mounted on black marblel From the edition of unknown size and date Signed in the casting with the ©: Frederic Remington 22.75” H x 16.5” W x 9” D; with base: 23.5” H x 18” W x 11” D $400-600 Provenance: The Estate of George David Sturges

3014

Frank Polk

(1908-2000) A Cowboy carrying a calf while riding a horse Wood, leather, and twine Artist intials incised in the base and horse’s leg: FP 13.5” H x 11.5” W x 3.25” D; with base: 14.25” H x 12.5” W x 6” $500-700

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3015

Frank Polk

(1908-2000) “A Long Rope and a Telescope,” 1975 Patinated bronze on wooden swivel base Edition 27/35 Signed, dated, and numbered: Frank Polk / © 1975 / CA [Cowboy Artists of America]; titled to plaque 14.5” H x 17” W x 14.5” D; with swivel base: 17” H x 17.5” W x 15” D $2,000-3,000 Notes: This lot is accompanied by two photographs dedicated to John and Donna Hermann

w w w. j o h n m o r a n . c o m

3016

Harry B. Wagoner

(1889-1950) Desert landscape Oil on canvas Signed lower right: H. B. Wagoner 24” H x 30” W $3,000-5,000

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3017

Ralph William Holmes

(1876-1963) “Lost City, Bryce Canyon” Oil on canvas Signed lower left: Ralph Holmes; titled on gallery label affixed verso; titled again on label affixed on the frame verso 24” H x 28” W $2,000-4,000 Provenance: Mitchell Brown, Duncan Gallery, Inc., Santa Fe, NM Christie’s Beverly Hills, CA, “California, Western, and American Paintings,” Paintings, May 3, 2000, Lot 40 The Estate of George David Sturges, acquired from the above

w w w. j o h n m o r a n . c o m

3018

Sam Hyde Harris

(1889-1977) Barn in a eucalyptus landscape Oil on canvas Signed lower left: Sam Hyde Harris 20.25” H x 24” W $2,000-3,000 Provenance: The Estate of George David Sturges

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3019

Hanson Duvall Puthuff

(1875-1972) Desert landscape Oil on canvas board Signed lower left: H. Puthuff; faintly signed and partially titled verso 11.75” H x 15.5” W $1,000-1,500 Provenance: William Karages Fine Art, Santa Monica, CA John Moran Auctioneers, Pasadena, CA, “Fine Art,” February 28, 2006, Lot 23 The Estate of George David Sturges, acquired from the above Notes: In a Mayen Olsen framed, 1996

w w w. j o h n m o r a n . c o m

3020

Joel Ostlind

(b. 1954) “Summer Bulls” Etching and aquatint on paper Edition: 84/96 Signed and numbered in pencil in the lower margin: Joel Ostlind; signed again and titled on the artist label verso Plate: 6” H x 18” W; Sight: 6.75” H x 18.5” W $400-600 Provenance: The Estate of George David Sturges

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

w w w. j o h n m o r a n . c o m

302

A foss

Circa 2 A well20” H

$1,500

Notes: and cu ancesto Pleisto Eurasia

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3022

A Zuni carved stone fetish animal, by Darren Shebola Darren Shebola (b. 20th century, Zuni Pueblo) Late 20th/21st century; Zuni Signed to base: D. Shebola A carved pipestone fetish figure of a howling coyote 3.75” H x 0.875” W x 4.25” D $200-300

silized bison skull

21st-1st century BCE or later; North America -preserved fossilized skull of an American bison, also mistakenly known as an American buffalo x 24” W” x 9” D

0-2,000

: The bison is an undisputed icon of the American West with a wide, heavy face, prominent eye sockets, urved horns that project horizontally. A member of the bovine family, the bison diverged from a common or with the water buffalo and African buffalo around 5 to 10 million years ago. During the late Middle ocene, around 195,000-135,000 years ago, the bison migrated across the Bering land bridge from a into North America, eventually becoming the American bison we know today.

w w w. j o h n m o r a n . c o m

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3023

John Nieto

(1936-2018) “Rabbit (After Durer),” 1994 Screenprint in colors on paper Edition: 29/395 Signed lower right: Nieto; numbered lower left; Marco Fine Arts Inc., Hawthorne, CA, prntr. Image/Sheet: 17.5” H x 22.5” W $2,000-3,000 Provenance: Mountain Trails Gallery, Sedona, AZ Notes: The invoice from Mountain Trails Gallery and certificate of authenticity from Marco Fine Arts accompany the lot.

w w w. j o h n m o r a n . c o m

3024

A large Navajo Yei pictorial weaving

Mid-20th century; Dine Woven in brown, red, cream, blue, and orange wool, with four standing Yei figures on black background 44” H x 74” W $2,000-3,000 Provenance: The Buck Jones Collection Private Collection, Central California, acquired from the above

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3025

A Navajo Yei pictorial rug

Mid-20th century; Dine Woven in brown, gold, tan taupe, orange and black wool with five standing Yei figures with lightning bolts 44.5” H x 55” W $500-700 Provenance: Property from the Private Collection of Gregory Sierra

w w w. j o h n m o r a n . c o m

3026

Two small Navajo Yei weavings

Mid/Late 20th century; Dine Comprised of a small Navajo mat with a triple serrated diamond and a single Yei figure to the side, woven in brown, red, and orange wool, and a Navajo Yei Bi Chei mat with five Yei dancers, woven in grey, brown, blue, green, and black wool, 2 pieces Larger: 21.5” H x 21” W; Smaller: 22” H x 17.5” W $200-300

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

w w w. j o h n m o r a n . c o m

3027

A Navajo Yei pictorial weaving

Early/Mid-20th century; Dine A Navajo Yei rug tightly woven in grey, green, red, yellow, orange, and brown wool, depicting four standing Yei figures alternating with corn stalks and surrounded by a Rainbow Guardian 50” H x 70” W $600-900 Provenance: The Buck Jones Collection Private Collection, Central California, acquired from the above

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3028

A Navajo pictorial rug

Mid/Late 20th century; Dine Woven in grey, black, red, gold, and green wool with central elaborate diamond, arrow motifs and geometric borders 46” H x 33” W $1,000-1,500

w w w. j o h n m o r a n . c o m

3029

A Navajo pictorial rug

Mid-20th century; Dine A Navajo pictorial rug with a central corn stalk, perching birds and feathers depicting a tree of life, woven in grey, green, orange, red, russet, and brown wool 77” H x 49” W $1,500-2,500 Provenance: The Buck Jones Collection Private Collection, Central California, acquired from the above Notes: Attached label indicates “Natide” as the weaver, from Shiprock District Navajo Reservation 38

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3030

A pair of Navajo pictorial textiles

Mid/Late 20th century; Dine Each woven in grey, brown, red, yellow, blue, and cream multicolored wool, with one depicting a woman at her loom weaving a rug within a landscape and dwellings, and the second, a community scene with buildings, animals, and figures within a landscape, 2 pieces Larger: 24” H x 17” W; Smaller: 19” H x 18” W $400-600 Provenance: The Estate of George David Sturges

w w w. j o h n m o r a n . c o m

3031

Charles Marion Russell

(1864-1926) “Smoking with the Spirit of the Buffalo,” 1916 Patinated bronze on marble base Signed in the casting: © CM Russell [with artist’s cipher] / Foundry mark: RBW [Roman Bronze Works] 4.5” H x 7.75” W x 5” D; with base: 5.5” H x 8.5” W x 6” D $600-800

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3032

Ace Powell

(1912-1978) Sioux figure Patinated bronze Signed and inscribed in the casting: Powell / Noogle Bronze Works 8.50” H x 5” W x 4.5” D $800-1,000

w w w. j o h n m o r a n . c o m

3033

Nicholas S. Firfires

(1917-1990) American Indian warrior on horseback Watercolor on paper Signed lower left: Nicholas S. Firfires Image/Sight: 10.75” H x 7” W $600-900 Notes: The Cowboy Artists of America is an exclusive organization of artists that was founded in 1965 by four prominent Western artists, Joe Beeler, Charlie Dye, John Hampton and George Phippen.

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

w w w. j o h n m o r a n . c o m

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3034

G. Russell Case

(b. 1966) “Navajo Riders,” 2007 Oil on board Signed lower right: G. Russell Case; signed again, titled, and dated verso; signed and titled again on a tag affixed verso 9” H x 12” W $1,200-1,800 Provenance: Bingham Gallery American Fine Art, Carmel, UT The Estate of George David Sturges, acquired from the above, 2007

w w w. j o h n m o r a n . c o m

3035

G. Russell Case

(b. 1966) “Sandstone Hills,” 2009 Oil on board Signature incised lower right: G. Russell Case; signed again, titled, and dated verso 11” H x 14” W $1,200-1,800 Provenance: The Estate of George David Sturges

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3036

G. Russell Case

(b. 1966) “Morning Sun, Zion,” 2009 Oil on board Signature incised lower left: G. Russell Case; signed again, titled, and dated verso 16.25” H x 12” W $1,000-2,000 Provenance: The Estate of George David Sturges

w w w. j o h n m o r a n . c o m

3037

G. Russell Case

(b. 1966) “Cliffs in Terracotta,” 2011 Oil on board Signature incised lower right: G. Russell Case; titled, dated and signed again with ©, verso; titled again on a gallery label affixed verso 12” H x 16” W $1,000-2,000 Provenance: Thunderbird Foundation, Mt. Carmel, UT The Estate of George David Sturges, acquired from the above, 2011

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

w w w. j o h n m o r a n . c o m

3038

Keith Bond (20th/21st century)

“Near Eden,” 2005 Oil on panel Signed lower left: Keith Bond; signed again, titled, and dated with the ©, verso 8” H x 10” W “Late Autumn and Dock Flat,” 2005 Oil on panel Signed lower right: Keith Bond; signed again, titled, and dated with the ©, verso 8” H x 10” W 2 pieces $300-500 Provenance: The Estate of George David Sturges Notes: Inscribed: painted on location near Eden, UT, 9-28-06; Inscribed: painted on location near Mantua, UT, 10-25-05

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3039

Keith Bond (20th/21st century)

“Wasatch Autumn,” 2006 Oil on panel Signed lower right: Keith Bond; signed again, titled, and dated verso 8” H x 10” W “Corn Stubble,” 2006 Oil on panel Signed lower right: Keith Bond; signed again, titled, and dated, verso 8” H x 10” W 2 pieces $300-500 Provenance: The Estate of George David Sturges Notes: Inscribed: Painted on location Wachat National Forest, Utah along the old snow basin road, 9-27-06; Second Inscribed: Painted on location Palmyre, NY, 5-11-06

w w w. j o h n m o r a n . c o m

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3040

Serena Supplee

(20th century) “Gather Round,” 1989 Watercolor on paper Signed and dated lower right: S. Supplee; signed again and titled on the backing paper Sight: 10.25” H x 14” W $300-500

w w w. j o h n m o r a n . c o m

3041

A Navajo Two Grey Hills rug, by Christian Bahe

20th century; Dine Woven by Christian Bahe in black, cream, light grey and dark grey wool with an elaborate geometric central motif and stepped borders to two sides 50” H x 24” W $300-500 Provenance: Russell Foutz Indian Room, Farmington, NM (attached tag) The Buck Jones Collection Private Collection, Central California, acquired from the above Notes: Attached tag indicates weaver.

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3042

A Navajo Two Grey Hills rug

Early/Mid-20th century; Dine Woven in natural cream, dark brown, and grey wool with elongated stepped diamonds and floating elements, with a black border 78.5” H x 53” W $700-900

w w w. j o h n m o r a n . c o m

3043

A Navajo Two Grey Hills rug

Mid/Late 20th century; Dine Woven in cream, tan, grey, and black wool with a central embellished diamond and stepped border to two sides 53.75” H x 31” W $500-700 Provenance: The Estate of George David Sturges

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3044

A Navajo Two Grey Hills rug

Mid-20th century; Dine Woven in cream, grey, brown, and black wool with an elaborate double diamond motif and stepped borders 74” H x 47” W $800-1,200 Provenance: The Estate of George David Sturges

w w w. j o h n m o r a n . c o m

3045

Raymond Gid

(1905-2000) “Theatre des Champs-Elysees: Ballets Peaux-Rouges,” 1953 Lithograph in colors on paper From the edition of unknown size Signed and dated lower right Image: 50” H x 37.25” W; Sight: 58.5” H x 38.5” W $600-800

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

w w w. j o h n m o r a n . c o m

3046

Grey Cohoe

(1944-1991) “Sanostee Shaman in Homage” Acrylic on paper Signed lower right: Grey Cohoe; titled and inscribed, possibly in another hand, on the frame’s backing paper Image: 24” H x 18” W; Sight: 27” H x 21 W $1,000-2,000 Provenance: Property from the Private Collection of Gregory Sierra

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3047

Grey Cohoe

(1944-1991) “Sanoster Grandma in Reminiscence” Acrylic on paper Signed lower right: Grey Cohoe; titled and inscribed, possibly in another hand, on the frame’s backing paper Image: 23.75” H x 18” W; Sight: 27” H x 21” W $1,000-2,000 Provenance: Property from the Private Collection of Gregory Sierra

w w w. j o h n m o r a n . c o m

3048

Susan Meredith

(Active 21st century) “Ascending/Descending,” 2002 Wool tapestry Signed, titled, and dated to fabric tag verso: Susan Meredith / © May 2002 / “Ascending/Descending” 27.25” H x 27.25” W $300-500 Provenance: Weaving Southwest, Taos, NM Notes: This lot is accompanied by a receipt of sale from Weaving Southwest dated June 7, 2003.

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3049

A Bohlin sterling silver and 14k gold belt buckle set

Mid-20th century Buckle, keeper and tip stamped: Edward H. Bohlin / Hollywood CA / Sterling /14K Comprised of a three-piece scrolled silver and 14K gold ranger set, with “GS” monogram for Gregory Sierra, all set to a tapered Bohlin black alligator belt, size 104/35 Buckle: 2.125” H x 2.375” W; Belt: 1.5” and 0.875” H x 41.625” L; 211.9 grams gross $800-1,200 Provenance: Property from the Private Collection of Gregory Sierra

w w w. j o h n m o r a n . c o m

3050

Two Southwest belt and buckle sets

Mid/Late 20th century One buckle stamped: RDM [for Randall D. Moore] / Sterling Comprised of two woven horsehair belts in geometric designs with leather ends, one finished with tooled leather ends and a stamped sterling belt buckle, size 36 (Buckle: 2.5” H x 2.875” W; belt: 1.5” H x 42.5” L) and the second with a silver colored buckle and keeper loop, with tapered leather ends (Buckle: 1.875” H; belt: 1.375 and 0.875” H x 40.75” L), 2 pieces Buckles: 118.5 grams gross $300-500 Provenance: The Estate of George David Sturges

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3051

Two Vogt sterling silver belt buckle sets Late 20th century Two works:

A rectangular chased silver anchor buckle mounted to a tooled black leather and woven horse hair belt, size 32 Buckle marked: Vogt / Sterling 925 / Fully Hand Engraved / Hand Made in Old Mexico Buckle: 1.375” H x 2 .125” W; Belt: 34.5” L x 1.25” H; 1” H, at buckle A four piece attached Ranger set with engraved silver scrollwork mounted to a dark brown leather belt, size 32 Buckle marked: Elkcreek/ Sterling 925/ Hand Made in Old Mexico; Each further marked: Sterling Buckle: 1.625” H x 2” W; Belt: 37” L x 1.125” H; 0.75” H, at buckle 2 pieces 260 grams gross approximately $400-600

w w w. j o h n m o r a n . c o m

3052

A commemorative “The Barney Miller Show” cast bronze buckle

Al Lee Shelton (b. 1920) Inscribed verso: USA / Sculptor Al Shelton / 1975 / Western Artist / 12317 Ventura Blvd / Studio City CA 91604 / Thank You Noam [for Noam Pitlik, Director] “The Barney Miller Show” bronze belt buckle depicting a stacked stone wall and lamp fixture with the words “12th Precinct” stamped to globe as well as the words “The Old One-Two” stamped along the lower edge 2.625” H x 3.625” W $300-500 Provenance: Property from the Private Collection of Gregory Sierra

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3053

A large silver-plated horse belt buckle

20th century Spuriously stamped to bar A large oval buckle featuring a horse tethered to a post in a landscape, bordered by interlaced strapping 3.25” H x 4.25” W 241. 6 grams $500-700 Provenance: Property from the Private Collection of Gregory Sierra

w w w. j o h n m o r a n . c o m

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3054

A collection of four cowboy hats Late 20th/21st century Four works:

A shaped straw cowboy hat Marked: Monte Christi ® Custom Hat Works, Santa Fe, New Mexico Custom Made for Gregory Sierra With a black leather hat band with sixteen sterling and turquoise conchos 6” H x 14” W x 16.25” D; 22” inner C A cream felt cowboy hat Marked: O’Farrell ® Hats: Signature Collection, Handcrafted in Colorado With a pink twill lining and a brown leather hat band with twelve silver conchos 7” H x 14.25 W x 15.75 D; 22.375” inner C A black felt cowboy hat Marked: O’Farrell ™ Hatmakers, Handcrafted in Durango, Colorado Custom Made for Gregory Sierra With front crown shaping, red twill lining, and a narrow felt band with a small silver Bohlin buckle and loop (Stamped: Bohlin Made / Sterling) 6.25” H x 13” w x 14.25” D; 22.75” inner C A black felt cowboy hat Marked: O’Farrell ™ Hatmakers, Handcrafted in Durango, Colorado Custom Made for Gregory Sierra With crown top shaping, a red twill lining, and a narrow felt band with a small silver Bohlin ranger set (Buckle stamped within shield: Edward S. Bohlin / Hollywood, CA / Sterling) 5.5” H x 12.5” W x 13.75” D; 22.5” inner C 4 pieces $500-700 Provenance: Property from the Private Collection of Gregory Sierra

3055

A Noah Pfeffer sterling silver and turquoise cuff

Noah Pfeffer (b. 20th century) 21st century; Arizona Stamped: Noah / Sterling / [within pictograph] A heavy sterling silver cuff with Carico Lake turquoise mosaic inlay 6.5” total inner C x 1.25” H, including a 1.125” gap 100.6 grams gross $200-400 Provenance: Lanning Gallery, Sedona, AZ Private Collection, acquired from the above, 2002 Notes: This lot accompanied by an original receipt from Lanning Gallery, Sedona, AZ, dated 10/11/02; indicating artist, and stone origin.

w w w. j o h n m o r a n . c o m

3056

George David Sturges

(1941-2022) “N. Fork Shoshone River,” 2008 Oil on board Initialed and dated lower right: DS, 8.08; signed again, titled, and dated verso 10” H x 12” W $300-500 Provenance: The Estate of George David Sturges

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3057

George David Sturges

(1941-2022) “Sous Bois,” 2008 Oil on canvas board Signed, titled and dated verso: Dave Sturges 10” H x 12” W $300-500 Provenance: The Estate of George David Sturges

w w w. j o h n m o r a n . c o m

3058

Matt Smith

(b. 1960) Nevada landscape, 2012 Oil on canvas Signed lower right: Matt Smith; signed again, dated, copyrighted and inscribed, verso: April 13, Las Vegas Plein Air Expo 11” H x 16” W $1,000-1,500 Provenance: The Estate of George David Sturges

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3059

Matt Smith

(b. 1960) “Southfork Spire,” 2005 Oil on linen board Signed lower left: Matt Smith; signed again, titled, dated, and with the ©, verso 9” H x 12” W $800-1,200 Provenance: Simpson Gallagher Gallery, Cody, WY The Estate of George David Sturges, acquired from the above, 2006 Notes: In a Mayen Olson frame, 2006

w w w. j o h n m o r a n . c o m

3060

Matt Smith

(b. 1960) “Canyon Walls” Oil on linen board Signed lower left: Matt Smith; signed again with the ©, and titled verso 8” H x 10” W $700-900 Provenance: Thunderbird Foundation for The Arts, Mt. Carmel, UT (MS004) The Estate of George David Sturges, acquired from the above, 2010

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3061

Matt Smith

(b. 1960) “89-A to Kanab” Oil on linen board Signed lower left: Matt Smith; signed again, and titled verso 6” H x 8” W $700-900 Provenance: Thunderbird Foundation for The Arts, Mt. Carmel, UT (MS004W) The Estate of George David Sturges, acquired from the above, 2010

w w w. j o h n m o r a n . c o m

3062

Alan Worli (20th century)

“Aspen Grove,” 1996 Screenprint in colors on paper Edition: 25/300 Signed, titled, dated and numbered in pencil in the lower margin Sight: 8” H x 12” W “Storm Sisters,” 2003 Screenprint in colors on paper Edition: 19/300 Signed, titled, dated and numbered in pencil in the lower margin: Alan Worli Sight: 9” H x 15” W 2 pieces $400-600 Provenance: The Estate of George David Sturges 76

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

w w w. j o h n m o r a n . c o m

3063

A Navajo regional rug

Mid-20th century; Dine Woven in red, grey, green, orange, purple, blue, and brown wool with two columns of serrated zigzags and a red and green sawtooth border 68.5” H x 47” W $1,000-1,500 Provenance: The Buck Jones Collection Private Collection, Central California, acquired from the above

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3064

A Navajo regional rug

Mid-20th century; Dine Woven in brown, grey, and cream wool with two conjoined rows of double diamonds 62” H x 39” W $500-700 Provenance: The Buck Jones Collection Private Collection, Central California, acquired from the above

w w w. j o h n m o r a n . c o m

3065

A Navajo regional rug

Early 20th century; Dine Woven in red, black and cream wool with three stepped diamonds and red and black zigzags on a cream field 87” H x 46” W $800-1,200

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3066

A Navajo regional rug

Early 20th century; Dine Woven in red, grey, black, and cream wool with red zigzag and floating geometric elements 64” H x 40” W $1,000-1,500

w w w. j o h n m o r a n . c o m

3067

A Navajo regional rug

20th century; Dine Woven in red, cream, black, and grey wool with a conjoined double diamond motif and stepped borders to two sides 47.25” H x 27” W $300-500 Provenance: The Estate of George David Sturges

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3068

A Navajo regional rug

Mid-20th century; Dine Woven in red, cream, grey, and dark brown wool with serrated diamond motifs throughout and banding to two ends 55.75” H x 41.75” W $500-700 Provenance: The Estate of George David Sturges

w w w. j o h n m o r a n . c o m

3069

Logan Maxwell Hagege

(b. 1980) “Dry Air,” 2012 Oil on linen on artist board Signed upper right: Logan Maxwell Hagege; signed again, titled and dated verso 13” H x 8” W $4,000-6,000 Provenance: The Estate of George David Sturges

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

w w w. j o h n m o r a n . c o m

3070

Keith Bond

(Active 20th/21st century) “Morning - Near Crazy Jug Point,” 2014 Oil on board Signed lower right: Keith Bond; signed again, titled, dated with the ©, and inscribed verso 12” H x 20” W $800-1,200 Provenance: The Estate of George David Sturges

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3071

Keith Bond

(Active 20th/21st century) “Apple Valley,” 2013 Oil on board Signed lower right: Keith Bond; signed again, titled, dated, and with the ©, verso; titled again on label affixed verso 8” H x 16” W $500-700 Provenance: The Estate of George David Sturges

w w w. j o h n m o r a n . c o m

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3073

Michael B. Coleman

(b. 1941) “Red Wall, Evening - Grand Canyon, AZ” Oil on canvas board Incised initials lower right: MBC; signed again with the ©, titled, and numbered verso: #1012 6” H x 8” W $2,000-3,000 Provenance: The Estate of George David Sturges

3072

John Cox

(b. 1941) “Red Rocks,” 2002 Oil on canvas Signed lower right: John Cox; signed again, titled, and dated Jan 2002, inscribed Scottsdale, AZ, and numbered #527, all verso 30.25” H x 30.25” W $2,500-3,500

w w w. j o h n m o r a n . c o m

3074

Jesse Powell

(b. 1977) “Colorado Monument,” 2014 Oil on board Signed lower right: J. Powell; signed again, titled, and dated with the ©, verso 8” H x 10” W $300-500 Provenance: The Estate of George David Sturges

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3075

Jeanne Mackenzie

(b. 1949) “Isis” Oil on board Signed lower right: Mackenzie; titled and signed again with the ©, verso 6” H x 6” W $800-1,200 Provenance: The Estate of George David Sturges

w w w. j o h n m o r a n . c o m

3076

Gregory Hull

(b. 1950) Grand Canyon Oil on panel Signed lower left: G. Hull; with artist stamp and exhibition stamp verso 9” H x 12” W $400-600 Provenance: The Estate of George David Sturges Exhibitions: Grand Canyon National Park, Grand Canyon, AZ,“Grand Canyon Celebration of Art” n.d.,

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3077

David Gallup

(b. 1967) “The Hiker’s Reward, Zion Canyon,” 2008 Oil on board Signed lower left: D. Gallup; signed again, titled, dated, and with the ©, verso, as well as on a letter 12” H x 16” W $700-900 Provenance: David C. Gallup, Artist Studio The Estate of George David Sturges, acquired from the above, 2008 Notes: This piece is accompanied by a Certificate of Authenticity with an inscription which reads: “Painted on location with George David Sturges in Zion Canyon at Upper Emerald Pool in March of 2008.”

w w w. j o h n m o r a n . c o m

3078

3079

(b. 1967) “View from the Bridge at Carrington Point,” 2008 Oil on canvas board Signed lower left: D. Gallup; signed again, titled, inscribed, and dated verso: Santa Rosa Island - Fall 2008 16” H x 12” W

(b. 1967) “Pelicans at Cathedral Cove, Anacapa Island,” 2005 Oil on board Signed lower right: D. Gallup; signed and dated twice, and titled with the © verso 16” H x 12” W

David Gallup

$700-900

Provenance: The Estate of George David Sturges

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3080

Louis Aston Knight

(1873-1948) River stream in Reno Oil on canvas Signed and inscribed lower left: Aston Knight / Reno 18.375” H x 21.875” W $2,000-3,000 Provenance: Bonhams, Los Angeles, CA (about 20 years ago)

w w w. j o h n m o r a n . c o m

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3081

True West Westward Ho “Rodeo” stoneware dinner service

20th century Marked: Westward Ho “Rodeo Pattern” by True West / Goldweather / Texas / 1991 A stoneware dinner service comprising of 8 bowls (each: 6” Dia.), 4 mugs (4.5” Dia. each), 5 saucers (5.5” Dia. each), 5 salad plates (7” Dia. each), 5 dinner plates (10.5” Dia. each), 2 serving platters (larger: 15.25” Dia.), set of salt and pepper shakers (4.75” H each), lidded sugar (4.25” H) and creamer (3.75” H), a large mug (5.75” Dia.), and a pitcher (7.25” H); all with depictions of western scenes with branding motifs framing said scenes, 35 pieces $400-600 Provenance: Property from the Private Collection of Gregory Sierra

w w w. j o h n m o r a n . c o m

3082

A pair of Western-themed table lamps

21st century By T.B. McCoy Western Designs, Grass Valley, CA, each carved and polychromed wood depicting a cowboy and a cowgirl finished with hide shades, electrified, 2 pieces Each overall: 25” H x 16” Dia.; each base: 25” H x 17” W x 4.25” D approx.; each shade: 10.25” H x 16” Dia. $500-700 Provenance: Property from the private collection of Gregory Sierra

A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3083

A burlwood table lamp

21st century With hide shade, electrified Overall: 31” H x 20.25” Dia.; base: 31” H x 9.5” Dia.; shade: 2” H x 20.25” Dia. $400-600 Provenance: Property from the Private Collection of Gregory Sierra

w w w. j o h n m o r a n . c o m

3084

A Molesworth-style wood floor lamp

21st century A burlwood floor lamp with rope accents and applied conchos to base, lacking shade; accented with a cast metal steer head at end of pull 64.75” H x 16” W $500-700 Provenance: Property from the private collection of Gregory Sierra Notes: Provided Summer 2002 catalogue from client for “New West” Furnishings located in Cody, WY features similar floor lamp on page 38, L6-31. Likely a custom-made lamp in the style of Thomas Molesworth Western furniture.

1 0 0 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3085

A Western-style wood table-top cabinet 20th century With steer head metal pulls 19.5” H x 19.125” W x 8.75” D $200-300 Provenance: Property from the private collection of Gregory Sierra

w w w. j o h n m o r a n . c o m 1 0 1

3086

Two rustic wood side tables

20th century Each tripod table with rustic wood top, the larger with nail stud trim to the rim, 2 pieces Larger: 25.25” H x 17” Dia.; smaller: 22.25” H x 19” Dia. $300-500

1 0 2 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3087

Two mirrored glass Santa Fe Railway signs

Early 20th century Each reverse painted mirrored glass in oak frames; one reads “Santa Fe Railway” and one “Santa Fe Railway Tickets”, 2 pieces Each: 37” H x 7” W $500-700

w w w. j o h n m o r a n . c o m 1 0 3

3088

A Navajo regional rug

Mid-20th century; Dine Woven in gold, grey, black and cream wool with three columns of serrated diamonds and a black sawtooth border 87.5” H x 46” W $500-700 Provenance: Property from the Private Collection of Gregory Sierra

1 0 4 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3089

A Navajo regional rug

20th century; Dine Woven in cream, variegated brown, dark brown, and red wool with three columns of serrated triangles 57” H x 33” W $400-600

w w w. j o h n m o r a n . c o m 1 0 5

3090

A Navajo regional rug

20th century; Dine Woven in red, brown, cream and grey wool with two columns of stepped diamonds and a banded border 76” H x 41” W $600-900

1 0 6 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3091

Two small Navajo weavings

Mid/Late 20th century; Dine Comprising a small Navajo storm pattern rug woven in red, black, grey, and cream wool with a red field and elaborate storm pattern motif, together with a small Navajo mat woven in red, grey, black, cream and brown wool with a central elaborate diamond, 2 pieces Larger: 32.5” H x 22.75” W; Smaller: 28” H x 18” W $200-400 Provenance: The Estate of George David Sturges

w w w. j o h n m o r a n . c o m 1 0 7

3092

Two Navajo regional blankets

Early/Mid-20th century; Dine Comprising a small blanket woven in grey, red, orange, brown, and blue wool with banded motifs and a single saddle blanket woven in bands of red, orange, dark brown and cream wool, 2 pieces Larger: 53” H x 34” W; Smaller: 31.5” H x 30.5” W $500-700 Provenance: The Estate of George David Sturges

1 0 8 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3093

A Navajo regional rug

20th century; Dine Woven in cream, red, brown, and grey wool with a central stepped diamond, feathers, and floating stepped corner elements 79” H x 52” W $800-1,200

w w w. j o h n m o r a n . c o m 1 0 9

3094

A Navajo regional rug

Early/Mid-20th century; Dine Woven in cream, grey, brown, red, orange, and green wool with central joined double serrated diamonds and hooked elements 70” H x 41” W $500-700

1 1 0 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3095

A Navajo regional rug

Mid-20th century; Dine Woven in cream, grey, ochre, red, and brown wool with columns of stacked serrated diamonds and floating internal elements with a black serrated border 72” H x 48” W $600-800

w w w. j o h n m o r a n . c o m 1 1 1

3096

Laton Alton Huffman (1854-1931)

A Native American camp by a body of water Black and white collotype on paper From the edition of unknown size and date Appears unsigned Sight: 22.5” H x 34.5” W Two Native American horse riders Black and white collotype on paper From the edition of unknown size and date Appears unsigned Sight: 19.5” H x 29.5” W A Native American horse rider in a landscape Black and white collotype on paper From the edition of unknown size and date Appears unsigned Sight: 22.5” H x 34.5” W 3 pieces $800-1,000 Notes: These works previously hung in the Browning, MT office of Robert Scriver, a sculptor and scholar of Blackfoot Indian culture and history.

1 1 2 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

w w w. j o h n m o r a n . c o m 1 1 3

3097

Edward S. Curtis

(1868-1952) “A Jemez Fiscal,” Plate 552 from “The North American Indian” Volume 16, 1907-30 Photogravure in brown on Japanese paper From the Suffok Engraving Co., Cambridge MA edition printed after the 1925 original photograph copyrighted by Curtis; with the title, plate number, copyright, publisher, and artist name all printed in the blank outside the image Image: 15.5” H x 11.5” W; Sight: 16.5” H x 12.375” W $1,000-1,500 Provenance: Michael Caden Gallery, Cody, WY Private Collection, acquired from the above, circa 1995

1 1 4 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3098

Edward S. Curtis

(1868-1952) ‘’Wolf Lies Down - Apsaroke,” Plate 123 from “The North American Indian” Volume 4, 1907-30 Photogravure in brown on tissue-thin Japanese paper From the Suffok Engraving Co., Cambridge, MA edition printed after the 1908 original photograph copyrighted by Curtis; with the title, plate number, copyright, publisher, and artist name all printed in the blank outside the image Image: 15.5” H x 11.5” W; Sight: 16.75” H x 11.25” W $1,000-1,500 Provenance: Michael Caden Gallery, Cody, WY Private Collection, acquired from the above circa 1995

w w w. j o h n m o r a n . c o m 1 1 5

1 1 6 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3099

Kathryn Woodman Leighton

(1875-1952) Portrait of a Native American man Oil on canvas Signed lower right: Kathryn W. Leighton 30” H x 25” W $5,000-7,000 Notes: Kathryn Woodman Leighton was once considered one of the world’s most notable painters of American Indian portraits, “at a time when the subject was reserved for males.” Born in Plainfield, New Hampshire in 1875, Kathryn was educated locally and taught school for three years before studying at art school in Boston. She married attorney Edward L. Leighton in 1900, and they moved west in 1910 when a planned vacation to California turned into a permanent relocation. Dedicated support from Edward enabled her to successfully mix serious artistic pursuits and practical home life. Her canvases featured portraits as well as local landscapes, especially California desert wildflowers and coastal seascapes of Laguna and Morro Bay. A fortuitous meeting in 1924 with Charles M. Russell at a party in Los Angeles led to an important shift in subject matter and a change to her popularity as a painter. Russell encouraged Kathryn to visit the newly formed Glacier National Park in Montana, and the Leightons were invited to stay at the Russell’s summer home on Lake McDonald in 1925, where she reportedly painted two landscapes on the curtain dividers between the guest beds in the lodge. As a regular visitor to the park for the next few years, Kathryn became enamored of the glorious landscape and of the Blackfeet Nation people she met on her many trips to Montana. Kathryn was commissioned by the Great Northern Railway to paint grand landscapes of the majestic peaks and lakes, as well as portraits of various Blackfeet elders as part of the promotion of the park. The GNR bought over twenty of Leighton’s works to augment a national touring lecture series on the history of the Blackfeet. Leighton felt: “I am trying to put on canvas…the nobility of the Indian as I see him, the beauty of color, the dignity of tradition, and the fundamental beliefs of our first American people…” At age fifty, the success of these portraits moved Kathryn to a new career, “propelled to fame as the world’s foremost painter of Native American portraits.” Leighton’s portraits were featured in major exhibitions in Los Angeles, Chicago, and Boston as well as in Paris and London, with rave critical reviews. This portrait depicts a Native American man wearing a beaded, quilled vest, a bone, bead, and shell disc necklace and red blanket. The style is typical of Leighton, featuring distinctive, bold strokes and rich paint colors inspired by hues of the variety of clothing, objects, and sacred facial paints of her Native American sitters. The work was most likely executed in her studio in Los Angeles, often reported to be full of chanting, drums and music of the numerous visitors to be found there of an evening. Over the years, Kathryn’s versatility was expressed in over 700 works. Her numerous portraits included Blackfeet, Sioux, Cherokee, Shoshone, Yakima, Arapaho, Navajo, Hopi, Pawnee, Osage, and more, as well as local Native American actors from Hollywood, notable figures of the time including Pawnee Bill, Iron Eyes Cody, Florence Collins Porter, and numerous studies of family members and friends. Kathryn died in 1952, and her Native American portraits continue to be a legacy of a well-intentioned admiration and respectful desire to retain and share important cultural details and perspectives of the First Nation people she was privileged to meet. Sources: Trenton, Patricia, ed. “Independent Spirits: Women Painters of the American West, 1890-1945.” Los Angeles, CA: Autry Museum of Western Heritage, 1995. Kovinick, Phil & Yoshiki-Kovinick, Marian. “An Encyclopedia of Women Artists of the American West”. Austin, TX: University of Texas Press, 1998.

w w w. j o h n m o r a n . c o m 1 1 7

3100

3101

(b. 1947) “Weavers Image” Oil on canvas Signed lower right: Abeita ©; titled on a label affixed to the frame’s backing paper 20.25” H x 16” W”

(b. 1959) “The Geographers” Oil on canvas Signed lower left: Doug Hall © auction tag affixed verso; titled 30” H x 40” W

Jim Abeita

$800-1,200

Doug Hall

$5,000-7,000

Provenance: Simpson’s Fine An Altermann Galleries, Santa Fe, J. Levine Auction & Appraisal,

1 1 8 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

©; titled on label affixed on the upper frame verso; titled again on d again on gallery label affixed verso

ntiques & Objet’s D’art, Houston, TX , NM Phoenix, AZ

w w w. j o h n m o r a n . c o m 1 1 9

3102 Jo Mora

(1876-1947) “Indians of North America” Lithograph in colors on paper From the edition of unknown size Appears unsigned; copyrighted by Jo Mora Publications, Monterey, California, titled by repute Sight: 31.25” H x 23.27” W $300-500

1 2 0 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

w w w. j o h n m o r a n . c o m 1 2 1

3103

Ace Powell

(1912-1978) Native American walking in snow Oil on canvas Signed lower left: Powell and with the artist’s ace of diamonds device 20” H x 24” W $1,000-1,500

1 2 2 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3104

Ace Powell

(1912-1978) Native American riders on horseback Oil on canvas Signed lower left: Powell and with the artist’s ace of diamonds device 20” H x 24.25” W $3,000-4,000

w w w. j o h n m o r a n . c o m 1 2 3

3105

Gary Schlidt

(Active 21st century) “Blackfoot Chief,” 1975 Patinated Bronze From the edition of unknown size Signed, dated, and with artist device in the casting: Schlidt 14.5” H x 6.5” W x 7” D; with base: 15.5” H x 6.5” W x 7” D $500-700

3107

After Carl Kauba

(1865-1922) “How: Kola! Friend, Don’t Shoot” Patinated bronze on marble base From the edition of unknown size Appears unsigned; titled to plaque 16.5” H x 12” W x 5.5” D; with base: 18” H x 14” W x 8” D $300-500 Provenance: The Estate of George David Sturges

1 2 4 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3106

Carl Kauba

(1865-1922) A Native American in headdress raising a rifle Patinated bronze mounted to stone plinth Signed and numbered in the casting: C. Kauba / 6254 10.5” H x 3.5” W x 4.5” D; with base: 13” H x 6” W x 4.5” D $800-1,200 Provenance: The Estate of George David Sturges

w w w. j o h n m o r a n . c o m 1 2 5

3108

Christopher Blossom

(b. 1956) “Midday Green, Blue and Grey” Oil on board Signed lower left: Christopher Blossom; titled on a label affixed to the verso of the frame 8” H x 10” W $2,000-3,000 Provenance: Maynard Dixon Country 2014, Mount Carmel, UT (CB3) The Estate of George David Sturges

1 2 6 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3109

Len Chmiel

(b. 1942) “Early,” 2010 Oil on board Signed lower right: L. Chmiel ©; titled on a gallery label affixed verso 12” H x 16” W $1,000-1,500 Provenance: Thunderbird Foundation for The Arts, Mt. Carmel, UT (LC004) The Estate of George David Sturges, acquired from the above, 2010

w w w. j o h n m o r a n . c o m 1 2 7

3110

John F. Budicin

(b. 1944) “Utah” Oil on canvas board Signed lower right: Budicin; signed again and titled verso 7” H x 12” W $500-700 Provenance: The Estate of George David Sturges

1 2 8 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3111

Rehle Higham

(Active 21st century) “Pastel Autumn” Oil on linen board Signed lower right: Rehle; signed again, and titled verso 8” H x 10” W $300-500 Provenance: Williams Fine Art, Salt Lake City, UT The Estate of George David Sturges, acquired from the above, 2012

3112

Doug Braithwaite

(b. 1964) “Hide and Seek” Oil on panel Signed lower left: Doug B; signed again and titled verso 11” H x 14” W $300-500 Provenance: Terzian Gallery, Park City, UT The Estate of George David Sturges, acquired from the above, 2010

w w w. j o h n m o r a n . c o m 1 2 9

3113

A Navajo Second Phase chief’s-style blanket

Early/Mid-20th century; Dine Woven in red, cream, dark brown, and orange wool, with banded field and serrated diamond and further serration to the corners 51” H x 68” W $1,000-1,500 Provenance: The Estate of George David Sturges

1 3 0 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3114

A Navajo Third Phase-style blanket

20th century; Dine Woven in cream, dark brown, red and purple wool with central band of serrated diamonds and two rows of striped banding 38.5” H x 60.5” W $1,000-1,500 Provenance: The Estate of George David Sturges

w w w. j o h n m o r a n . c o m 1 3 1

3115

A Navajo transitional rug

20th century; Dine Woven in red, yellow, pink, and black wool with serrated zigzag banding 67” H x 41” W $600-800

1 3 2 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3116

A Navajo transitional rug

20th century; Dine Woven in orange, red, grey, and black wool with a radiating serrated diamond motif 76” L x 56” W $1,000-1,500

w w w. j o h n m o r a n . c o m 1 3 3

1 3 4 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3117

A Plains beaded and quilled tobacco bag

20th century A fringed beaded hide tobacco bag with polychrome beading in geometric designs to each side of lower section and to one side and top edges, bound quill trim and hide fringing 29” H x 6” W $400-600 Provenance: The Estate of George David Sturges

w w w. j o h n m o r a n . c o m 1 3 5

3118

Edith Hynes

(1885-1971) “Taos Pueblo” Oil on canvas Signed lower right: Edith Hynes; titled on a label affixed verso 23” H x 26.25” W $2,000-3,000

1 3 6 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3119

Willard Page

(1885-1958) Adobe hut in a fall landscape Oil on artist board Signed lower left: W. Page 11” H x 14” W $1,000-1,500 Provenance: The Estate of George David Sturges

w w w. j o h n m o r a n . c o m 1 3 7

3120

Walter Ufer

(1876-1936) Pueblo cooking scene with figure Oil on waxed lined canvas Signed verso: W. Ufer 20” H x 26” W $3,000-5,000 Provenance: Private Collection, Santa Barbara, CA Notes: Water Ufer is a celebrated German-American draftsman and colorist best known for his honest depictions of Native Americans during a time when other artists romanticized their culture. Born in Germany, but raised in the United States, Ufer went back and forth between Europe and the US apprenticing and gaining formal artistic training. After his second trip to Europe, Ufer visited Taos, New Mexico before returning to the Midwest where he eventually served as president of Chicago’s Palette and Chisel, Academy of Fine Arts. However, the pull of the Southwest was so great that the artist eventually relocated to Taos and became an elected member of the Taos Society of Artists. The present work offers a rare insight into the artist’s painting process. He creates a level of depth within the work with his bold, confident paint strokes. His use of a monochromatic palette allows the viewer’s eye to wander throughout the scene, eventually coming to land on the central figure clothed in bright green baking in a horno, a traditional Native American oven. The figure becomes a focal point through the artist’s use of color, creating a striking contrast against the deep earth tones used in the surroundings. Ufer elongates the depth of field through his arrangement of stacked adobes, which feature the dark terracotta color that is synonymous with Taos.

1 3 8 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

w w w. j o h n m o r a n . c o m 1 3 9

3121

Dan Young

(b. 1959) “Vermillion Erosion” Oil on canvas board Signed lower left: Young; signed again with the ©, and titled, verso; titled again affixed on a gallery label verso 12” H x 16” W $700-900 Provenance: Thunderbird Foundation, Mt. Carmel, UT The Estate of George David Sturges, acquired from the above, 2011

1 4 0 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3122

Dan Young

(b. 1959) “August in the Vermillion Cliffs” Oil on canvas board Signed lower right: Young; signed again and titled verso 16” H x 12” W $700-900 Provenance: Thunderbird Foundation, Mt. Carmel, UT The Estate of George David Sturges, acquired from the above, 2008

w w w. j o h n m o r a n . c o m 1 4 1

3123

Dan Young

(b. 1959) “Above the Barracks” Oil on canvas board Signature incised lower left: Young; signed again with the ©, and titled verso 8” H x 10” W $400-600 Provenance: Thunderbird Foundation, Mt. Carmel, UT The Estate of George David Sturges, acquired from the above, 2008 Notes: In a Mayen Olson frame, 2014

1 4 2 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3124

Dan Young

(b. 1959) “Early at Johnson” Oil on canvas board Signed lower left: Young; signed again, with the ©, and titled verso 8” H x 16” W $700-900 Provenance: Thunderbird Foundation, Maynard Dixon Country, Mt. Carmel, UT, 2014 The Estate of George David Sturges, acquired from the above Notes: In a Mayen Olson frame, 2014

w w w. j o h n m o r a n . c o m 1 4 3

3125

Glenn Dean

(b. 1976) “Bright Morning Light” Oil on canvas Signed lower right: G. Dean 16” H x 20” W $1,000-1,500 Provenance: Morseburg Galleries, Pasadena, CA The Estate of George David Sturges, acquired from the above, 2001 Exhibitions: Edenhurst Gallery and Morseburg Galleries, “2nd Annual California Spring Salon,” Los Angeles, CA Notes: Note: Unassociated label affixed to the frame also by the same artist

1 4 4 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3126

Craig Pursley

(b. 1954) “Canyon Walls” Oil on board Signed lower right: C. Pursley; titled verso 10” H x 20” W $300-500 Provenance: The Estate of George David Sturges

w w w. j o h n m o r a n . c o m 1 4 5

3127

Two Elkcreek (Vogt) sterling silver ranger sets Late 20th century or later Two works:

A four piece ranger set in chased silver with applied gold flowers and synthetic rubies on a brown genuine ostrich belt , size 30 Buckle stamped: Elkcreek / Sterling 925/ 14K Gold filled/ Handmade in Old Mexico Buckle: 1.75” H x 2” W; Belt: 35.75” L x 1.125” H; 0.75” H, at buckle A four piece ranger set with chased silver and applied gold scrolled motifs mounted to a Vogt hand tooled belt, size 32 Buckle stamped: Elkcreek / Sterling 925/ 14K Gold filled/ Handmade in Old Mexico Buckle: 1.75” H x 2” W; Belt: 38” L x 1.125” H; 0.625” H, at buckle 2 pieces 280 grams gross approximately $400-600

1 4 6 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3128

A Vogt sterling silver ranger set

Late 20th century or later Marked: Chet Vogt/ Sterling / 925 / 14K / Handmade in Old Mexico / 4524-20 The sterling set with gold floral overlay motifs and twisted wire edging all mounted to a “Genuine Ostrich” black leather belt, size 30 Buckle: 2” H x 2.25” W; Belt: 36.25” L x 1.125” H; 0.75” H, at buckle 179.3 grams gross $400-600

w w w. j o h n m o r a n . c o m 1 4 7

3129

Letter from G.W. “Pawnee Bill” Lillie to Edward Borein

Letter signed and dated October 31, 1922 by G.W. Lillie; with a black and white photograph of Edward Borein in profile Sight of each: 9.75” H x 8” W $500-700 Provenance: Sold (the letter): Christies, Los Angeles, CA, Western Property from the Katherine H. Haley Trust, October 30-31, 2000, Lot 836

1 4 8 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3130

A photograph of Edward Borein

Depicting Borein outside his studio in El Paseo, Santa Barbara Edition size and date of printing unknown Image/Sheet: 11” H x 8.5” W $500-700 Provenance: Sold: Christies, Los Angeles, CA, October 30-31, 2000, Lot 282

w w w. j o h n m o r a n . c o m 1 4 9

3131

Personal effects of Edward Borein

20th century Comprising a Stetson taupe-colored felt hat with a woven horsehair hat band, in a Stetson box, John B. Stetson Company; Ashton The Hatter, Santa Barbara (6” H x 14” W x 16” D; 22” inner C) and a Texas-style low port curb bit and spurs (bit: 1.75” H x 5.5” W x 6.875”; each spur: 2” H x 3.75” W x 5” D), 3 pieces $800-1,200 Provenance: The Katherine H. Haley Collection Sold: Christie’s, Los Angeles, CA, “Rancho Mi Solar: Western Property from the Katherine H. Haley Trust,” October 30-31, 2000, Lot 289 Private Collection, Central California, acquired from the above

1 5 0 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3132

A bass drum from Pawnee Bill’s Wild West Band Late 19th/Early 20th century A painted hide drum with a wood and metal frame 29” Dia. x 10” D $300-500

w w w. j o h n m o r a n . c o m 1 5 1

3133

Edward Borein

(1872-1945) “Buckskin and Feathers” Etching and drypoint on paper From the edition of unknown size Signed in pencil in the lower margin, at right: Edward Borein Plate: 7.25” H x 10” W $700-900 Literature: Galvin 150

1 5 2 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3134

Edward Borein

(1872-1945) “Blackfoot Chief No. 1,” 1914 Etching and drypoint on paper From the edition of unknown size Signed and dated lower right margin: Edward Borein Plate: 10” H x 12” W $800-1,200 Provenance: The Katherine H. Haley Collection Sold: Christie’s, Los Angeles, CA, “Rancho Mi Solar: Western Property from the Katherine H. Haley Trust,” October 30-31, 2000, Lot 536 The Estate of George David Sturges, acquired from the above Literature: Galvin 165

w w w. j o h n m o r a n . c o m 1 5 3

3135

Edward Borein

(1872-1945) “Blackfoot Women Moving Camp, No. 1” Etching and drypoint on paper From the edition of unknown size Signed in pencil in the lower right margin: Edward Borein Plate: 4.75” H x 10.25” W $800-1,200 Literature: Galvin 168

1 5 4 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3136

Edward Borein

(1872-1945) “On the Move” Etching and drypoint on paper From the edition of unknown size Signed in pencil in the lower margin at right: Edward Borein Sight: 5” H x 7” W $700-900 Literature: Galvin 33

w w w. j o h n m o r a n . c o m 1 5 5

3137

Edward Borein

(1872-1945) Native Amrerican on Horseback India ink on brown paper Appears unsigned Sight: 7.25” H x 6” W $400-600 Provenance: Witherspoon Galleries, Lafayette, CA Notes: Letter of authenticity signed by, the artist’s great-niece, Velonne Elliot Melcher, affixed verso.

1 5 6 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3138

Edward Borein

(1827-1945) “Indian Study” India ink on paper Appears unsigned; titled on a label affixed verso Sight: 7.25” H x 9.75” W $600-800

3139

Edward Borein

(1872-1945) “Navajos at the Water Hole, No. 1” Etching on paper From the edition of unknown size Signed in pencil lower right margin: Edward Borein; titled on the lower left recto mat Plate: 12” H x 10” W $800-1,200 Literature: Galvin 181

w w w. j o h n m o r a n . c o m 1 5 7

3140

A large Navajo Two Grey Hills rug

20th century; Dine Woven in pale brown, beige, dark brown, and cream wool with floating diamonds and serrated half diamonds joining at center, with a complex border 93” H x 64.5” W $2,000-3,000 Provenance: The Buck Jones Collection Private Collection, Central California, acquired from the above

1 5 8 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3141

A Navajo Two Grey Hills rug

Mid-20th century; Dine Woven in olive, tan, gold, russet and cream wool, with an elaborate central diamond and stepped motifs to each corner 70” H x 46.75” W $600-900 Provenance: The Buck Jones Collection Private Collection, Central California, acquired from the above

w w w. j o h n m o r a n . c o m 1 5 9

3142

A Navajo Two Grey Hills rug

Mid-20th century; Dine Woven in black, cream, and grey wool with a central conjoined cross, and meandering key design border 82” H x 46.5” W $700-900 Provenance: The Buck Jones Collection Private Collection, Central California, acquired from the above

1 6 0 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3143

Two Navajo Two Grey Hills table mats

Mid/Late 20th century; Dine Each Navajo table mat woven in grey, dark and light brown, cream and black wool, one with a central diamond and serrated border, and one with two central stepped diamonds and a stepped border, 2 pieces Larger: 28.5” H x 19.75” W; Smaller: 27.75” H x 20” W $300-500 Provenance: The Estate of George David Sturges

3144 - Lot Withdrawn w w w. j o h n m o r a n . c o m 1 6 1

1 6 2 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3145

Anthony Sinclair

(b. 1943) “On The Wind,” 1995 Oil on canvas Signed and dated lower left: Sinclair; signed again and titled on the stretcher 50” H x 60” W $1,000-1,500

w w w. j o h n m o r a n . c o m 1 6 3

3146

Josh Elliott

(b. 1973) “Vermillion Sunset,” 2011 Oil on Masonite Signed lower left: Elliott; signed again, titled, and dated verso 6” H x 8” W $600-800 Provenance: Thunderbird Foundation, Mt. Carmel, UT The Estate of George David Sturges, acquired from the above, 2011

1 6 4 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3147

Josh Elliott

(b. 1973) “First Snow,” 2009 Oil on panel Signed lower right: Elliott; signed again, titled, and dated, verso 9” H x 12” W $300-500 Provenance: The Estate of George David Sturges

w w w. j o h n m o r a n . c o m 1 6 5

3148

Josh Elliott

(b. 1973) “Autumn, Canyon de Chelly,” 2010 Oil on board Signed lower right: Elliott; signed again, titled, and dated verso 10” H x 12” W $700-900 Provenance: Thunderbird Foundation for The Arts, Mt. Carmel, UT (JE001) The Estate of George David Sturges, acquired from the above, 2010 Exhibitions: Exhibited: Maynard Dixon Country 2010

1 6 6 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3149

Glenn Renell (b. 1947)

“Morning Butte,” 2007 Oil on panel Signed lower right: G. Renell; signed again, titled, and dated verso “Cochise Stronghold,” 2007 Oil on panel Signed lower right: Renell; signed again, titled, and dated verso 2 pieces Each: 11” H x 12” W $700-900 Provenance: Thunderbird Foundation, Mt. Carmel, UT The Estate of George David Sturges, acquired from the above, 2007

w w w. j o h n m o r a n . c o m 1 6 7

1 6 8 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

w w w. j o h n m o r a n . c o m 1 6 9

3150

John Hughes

(b. 1949) “Midway Utah,” 2014 Oil on canvas board Signed lower left: John Hughes; signed again, titled, dated, and inscribed, and dated verso 11” H x 14” W $500-700 Provenance: The Estate of George David Sturges Notes: The inscription verso, reads: Painted as a demo for the Midway Art Assn on Oct. 21st, 2014

1 7 0 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3151

Fred Grayson Sayre

(1879-1939) Verbena in bloom in a desert landscape Oil on canvas Signed lower right: F. Grayson Sayre 25” H x 30” W $3,000-5,000

w w w. j o h n m o r a n . c o m 1 7 1

3152

Frank Morley Fletcher

(1866-1949) “San Jacinto Foothills” Oil on canvas Signed lower left: Morley Fletcher 19” H x 27” W $700-900 Provenance: Private Collection, Concord, CA Sold: John Moran Auctioneers, Pasadena, CA, October 23, 2001, Lot 158 The Estate of George David Sturges, acquired from the above

1 7 2 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

w w w. j o h n m o r a n . c o m 1 7 3

1 7 4 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3153

John Sloan

(1871-1951) Cowboys rustling cattle herd in the rain, circa 1920 Oil on canvas Signed lower right: John Sloan 33” H x 49.75” W $20,000-30,000 Notes: Inspired by summer trips to Santa Fe during 1916-1917, John Sloan returned fully invigorated to paint the Southwest during the summer of 1919. Leaving Gloucester, Massachusetts, with the responsibilities of formal teaching behind him, Sloan was no doubt filled with the excitement and sense of adventure Old Santa Fe offered. Indeed, Sloan’s biographer Rowland Elzea recalls “The majority of his paintings of the summer of 1919 show his response to the life of the people there: Indian, Hispanic, and Anglo.” This oil on canvas captures the experience Sloane and many of his fellow colleagues were looking for in New Mexico- cowboys and charros whooping on horseback with dogs, all herding hundreds of stampeding cattle in a driving rainstorm. The cast of unknown characters depicted in this painting all come together in this one frenzied instant - to create a perfect Western backdrop for the urbanist painter from Philadelphia.

w w w. j o h n m o r a n . c o m 1 7 5

3154

19th-20th Century American School

Vaquero walking with his horse Gouache and watercolor on brown paper Indistinctly signed at the lower left, or right, respectively, possibly: W. “Schmedtse” Sight: 8.25” H x 12.25” W Seated vaquero viewing ships out at sea Gouache and watercolor on brown paper Indistinctly signed at the lower left, or right, respectively, possibly: W. “Schmedtse” Sight: 12.25” H x 8.25” W 2 pieces $400-600 Provenance: The Estate of George David Sturges

1 7 6 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3155

Edward Borein

(1872-1945) “End of the Race” Etching and drypoint on paper From the edition of unknown size. Signed in pencil lower margin, at right: Edward Borein Plate: 7.5” H x 11.75” W $800-1,200 Literature: Galvin 131

w w w. j o h n m o r a n . c o m 1 7 7

1 7 8 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3156

Edward Borein

(1872-1945) “Grass Hunter, No. 1” Etching and drypoint on paper From the edition of unknown size Signed in pencil, and also with the artist’s remarque in pencil, lower margin: Edward Borein Plate: 7.875” H x 9.875” W; Sheet: 11” H x 14.5” W $1,000-2,000 Provenance: Arlington Gallery, Santa Barbara, CA High Noon Auction, Los Angeles, CA, “Western Americana Auction,” January 29-30, 2011, Lot 236 Literature: Galvin 28

w w w. j o h n m o r a n . c o m 1 7 9

3157

Edward Borein

(1872-1945) “Conquistadores Entering California” Etching and drypoint on paper From the edition of unknown size in the first state Signed in pencil lower margin, at right: Edward Borein; titled on a label affixed verso Plate: 9.875” H x 11.875” W $1,000-1,500 Provenance: Thomas Nygard Gallery, Bozeman, MT The Estate of George David Sturges, acquired from the above, 2001 Literature: Galvin 277

1 8 0 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3158

Edward Borein

(1872-1945) “Mexican Charro” Etching and drypoint on paper From the edition of unknown size Signed in pencil lower right margin: Edward Borein Plate: 6.25” H x 5.5” W $500-700 Literature: Galvin 267

w w w. j o h n m o r a n . c o m 1 8 1

3159

Edward Borein

(1872-1945) “Mounted Vaquero Facing Steer;” and “A Vaquero” Two works framed together: India ink and pencil on paper; and Each: India ink on paper Each: unsigned Sight of larger: 10.125” H x 8.125” W; Sight of smaller: 7.5” H x 7.5” W $1,000-1,500 Provenance: Sold: High Noon Western Americana Auctions, Los Angeles, CA, “High Noon 2005,” January 22, 2005, Lot 225 Exhibitions: Ojai Vallery Museum, Ojai, CA, “Keeping the West Alive: Artwork of Edward Borein & Luis Ortega,” August 19-October 10, 2004, No. 89 Literature: These drawings are among the works reproduced in Borein, Edward. “Ed Borein’s West.” Santa Barbara, CA: The Schauer Printing Studio Inc., 2002 Notes: This lot is accompanied by two letters of authentication prepared and signed by Harold G. Davidson, dated September 2, 1991, and September 20, 1991, respectively.

1 8 2 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

w w w. j o h n m o r a n . c o m 1 8 3

3160

Nicholas S. Firfires

(1917-1990) “Hoorahing The Town” Oil on canvas Signed lower left: Nicholas S. Firfires; titled on the lower recto frame; signed and, titled again, and numbered on a label affixed verso: 935 24” H x 30” W $2,000-3,000 Notes: The Cowboy Artists of America is an exclusive organization of artists that was founded in 1965 by four prominent Western artists, Joe Beeler, Charlie Dye, John Hampton and George Phippen.

1 8 4 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

w w w. j o h n m o r a n . c o m 1 8 5

1 8 6 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3161

Nicholas S. Firfires

(1917-1990) “When Tempers Flare” Oil on canvas Signed lower left: Nicholas S. Firfires; titled and numbered on an artist’s label affixed verso: No. 2116 30” H x 40” W $3,000-5,000 Notes: The Cowboy Artists of America is an exclusive organization of artists that was founded in 1965 by four prominent Western artists, Joe Beeler, Charlie Dye, John Hampton and George Phippen.

w w w. j o h n m o r a n . c o m 1 8 7

3162

Nicholas S. Firfires

(1917-1990) “After a Wild One” Watercolor on paper Signed lower left: Nicholas S. Firfires; titled and numbered on an artist’s label affixed verso: No. 2196 Image/Sight: 13.5” H x 11.75” W $600-900 Notes: The Cowboy Artists of America is an exclusive organization of artists that was founded in 1965 by four prominent Western artists, Joe Beeler, Charlie Dye, John Hampton and George Phippen.

1 8 8 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3163

Nicholas S. Firfires

(1917-1990) “Sketch for Action” Watercolor and gouache on cream colored paper Signed and titled in pencil lower left: Nicholas S. Firfires; inscribed in pencil lower right: For: Lauren and John, Feb. 3, 1983 Image/Sight: 6.25” H x 10.75” W $500-700 Notes: The Cowboy Artists of America is an exclusive organization of artists that was founded in 1965 by four prominent Western artists, Joe Beeler, Charlie Dye, John Hampton and George Phippen.

w w w. j o h n m o r a n . c o m 1 8 9

3164

Nicholas

(1917-199 Portrait of artist’s lea Watercolo The first: S with “NF” Largest: S 3 pieces $300-500

Notes: Th prominent

1 9 0 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

s S. Firfires

90) f a cowboy with a red scarf and a portrait of an Native American in headdress, accompanied with the ather gun belt and holster or on paper; Leather Signed with conjoined initials lower right: NF; the second: Signed lower left: Nicolas S. Firfires; Holster ” monogram and marked: Bianchi / #1873 / SA 44 Sight: 7” H x 5.25” W; Belt and holster: 9.5” H x 41” Dia.

he Cowboy Artists of America is an exclusive organization of artists that was founded in 1965 by four t Western artists, Joe Beeler, Charlie Dye, John Hampton and George Phippen.

3165

Nicholas S. Firfires

(1917-1990) “Belled Tail Mule” Oil on canvas Signed lower right: Nicholas S. Firfires ©; titled again on a label affixed verso Sight: 10” H x 8” W $800-1,200 Notes: The Cowboy Artists of America is an exclusive organization of artists that was founded in 1965 by four prominent Western artists, Joe Beeler, Charlie Dye, John Hampton and George Phippen.

w w w. j o h n m o r a n . c o m 1 9 1

3166

A Mexican rug

20th century Woven in red, white, blue, black and green wool in the style of a Navajo Third Phase chief’s blanket, with striped banding alternating with bands of spider woman crosses 41” H x 46.5” W $1,000-1,500 Provenance: The Buck Jones Collection Private Collection, Central California, acquired from the above

1 9 2 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3167

A Mexican Saltillo blanket

Mid-20th century Woven in green, pink and multicolored wool in striped bands with a central striped serrated diamond and grey fringing 96.5” H x 42.5” W excluding 2” fringe $200-400 Provenance: The Estate of George David Sturges

w w w. j o h n m o r a n . c o m 1 9 3

3168

A Mexican double saddle blanket

20th century Woven in natural cream wool with a black key design border on two sides, with blue wool tassels to four corners 45” H x 31” W $300-500 Provenance: The Buck Jones Collection Private Collection, Central California, acquired from the above

1 9 4 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3169

A Mexican serape card table cover

Mid-20th century Woven in blue and multicolored wool with a central serrated diamond with floating motifs, finely woven inserts of playing card suit motifs and striped banding to each end 32” H x 29” W $500-700

w w w. j o h n m o r a n . c o m 1 9 5

1 9 6 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3170

A group of Chimayo handwoven wool purses

Mid-20th century and later; New Mexico Various makers including: Ganscraft and El Grandee-Fred Harvey Each handwoven from New Mexico Chimayo wool with polychrome geometric designs, comprising six large clutch-style flap-top purses, one large zip-top purse, two small zip-top pouches, and a drawstring bag; some with figural silver-toned snaps, various linings, interior zippers, and interior pockets, 9 pieces Largest clutch: 6.5” H x 10” W; Drawstring bag: 9.5” H x 8.5” W x 4” D $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

w w w. j o h n m o r a n . c o m 1 9 7

3171

A group of Chimayo handwoven wool purses

Mid-20th century; New Mexico Various makers including Ganscraft and El Grandee-Fred Harvey, Each handwoven from New Mexico Chimayo wool with polychrome geometric designs, comprising four large clutch-style flap-top purses, one large zip-top purse, and two small zip-top pouches; some with figural silver-toned snaps, various linings, and interior zippers, 7 pieces Largest: 6.5” H x 9.75” W $200-400 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

1 9 8 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

w w w. j o h n m o r a n . c o m 1 9 9

3172

A cigar store Native American figure, style of Samuel Robb

Circa 1890-1910 The carved wood and paint-decorated tobacconist trade figure with plank wood base and cast iron wheels Figure: 48.50” H x 12” W x 11” D; base: 13.5” H x 16” W x 20” D; overall height: 62” H $6,000-8,000

2 0 0 Art o off t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3173

Robert Scriver

(1914-1999) “A New Camp,” 1995 Patinated bronze on wood plinth Edition: 41/50 Signed, dated, and numbered in the casting: © Robert Scriver; titled on the plinth 13” H x 9” W x 24” D; with base: 14.5” H x 11” W x 26” D $1,000-2,000

w w w. j o h n m o r a n . c o m 2 0 1

2 0 2 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3174

A Navajo Teec Nos Pos rug

Mid-20th century; Dine Woven in grey, red, blue, green, orange, brown, black and cream wool in an elaborate design with central conjoined diamonds, two large X-motifs and numerous floating pictorial elements, with an elaborate multi-element border 118” H x 65” W $3,000-4,000

w w w. j o h n m o r a n . c o m 2 0 3

3175

A Navajo Teec Nos Pos rug

Early/Mid-20th century; Dine Woven in brown, grey, tan, and cream wool with central stepped elements and floating geometric motifs with a cross border 68” H x 44” W $2,000-3,000 Provenance: The Buck Jones Collection Private Collection, Central California, acquired from the above

2 0 4 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3176

A Navajo Teec Nos Pos rug

Mid-20th century; Dine Woven in grey, brown, black, cream, and red wool with a large elaborate central stepped diamond with all over geometric and feather motifs with a black border 53 H x 100 W $1,000-2,000 Provenance: The Buck Jones Collection Private Collection, Central California, acquired from the above

w w w. j o h n m o r a n . c o m 2 0 5

3177

A Navajo Chinle-style blanket

Mid-20th century; Dine Woven in yellow, gold, cream and grey natural colored wool in alternating bands of various stripes and serrated motifs 66” H x 50” W $400-600 Provenance: The Buck Jones Collection Private Collection, Central California, acquired from the above

2 0 6 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3178

Two Navajo Chinle blankets

Late 20th century; Dine Comprising two Navajo Chinle blankets with banded designs and woven in yellow, pink, gold, tan, brown and grey wool dyed with natural vegetal dyes, the larger woven by Mary Hale, 2 pieces Larger: 46.5” H x 34.5” W; Smaller: 39.5” H x 27.25” W $500-700 Provenance: The Buck Jones Collection Private Collection, Central California, acquired from the above Notes: Attached tags denote weaver and dyes.

w w w. j o h n m o r a n . c o m 2 0 7

3179

Two Navajo Chinle rugs

Mid/Late 20th century; Dine Comprising a Moe Nez Chinle rug with central double serrated diamonds and zig-zag serrated borders, woven in beige, brown, pink, and gold wool, as well as a smaller Chinle rug with striped and diamond banding, woven in olive, russet, gold, cream, and dark red wool, 2 pieces Larger: 46” H x 36.75” W; Smaller: 34” H x 23.75” W $500-700 Provenance: The Buck Jones Collection Private Collection, Central California, acquired from the above Notes: Tag from Russell Trading Company indicates Moe Nez as weaver of larger rug.

2 0 8 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3180

A Navajo Crystal rug

Early 20th century; Dine Woven in grey, cream, black, and red wool with stepped central diamond and floating cross and whirling log motifs, with a wide stepped border to two sides 79” H x 50” W $700-900

w w w. j o h n m o r a n . c o m 2 0 9

3181

A Navajo Crystal rug

Mid-20th century; Dine Woven in brown, grey, orange, pale yellow, mustard, and black wool with alternating striped bands and bands with geometric arrow motifs 84” H x 65.5” W $800-1,200 Provenance: The Buck Jones Collection Private Collection, Central California, acquired from the above

2 1 0 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3182

A New West Furniture Co. Molesworth-style sofa

21st century A contemporary design sofa in the style of Thomas Molesworth with “knee leg” burl wood frame and black leather upholstery with red piping, finished with brass tacking; back cushions are upholstered in Chimayo wool in black and each side is accented with a carved image of a cowboy and his horse 34” H x 80” W x 36” D $3,000-5,000 Provenance: Property from the Private Collection of Gregory Sierra Notes: Similar sofa is pictured in the “New West: Spring 2002” catalogue on page 29, fig. CO162. Couch is referred to as “Telluride Couch.” This particular couch has added burlwood accent, but is otherwise identical to the one pictured in the catalogue.

w w w. j o h n m o r a n . c o m 2 1 1

2 1 2 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

w w w. j o h n m o r a n . c o m 2 1 3

3183

A New West moose antler club chair with ottoman

21st century Likely by Michael and Virginia Patrick for New West, a newly manufactured Molesworth-style burlwood chair with moose antlers and red leather upholstery, finished with hammered brass tacking; together with matching red leather ottoman, 2 pieces Chair: 30.75” H x 46.75” x 34” D; Ottoman: 12.5” H x 23.75” W $1,000-2,000 Notes: An iteration of this chair appears in the New West summer 2002” catalog on page 21, fig. CC1-55A. Chair is identified as the “Moose Chair.” A similar chair by Michael and Virginia Patrick is illustrated on page 58 of “Cowboy High Style: Thomas Molesworth and the New West” by Elizabeth Clair Flood.

2 1 4 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3184

A New West Furniture Molesworth-style club chair

21st century A newly manufactured burlwood chair in the style of Molesworth with red and black leather, accented with Chimayo upholstery fabric with a thunderbird motif; accompanying ottoman in red and black leather, both finished with hammered brass tacking, 2 pieces Chair: 32.75” H x 27.5” x 35” D; ottoman: 15” H x 24” W $1,500-2,500 Provenance: Property from the Private Collection of Gregory Sierra Notes: This chair is illustrated in the “New West Summer 2002” catalogue on page 21, fig CC36. The chair is described as the “Club Chair with a ‘Knee.’”

w w w. j o h n m o r a n . c o m 2 1 5

3185

A New West Molesworth-style burl poker table and set chairs

21st century Comprising of a pedestal table with red leather octagonal top, finished with brass pyramidal tacking; accompanied by four keyhole chairs with a gunslinger motif on each back and rope accent, red leather upholstery on seats and arms and finished with brass tacking, 5 pieces Table: 29” H x 45.75” Dia.; Chairs: 36.75” H x 26.5” W x 18” D $1,800-2,200 Notes: Table pictured in “New West: Spring 2002” catalogue on page 44, fig. T2-106A. Table is referred to as “Burl Pedestal Table.” Similar chairs without the gunslinger motif are pictured on page 51, fig. C4-84B. Chair is referred to as “Keyhole Chair with Upholstered Arms.”

2 1 6 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3186

A New West Furniture Molesworth-style coffee table

21st century A contemporary design table in the style of Thomas Molesworth; the tabletop with inset black, Chimayo textile as well as black leather banding; log wood spindle shelf beneath tabletop 21.5” H x 60” x 30” D $800-1,200 Provenance: Property from the private collection of Gregory Sierra Notes: Pictured in “New West: Spring 2002” catalogue on page 47, fig. T19-CH. Table is referred to as “Chimayo Table.”

w w w. j o h n m o r a n . c o m 2 1 7

3187

3188

21st century Log wood frame with a red leather top and carved saddle silhouette to lower door, finished with brass tacking 28.25” H x 16” W x 20” D

21st century Likely a contem two log wood upholstery with Each: 35.125”

A New West Furniture Molesworth-style lamp table

$500-700 Provenance: Property from the private collection of Gregory Sierra Notes: A very similar table is pictured in the “New West: Spring 2002” catalogue on page 26, fig ST8-B. Table is referred to as “Custom Side Table.”

2 1 8 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

A Pair of New

$2,000-3,000

Provenance: Pr

Notes: Pair pic referred to as “

w West Furniture Molesworth-style lounge chairs

mporary design by Michael and Virginia Patrick in the style of Thomas Molesworth, frame chairs with carved skirts of horse heads at the rail and black leather h red piping, finished with brass tacking, 2 pieces H x 33.5” W x 30” D

roperty from the Private Collection of Gregory Sierra

ctured in the “New West: Spring 2002” catalogue on page 26, fig CC31. Chair is “Custom Arm Chair”. Displayed in photo with a similar side table as 14325-22.

w w w. j o h n m o r a n . c o m 2 1 9

3189

Edward Borein

(1872-1945) Ten Riders India ink on paper Appears unsigned Sight: 7.75” H x 13” W $600-800 Provenance: The Estate of George David Sturges Notes: Includes note from Harold G Davidson, Santa Barbara, California, dated September 15, 1971.

2 2 0 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3190

Edward Borein

(1872-1945) Cowboy on horseback India ink on paper Appears unsigned Sight: 7.5” H x 11” W $600-800 Provenance: The Estate of George David Sturges Notes: Letter of opinion signed by Harold G Davidson, Santa Barbara, California, dated March 22,1973.

3191

Edward Borein

(1872-1945) Rider roping steer India ink on paper Appears unsigned Sight: 5.50” H x 8” W $400-600 Provenance: Santa Barbara Historical Society, Santa Barbara, CA, Lot 117, November 7, 1998 The Estate of George David Sturges, acquired from the above Exhibitions: Exhibited: Arlington Gallery Notes: Letter of opinion, signed by Harold G Davidson, Santa Barbara, California, dated August 31,1972, attached verso. This is a sketch for the illustration used on the index page of “Etchings of The West”.

w w w. j o h n m o r a n . c o m 2 2 1

3192

Edward Borein (1872-1945) Cowboy chasing steer India ink on brown paper Appears unsigned 4.5” H x 7.75” W

Cowboys wrangling steer India ink on brown paper Appears unsigned 2.75” H x 6.125” W 2 pieces $300-500

2 2 2 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3193

Edward Borein (1872-1945)

“Montana Steer” India ink on paper Appears unsigned; titled on a label affixed verso Sight: 4.5” H x 7” W Untitled India ink on paper Appears unsigned 4” H x 7.125” W 2 pieces $500-700

w w w. j o h n m o r a n . c o m 2 2 3

3194

Donal Clark Jolley NWS WW

(b. 1933) “Stagecoach Stop,” 1979 Watercolor on paper Signed and dated lower right: Donal C. Jolley ©; inscribed at the lower left edge: Eureka, Nevada; copyright ink stamp affixed to the backing paper verso; titled, numbered, and inscribed verso: 79043 Sight: 14” H x 21.5” W $300-500 Notes: The inscription on the verso reads: 79043 Stagecoach Stop for Richard Patterson. A member of Watercolor West and National Watercolor Society.

2 2 4 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3195

Graydon Foulger

(b. 1942) “Amaco - from Swedetown, Utah,” 1995 Oil on canvas Signature incised lower right: Graydon Foulger; signed again, titled, dated, and inscribed on the stretcher bar verso: Nov. 1995 16” H x 20” W $800-1,200 Provenance: The Estate of George David Sturges Notes: The inscription on the stretcher bar, verso, reads: Just south of Northern Salt Lake

w w w. j o h n m o r a n . c o m 2 2 5

3196

Paul Grimm

(1891-1974) “Quiet & Peace,” 1941 Oil on canvas board Signed lower left: Paul Grimm; signed again, titled, and dated verso 20” H x 30” W $1,000-1,500

2 2 6 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3197

Steve Songer

(b. 1941) A red house surrounded by trees Oil on board Signed lower right: Songer 12” H x 14” W $800-1,200 Provenance: The Estate of George David Sturges

w w w. j o h n m o r a n . c o m 2 2 7

3198

Junn Roca

(b. 1948) “Century Old Barn” Oil on canvas Signed lower right: Junn Roca; titled on both a gallery label and on an artist label, both affixed verso 9” H x 12” W $500-700 Provenance: Edenhurst Gallery, Los Angeles, CA The Estate of George David Sturges, acquired from above

2 2 8 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3199

Walt Gonske

(b. 1942) “The Village of San Jose” Oil on canvas board Signed lower left: Gonske; signed again with ©, titled, and numbered verso: 3689 8” H x 10” W $2,000-3,000 Provenance: Thunderbird Foundation, Maynard Dixon Country, Mt. Carmel, UT (WG031) The Estate of George David Sturges, acquired from the above, 2009

w w w. j o h n m o r a n . c o m 2 2 9

3200

Gary Lang

(b. 1960) “Early Spring-San Pasqual” Oil on canvas board Signed lower left: Gary Lang 11” H x 14” W $700-900 Provenance: John Moran Auctioneers, Pasadena, CA, June 19, 2001, Lot 17-A The Estate of George David Sturges, acquired from the above

2 3 0 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3201

Fred Grayson Sayre

(1879-1939) “High Mountain Valley” Oil on canvas laid to waxed canvas Signed lower left: F. Grayson Sayre; titled by repute 16” H x 20” W $1,000-1,500 Provenance: John Moran Auctioneers, Pasadena, CA, June 16, 1999, Lot 81 The Estate of George David Sturges, acquired from the above Notes: Biography of Fred Grayson Sayre affixed verso.

w w w. j o h n m o r a n . c o m 2 3 1

3202

Charles Muench

(b. 1966) “Ediza Lake, CA” Oil on Masonite Signed lower right: C. Muench; signed again, titled, and numbered: 1156, verso 12” H x 12” W $700-900 Provenance: The Estate of George David Sturges

2 3 2 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3203

Donald M. Hildreth

(b. 1941) “Rocky Meadow” Oil on Masonite Signed lower right: D.M. Hildreth; signed again, titled, and numbered verso: 00.104 8” H x 6” W $400-600 Provenance: Tirage Art Gallery, Pasadena, CA The Estate of George David Sturges, acquired from the above, 2000

w w w. j o h n m o r a n . c o m 2 3 3

3204

A Navajo Germantown textile

Late 19th century; Dine Woven in pale yellow/orange, pink, and black wool in diagonally set hooked rows on a red field 91.5” H x 61.5” W $2,000-3,000

2 3 4 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

w w w. j o h n m o r a n . c o m 2 3 5

3205

A Navajo regional rug

Mid-20th century; Dine Woven in diagonal bands of red, dark red, blue and black wool, each band meeting in a point at center 60.5” L x 39” W $1,000-1,500 Provenance: The Estate of George David Sturges

2 3 6 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3206

A Navajo regional rug

Early 20th century; Dine Woven in red, cream, grey and dark brown wool with crosses and squares motif within a latched border 74” H x 47” W $1,000-1,500 Provenance: The Estate of George David Sturges

w w w. j o h n m o r a n . c o m 2 3 7

3207

A Navajo regional rug

Early 20th century; Dine Woven in red, cream, dark brown, and grey wool with conjoined central diamonds and a hooked fret border 75” H x 53.5” W $800-1,200 Provenance: The Estate of George David Sturges

2 3 8 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3208

A Navajo regional rug

Mid-20th century; Dine Woven in black, grey, and cream wool with three serrated columns and a black serrated border 75.5” H x 43” W $400-600 Provenance: Property from the Private Collection of Gregory Sierra

w w w. j o h n m o r a n . c o m 2 3 9

3209

3210

Late 20th century; Dine Woven in brown, grey, red, and cream wool, with two central serrated diamonds and a bold red border 38.5” H x 23.5” W

Mid/Late 20th century; Dine Woven in grey, light yellow, gold, and ru X-motif and stepped borders 73.5” H x 42” W

A Navajo regional rug, by Stella Biaoni

A Navajo regional rug

$300-500

Provenance: Shiprock Trading Post, Shiprock, New Mexico (attached tag) The Buck Jones Collection Private Collection, Central California, acquired from the above

Provenance: Property from the Private Co

2 4 0 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

usset wool with a large central

ollection of Gregory Sierra

3211

A pair of Navajo textile cushions

Mid-20th century; Dine Each cushion cover made from a Navajo weaving in red, brown, cream and orange wool, each featuring a stepped cross motif, with herringbone stitch accents, 2 pieces Larger: 22” H x 21” W; Smaller: 18” H x 17” W $200-400 Provenance: The Estate of George David Sturges

w w w. j o h n m o r a n . c o m 2 4 1

3212

Jason Situ

(b. 1949) Yosemite, Half Dome Oil on canvas board Signed lower right: W.J. Situ 8” H x 10” W $1,000-1,500 Provenance: The Estate of George David Sturges

2 4 2 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3213

Ralph E. Oberg

(b. 1950) “North of Nom-ti-Jah,” 2007 Oil on linen board Signed lower left: Oberg; signed again, titled, and dated verso: Ralph E. Oberg 10” H x 12” W $1,000-2,000 Provenance: Autry National Center, Los Angeles, CA, “Masters of the American West Fine Art Exhibition and Sale,” 2008, M34 The Estate of George David Sturges, acquired from the above Notes: Inscribed verso: “Painted on location near Nom-ti-Ja Lodge, Bow Lake, Banff N.P., AB, 9/2007”

w w w. j o h n m o r a n . c o m 2 4 3

3214

Donald Demers

(b. 1956) Desert landscape with red rock cliffs Oil on board Signed lower left: Demers 8” H x 10” W $1,000-1,500 Provenance: The Estate of George David Sturges

2 4 4 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3215

Ron Rencher PAPA

(b. 1952) “Navajo Wealth” Oil on gesso board Signed lower right: © R. Rencher; signed again, titled, and inscribed, verso 8” H x 11” W $700-900 Provenance: Thunderbird Foundation, Mt. Carmel, UT The Estate of George David Sturges, acquired from the above, 2011 Notes: Inscription verso: A Navajo shepherd moves his flock; the Vermillon [sic] Cliffs are the backdrop of this scene

w w w. j o h n m o r a n . c o m 2 4 5

3216

A Gerhard Heilmann Royal Copenhagen quail pottery vase

Gerhard Heilmann (1859-1946) Late 19th century; Denmark Inscribed underside: 5168, L1 / G. Heilmann A tall blue Royal Copenhagen vase depicting six quail in a forested setting 11.5” H x 8” Dia. $1,000-1,500 Provenance: From The Estate of George David Sturges

2 4 6 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3217

John Potter

(b. 1957) “Ravens,” 2009 Oil on canvas board Signed lower right: J. Potter © and with the artist’s device; signed again, titled, and dated verso 11” H x 14” W $1,000-1,500 Provenance: Mountain Trails Gallery, Jackson, WY The Estate of George David Sturges, acquired from the above, 2009

3218 - Lot Withdrawn

w w w. j o h n m o r a n . c o m 2 4 7

2 4 8 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3219

An American molded copper moose weathervane Late 20th/Early 21st century With full-bodied moose on a rod and cast iron stand 54” H x 24” W x 18” D $300-500 Provenance: The Estate of George David Sturges

w w w. j o h n m o r a n . c o m 2 4 9

3220

Harold Stack

(b. 1967) “Along the Gros Ventre,” 2004 Oil on Masonite Signed and dated lower right: Harold Stack 14” H x 20” W $1,000-1,500 Provenance: Mountain Trails Gallery, Jackson, WY The Estate of George David Sturges, acquired from the above, 2005

2 5 0 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3221

James (Jim) Morgan

(b. 1947) “Shiras Bull - Autumn” Oil on linen board Signed lower left: Jim Morgan; signed again, and with © verso; titled on a label affixed verso 9” H x 12” W $700-900 Provenance: The Estate of George David Sturges

w w w. j o h n m o r a n . c o m 2 5 1

3222

Gary Schildt

(b. 1938) “Moose,” 1984 Patinated bronze on a wooden base From the edition of unknown size Signed and dated in the casting: Schildt © 28” H x 25” W x 11 D; with base: 30” H x 27” W x 15” D $2,000-3,000

2 5 2 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3223

Tim Shinabarger

(b. 1966) “Winter Willows,” 2013 Patinated bronze Edition: 26/30 Signed, dated, and numbered in the casting: © 2013 Shinabarger; titled and dated again on a label verso; foundry: Art Castings of Montana; with initialed applied medallion 15” H x 6.5” W x 8” D $1,500-2,000 Provenance: Tim Shinabarger Studio, Billings, MT The Estate of George David Sturges, acquired from the above, 2014

3224

Gerald Shippen

(b. 1955) “Quick Draw,” 2014 Patinated bronze on wood plinth Signed, dated, titled, numbered, and inscribed in the casting: Gerald Shippen © / 2014 / Gomin 3 13.5” H x 15.5” W x 7” D; with base:14.5” H x 17.5” W x 9” D $2,000-4,000 Provenance: The Estate of George David Sturges

w w w. j o h n m o r a n . c o m 2 5 3

3225

James (Jim) Morgan

(b. 1947) “High Desert Pronghorns,” 2009 Oil on linen board Signed lower left: Jim. Morgan.; signed again and dated, and with the © verso; titled on a label affixed verso 9” H x 12” W $700-900 Provenance: Thunderbird Foundation, Maynard Dixon Country, Mt. Carmel, UT (JM061) The Estate of George David Sturges, acquired from the above, 2009

2 5 4 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3226

TGreg Wilson

(b. 1962) “His Majesty” Oil on canvas board Signed lower right: Greg Wilson; titled on a gallery invoice 10” H x 8” W $500-700 Provenance: Taminah Gallery, Park City, UT The Estate of George David Sturges, acquired from the above, 2005 Notes: This lot is accompanied by the original 2005 invoice from Taminah Gallery, Park City, UT.

w w w. j o h n m o r a n . c o m 2 5 5

3227

Tim Shinabarger

(b. 1966) “Cracker Jack,” 2010 Patinated Bronze Edition: 23/35 Signed, dated, and numbered in the casting: Shinabarger / © 10 13” H x 3.5” W x 9.5” D; with base: 14.5” H x 7” W x 11” D $2,000-3,000 Provenance: The Estate of George David Sturges

2 5 6 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3228

Tim Shinabarger (b. 1966)

Moose Patinated bronze Edition: 141/150 Signed and numbered in the casting: © Shinabarger 7” H x 6.5” W x 2” D; with base: 7.5” H x 6.5” W x 3” D An elk Patinated bronze Edition: 20/150 Signed and numbered in the casting: © Shinabarger 5.75” H x 4” W x 1.5” D; with base: 6.5” H x 4.5” W x 2.5” D 2 pieces $800-1,200 Provenance: The Estate of George David Sturges

w w w. j o h n m o r a n . c o m 2 5 7

3229

James (Jim) Morgan

(b. 1947) “R and R - Young Tom Mt. Lion” Oil on board Signed lower right: Jim Morgan ©; signed again and titled verso 9” H x 12” W $700-900 Provenance: The Estate of George David Sturges

2 5 8 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3230

James (Jim) Morgan

(b. 1947) “Canyon Princess” Oil on linen board Signed lower right: Jim Morgan ©; signed again verso; titled on a label affixed verso 9” H x 12” W $700-900 Provenance: Thunderbird Foundation for The Arts, Mt. Carmel, UT The Estate of George David Sturges, acquired from the above, 2012

w w w. j o h n m o r a n . c o m 2 5 9

2 6 0 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3231

Tim Shinabarger

(b. 1966) “Catnap,” 2006 Patinated bronze Edition: 4/40 Signed, dated, and numbered in the casting: © 06 Shinabarger; foundry mark: Art Castings of Montana; further incised to interior: WS 14” H x 15” W x 6.25” D $3,000-5,000 Provenance: Sold: Autry National Center, Los Angeles, CA, “Masters of the American West Fine Art Exhibition and Sale,” 2007, #269 The Estate of George David Sturges, acquired from the above

w w w. j o h n m o r a n . c o m 2 6 1

3232

Eric Forlee

(b. 1949) “Fire,” 1995 Oil on canvas Signed and dated lower right: Forlee; titled on the frame plaque 16” H x 12” W $500-700 Provenance: Trailside Fine Art Galleries, Scottsdale, AZ; Jackson, WY; and Carmel, CA

2 6 2 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3233

Eric Forlee

(b. 1949) “Sunset at Chirundu,” 1995 Oil on canvas Signed and dated lower left: Forlee; titled on the frame plaque 12” H x 16” W $500-700 Provenance: Trailside Fine Art Galleries, Scottsdale, AZ; Jackson, WY; and Carmel, CA

w w w. j o h n m o r a n . c o m 2 6 3

3234

Fred Machetanz

(1908-2002) “Monarch of the Arctic,” 1956 Watercolor on paperboard Signed and dated lower right: Fred Machetanz; signed again and titled on the recto mat Image: 15.25” H x 21.25” W; Board: 17.5” H x 24” W $1,000-2,000 Provenance: Collection of H. Willard Nagley II, Anchorage, Alaska Thence by descent to the present owner, Washington Sold: Bonhams, Los Angeles, CA, November 20, 2017, Lot 156

2 6 4 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3235

Bridger Konkel

(Active 21st century) “May Afternoon in the Mountains” Oil on panel Signed lower right: Bridger Konkel; titled verso 9” H x 12” W $300-500 Provenance: Simpson Gallagher Gallery, Cody, WY The Estate of George David Sturges, acquired from the above, 2006

w w w. j o h n m o r a n . c o m 2 6 5

3236

Ralph E. Oberg

(b. 1950) “Cimmaron Sunset,” 2004 Oil on canvas laid to panel Signed lower left: Oberg; signed again, titled, inscribed, dated, and with the ©, verso 8” H x 10” W $700-900 Provenance: Trailside Galleries, Jackson, WY The Estate of George David Sturges, acquired from the above, 2005

2 6 6 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3237

Len Chmiel

(b. 1942) “A Creek Runs Through It,” 2009 Oil on board Signed lower right: L. Chmiel; titled on a gallery label affixed verso 10” H x 12” W $1,000-1,500 Provenance: Thunderbird Foundation, Maynard Dixon Country, Mt. Carmel, UT (LC020) The Estate of George David Sturges, acquired from the above, 2009

w w w. j o h n m o r a n . c o m 2 6 7

3238

John Hughes

(b. 1949) Mountainside with pine trees Oil on canvas board Signed lower left: John Hughes 10” H x 12” W $300-500 Provenance: The Estate of George David Sturges

2 6 8 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3239

Matt Smith

(b. 1960) “Wind Blows,” 2015 Oil on linen board Signed lower left: Matt Smith; signed again, titled, dated, and with the © 10” H x 13.5” W $800-1,200 Provenance: The Estate of George David Sturges

w w w. j o h n m o r a n . c o m 2 6 9

3240

Ralph E. Oberg

(b. 1950) “A Big Winter,” 2008 Oil on linen board Signed lower right: Oberg; signed again with the ©, titled, and dated, verso 11” H x 14” W $1,000-2,000 Provenance: Simpson Gallagher Gallery, Cody, WY The Estate of George David Sturges, acquired from the above, 2008 Notes: Inscribed verso: “Painted on location near Ridgeway, CO, 3/08”

3241

Adam Smith

(b. 1984) “Morning Snow,” 2015 Acrylic on Masonite Signed and dated lower right: A. Smith; titled on gallery label affixed verso 7” H x 14” W $1,000-1,500 Provenance: Trailside Galleries, Jackson, WY (SmiA012) The Estate of George David Sturges

2 7 0 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3242

Greg Wilson

(b. 1962) Arctic wolf Oil on board Signed lower right: Greg Wilson; signed again verso 9” H x 6” W $500-700 Provenance: The Estate of George David Sturges

w w w. j o h n m o r a n . c o m 2 7 1

3243

Bob Scriver

(1914-1999) Wolf guarding prey, 1964 Patinated bronze Signed, dated, and inscribed in the casting: Bob Scriver #2 Big Horn Foundry / 1964 10” H x 15” W x 11” D $1,000-2,000

2 7 2 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3244

A Wyoming Furniture Co. steer head side chair

Circa 1940s A Wyoming Furniture Company pine and painted tulip poplar chair with orange leather upholstery and turquoise piping; chair has upholstered back, accented with hammered brass tacks and a bison skull motif; additionally, the wood surrounding the seat is decorated with a bison skull and yellow-painted arrow motifs 35” H x 16” W x 14” D $2,000-3,000

w w w. j o h n m o r a n . c o m 2 7 3

3245

A Wyoming Furniture Co. keyhole chair with bucking bronco

Circa 1940s A Wyoming Furniture Company pine and painted tulip poplar chair with red leather upholstery; chair has keyhole-shaped back with a bucking bronco motif in addition to steer head and painted arrow motifs around the seat 32.25” H x 16” W x 14” D $4,000-6,000

2 7 4 A r t of t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

w w w. j o h n m o r a n . c o m 2 7 5

3246

A Santo Domingo pottery dough bowl

Early/Mid-20th century; Santo Domingo Pueblo, New Mexico A large bowl with red slip glaze interior and geometric polychrome motifs to exterior 5.25” H x 12.75” Dia. $300-500

2 7 6 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3247

Two Galen Carpenter wood bowls

Galen Carpenter (1946-2017) Late 20th century Each signed Galen Carpenter Comprising one a wedge wood bowl, marked ‘93-76’ and a seed pot form, marked ‘89-146’, 2 pieces Larger: 4” H x 6.75” Dia.; Smaller: 1.75” H x 6” Dia. $400-600 Provenance: The Estate of George David Sturges Notes: Likely inscribed number indicates year made: 1993 and 1989.

w w w. j o h n m o r a n . c o m 2 7 7

3248

A contemporary carved wood bowl

2004 Marked: M. Riordan / 2004 A turned gum vein eucalyptus and ebony wood bowl 3.75” H x 10.75” Dia. $200-300 Provenance: The Estate of George David Sturges

2 7 8 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3249

William Maurice Carmichael (1892-1954)

A large sterling silver spoon with figure to handle Circa 1924-1950s; Victoria, British Colombia Stamped for William Maurice Carmichael [M surrounded by a C into a shield] A stylized silver version of a Northwest Coast horn spoon, with a wide ladle with standing figure set to handle 5” H x 12” L x 3” W 6.180 oz. troy approximately $200-400

w w w. j o h n m o r a n . c o m 2 7 9

3250

Edward Borein

(1872-1945) “Trail Herd No. 2” Etching and drypoint on paper From the edition of unknown size. Signed in the lower margin, at right: Edward Borein Plate: 7” H x 12.75” W; Sheet: 8.375” H x 14” W $1,000-1,500 Literature: Galvin 101

2 8 0 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3251

Edward Borein

(1872-1945) “Flying Mount” Etching and drypoint Edition: 7/30 Signed in pencil and with the artist’s remarque in pencil in the lower margin: Edward Borein Plate: 5” H x 7” W $800-1,200 Literature: Galvin 7

w w w. j o h n m o r a n . c o m 2 8 1

3252

Edward Borein

(1872-1945) “Hacienda Gate” Etching and drypoint on paper From the edition of unknown size Signed in pencil in the lower margin at right 4” H x 5” W $300-500 Literature: Galvin 269

2 8 2 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3253

Edward Borein

(1872-1945) “Reps” Etching and drypoint on brown paper From the edition of unknown size Signed in pencil at the lower right margin, at right: Edward Borein Plate: 5.75” H x 8.75” W $700-900 Literature: Galvin 52

w w w. j o h n m o r a n . c o m 2 8 3

325 Paul

“Offe Etchin Signe Plate:

“Defe Etchin Signe Plate:

2 piec

$800-

Prove

2 8 4 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

Brown (1872-1945)

ense” ng on paper ed in pencil in the lower margin, at right: Paul Brown; titled on a gallery label affixed verso : 7” H x 10” W

ense” ng on paper ed in pencil in the lower right margin: Paul Brown; titled on a gallery label affixed verso : 7” H x 10” W

ces

-1,200

enance: The House of O’Brien, Chicago, IL, 1096-A and 1096-B

3255

Edward Borein

(1872-1945) “Ready to Rope” Drypoint on paper From the edition of unknown size Signed in pencil in the lower margin, at right: Edward Borein Plate: 5” H x 4” W $500-700 Literature: Galvin 4

w w w. j o h n m o r a n . c o m 2 8 5

3256

Thomas Holland

(1917-2004) Sculpture of a cowboy on horseback, 1967 Patinated bronze From the edition of unknown size Signed, dated, and inscribed in the casting: Thomas Holland / © 1967 / G89 23” x 18” W x 16” D $400-600

2 8 6 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3257

Dusty L. “Dustin” Payne

(b. 1981) “Whispering Winds” Patinated bronze mounted on a wooden plinth Edition: 1/20 Signed and numbered in the casting: © Dustin Payne; signed again and titled on the base 14” H x 6” W x 7.25” D; with base: 16” H x 6” W x 7.25” D $800-1,200 Provenance: Mountain Trails Gallery, Park City, UT The Estate of George David Sturges, acquired from the above

w w w. j o h n m o r a n . c o m 2 8 7

3258

Simon Winegar

(b. 1979) “Red in Sky,” 2010 Oil on Masonite Initialed upper right: SW; signed, titled, and dated verso 6” H x 10” W $200-300 Provenance: Mountain Trails Gallery, Park City, UT The Estate of George David Sturges, acquired from the above

2 8 8 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3259

Simon Winegar

(b. 1979) “Gray... or Grey,” 2010 Oil on Masonite Signed lower left: S. Winegar; signed again, titled, and dated verso 9” H x 12” W $200-300 Provenance: Mountain Trails Gallery, Park City, UT The Estate of George David Sturges, acquired from the above

w w w. j o h n m o r a n . c o m 2 8 9

3260

21st Century American School Mountainside with rocks and snow Oil on canvas board Signed indistinctly lower right 9.5” H x 11” W $200-300 Provenance: The Estate of George David Sturges

2 9 0 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3261

Doug Braithwaite (b. 1964)

“Boats at Dock,” 2002 Oil on panel Signed, titled, and dated verso: Doug Braithwaite Sight: 5” H x 6.75” W “Approaching Mist,” 2002 Oil on panel Signed lower left: Doug B; signed again, titled, and dated verso Sight: 5” H x 6” W 2 pieces $200-300 Provenance: Coda Gallery, Park City, UT The Estate of George David Sturges, acquired from the above, 2003

w w w. j o h n m o r a n . c o m 2 9 1

3262

Daniel W. Pinkham

(b. 1952) “Change of Season,” 2009 Oil on canvas board Signed lower left: DWP; signed again, and titled verso 8” H x 8” W $300-500 Provenance: Thunderbird Foundation, Maynard Dixon Country, Mt. Carmel, UT (DP109) The Estate of George David Sturges, acquired from the above, 2009

2 9 2 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

w w w. j o h n m o r a n . c o m 2 9 3

3263

Dave Hall

(Active 20th/21st century) Winter landscape Oil on Masonite Signed lower left: Dave Hall 6” H x 11” W $400-600 Provenance: The Estate of George David Sturges

2 9 4 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3264

Dean Mitchell AWS

(b. 1957) Trees in a landscape, 2015 Watercolor on paper Signed, and dated lower left: Dean Mitchell © Sight: 5.75” H x 7.875” W $300-500 Provenance: The Estate of George David Sturges

w w w. j o h n m o r a n . c o m 2 9 5

3265

Ruby Manuelito (b.1930)

A Navajo sandpainting weaving Mid/Late 20th century; Dine Woven in dark brown, cream, red, blue and yellow wool, with three standing Yei figures surrounded by a Rainbow God, possibly depicting “Nightway Chant” imagery in a sandpainting style 21.75” H x 23.5” W $1,500-2,500 Notes: Considered a master weaver, Ruby Manuelito is part of an important family of Navajo master weavers. She was the daughter of Master Weaver Frances Manuelito and the granddaughter of Master Weaver Blind Man’s Wife, who was regarded as a true pioneer in the evolving designs of early, regional Navajo rugs. Ruby was also the daughter-in-law of Gladys Manuelito, or “Mrs. Sam”, who, as the niece of weaver Hastiin Klah, studied his weaving techniques and designs. In the early 1900s, Klah, also a Navajo Medicine Man, was one of the first weavers to depict imagery from the Yei Bi Chei dance and other representations of Navajo religion including sandpainting imagery, in a permanent form as a weaving in wool.

2 9 6 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

w w w. j o h n m o r a n . c o m 2 9 7

3266

3267

Mid-20th century; Dine A pictorial weaving with four stylized directional figures and feathers, woven in pink, yellow, cream, grey, black, blue, and red wool 33.5” H x 32.25” W

Mid/Late 20 Woven in re holding arro 45.5” H x 3

A small Navajo sandpainting weaving

A Navajo

$200-400

$500-700

Provenance: The Buck Jones Collection Private Collection, Central California, acquired from the above

Provenance Private Coll

2 9 8 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

Yei pictorial weaving

0th century; Dine ed, orange, brown, blue, grey, and white wool, depicting four standing Yei figures ows 37” W

e: The Buck Jones Collection lection, Central California, acquired from the above

w w w. j o h n m o r a n . c o m 2 9 9

3268

A Navajo Yei pictorial weaving

Mid-20th century; Dine Woven in grey, cream, brown, red, green, orange, and purple with six standing Yei figures and a conjoined diamond border to two sides 50” H x 86.5” W $1,000-2,000 Provenance: The Buck Jones Collection Private Collection, Central California, acquired from the above

3 0 0 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3269

Lula Brown (b. 20th century)

Navajo Yei Bi Chei weaving Late 20th century; Dine Woven in yellow, brown, orange, blue, and green wool, with fifteen Yei figures and an elaborate sawtooth border to two sides 14.75” H x 27.5” W $1,000-1,500

w w w. j o h n m o r a n . c o m 3 0 1

3270

A Western roping saddle, by Victor Ario Saddlery

Circa 1960s Tooled monogram: F.B.; maker’s mark: Victor Ario Saddlery / Great Falls Montana The tooled leather working saddle with seat rise, hand-braided lariat, billet strap, front and rear rigging dees, wooden stirrups with hobble strap, a canteen, and a saddle blanket on a stand, with tooling to the seat jockey, back housing and gullet areas Horn to cantle: 20”; swell width: 24”; gullet width: 15” $800-1,000

3 0 2 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3271

A Western roping saddle

Circa 1960s The tooled leather working saddle, possibly custom made, with seat rise, lariat, billet strap, front and rear rigging dees, wood and metal stirrups with hobble strap and concho-decorated tapaderos, a horn with brass tacking, a storage pouch, and a saddle blanket on a stand, with tooling to the seat jockey, back housing and gullet areas Horn to cantle: 21”; swell width: 20.5”; gullet: 20” $700-900

w w w. j o h n m o r a n . c o m 3 0 3

3272

A Western roping saddle, by Al Furstnow

Circa 1960s Maker’s mark: Al Furstnow / Miles City, Montana The tooled leather working saddle with seat rise, lariat, billet strap, front and rear rigging dees, cinch, and wood and metal stirrups on a stand, with tooling to the seat jockey, back housing and gullet areas Horn to cantle: 17.5”; swell width: 24.5”; gullet width: 15” $700-900

3 0 4 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3273

An early Western show saddle, by Theodore Lachambre

Circa 1880-1920 Maker’s mark: Theodore Lachambre / Missoula, Montana The tooled leather saddle with billet strap, front and rear rigging dees, breast collar with conchos, wood and tin stirrups with hobble straps, and a quilted leather seat on a stand, with tooling to the seat jockey, back housing and gullet areas Horn to cantle: 18”; swell width: 20”; width: 21” $600-800

w w w. j o h n m o r a n . c o m 3 0 5

3274

Leather Col. Littleton No. 1 Leather Saddlebag

21st century; Lynneville, Tennessee Fabric tag: Col Littleton, Purveyor of Fine Accoutrements in the Americana Tradition; Further labeled with brass plate, serial number 651 A Col Littleton steerhide leather saddlebag/briefcase designed and manufactured in Tennessee; accented with brass hardware and interior canvas pockets 13” H x 16” W x 4” D; strap length: 34.5”- 42.5” $200-400 Provenance: Property from the Private Collection of Gregory Sierra

3 0 6 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3275

A group of equestrian accessories

21st century Comprising a woven horsehair lead and two leather and horsehair riding crop, one crop made by Chuck Irwin, Solvang, CA, 3 pieces Largest crop: 40” L $600-800

w w w. j o h n m o r a n . c o m 3 0 7

3276

A group of spurs and gauntlets

20th century One pair of gauntlets marked: F.A. Meanea / Cheyenne Comprising two pairs of iron spurs with star rowels and two pairs of leather gauntlets, 8 pieces Largest spur: 5” H x 4” W x 10” D; largest gauntlet: 7” H x 5.25” W x 3.25” D $300-500

3 0 8 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3277

A pair of Crockett spurs

20th century Each impressed: Crockett / Stainless The stainless steel spurs with small star rowels and chased designs, 2 pieces Each: 2.5” H x 5.5” W x 9” D $300-400

w w w. j o h n m o r a n . c o m 3 0 9

3278

3279

Late 20th century; Dine Woven in red, black and grey wool in an opposed “X” pattern with central water bug motif and a black border 36.5” H x 25” W

20th century; Dine Woven in variegated brown, cream an field and interlocking key border 51.5” H x 32.5” W

A Navajo regional saddle blanket

A Navajo regional double saddle

$300-500

$500-700

Provenance: The Buck Jones Collection Private Collection, Central California, acquired from the above

Provenance: The Buck Jones Collectio Private Collection, Central California,

3 1 0 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

e blanket

nd dark brown wool, with open

on acquired from the above

3280

A Navajo double-faced saddle blanket

20th century, Dine Woven in orange, brown and cream wool in a double-faced weave, with orange wool tassels to four corners 49.25” H x 31.25” W $400-600 Provenance: The Buck Jones Collection Private Collection, Central California, acquired from the above

w w w. j o h n m o r a n . c o m 3 1 1

3281

Two Navajo saddle blankets

20th century; Dine One woven in cream, red, black, grey and gold wool, with a central overall serrated diamond, and a smaller one woven in black, red, grey, and cream wool with a central stepped cross, 2 pieces Larger: 36.5” H x 28” W; Smaller: 24.5” H x 30 “ W $300-500

3 1 2 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3282

A Navajo double saddle blanket

20th century; Dine Woven in black, cream, and grey wool in a double weave, with red wool tassels to two corners 55.5” H x 32” W $500-700

w w w. j o h n m o r a n . c o m 3 1 3

3283

Ramon Parmenter

(b. 1954) “Champion Blood” Patinated bronze on marble plinth Edition: 18/39 Unsigned 23.25” H x 5.5” W x 38.5” D; with base: 26” H x 15” W x 43” D $1,000-2,000

3 1 4 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3284

Attributed to Cammie Lundeen

(b. 1957) “A Little Crazy” Patinated bronze on wood plinth From the edition of unknown size Appears unsigned 25” H x 17” W x 10” D; with base: 27” H x 17” W x 13” D $500-700

w w w. j o h n m o r a n . c o m 3 1 5

3285

Paul Brown

(1983-1958) Polo player mid-swing, 1931 Watercolor on paper Signed, dated, and indistinctly inscribed lower right: Paul Brown Image/Sight: 9.25” H x 10” W; Sheet: 10” H x 10.75” W $1,000-2,000

3 1 6 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3286

Ron Rencher PAPA

(b. 1952) “View of Gooseberry Mesa” Oil on panel Signed lower right: © R. Rencher and with artist’s device; signed again and titled, verso; titled again on a gallery label affixed verso 8” H x 12” W $800-1,200 Provenance: Thunderbird Foundation for The Arts, Mt. Carmel, UT (RR001) The Estate of George David Sturges, acquired from the above, 2010 Notes: A member of PAPA, the Plein-Air Painters of America.

w w w. j o h n m o r a n . c o m 3 1 7

3287

Ron Rencher PAPA

(b. 1952) “Zion Spring Harmony” Oil on canvas Signed lower left: © R. Rencher; signed again; titled on label affixed verso 12” H x 12” W $800-1,200 Provenance: Thunderbird Foundation, Maynard Dixon Country, Mt. Carmel, UT (RR081) The Estate of George David Sturges, acquired from the above, 2009

3 1 8 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3288

Cody DeLong

(Active 20th century) “Kaibab Shelf” Oil on Masonite Signed lower right: Cody DeLong; signed again, and titled verso 10” H x 8” W $200-300 Provenance: The Estate of George David Sturges

w w w. j o h n m o r a n . c o m 3 1 9

3289

Linda Glover Gooch

(b. 1956) “Living on the Edge” Oil on canvas board Signed lower right: L. Glover Gooch; signed again and titled, and with the ©, verso 8” H x 10” W $700-900 Provenance: The Estate of George David Sturges

3 2 0 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3290

21st Century American School

“Below Deva Temple, Near Wall Creek” Pencil on paper Signed indistinctly and dated lower right: 2010; signed and dated again and titled verso Sight: 13.5” H x 10.5” W; Sheet: 14” H x 11” W $400-600 Provenance: The Estate of George David Sturges Notes: Inscription: “Below deva temple, near wall creek.”

w w w. j o h n m o r a n . c o m 3 2 1

3291

Jim Wilcox

(b. 1941) “Death Canyon,” 1929 Oil on canvas Signed lower right: Jim Wilcox; titled and dated verso; titled again on a tag affixed verso 9” H x 12” W $800-1,200 Provenance: Taminah Gallery, Park City, UT The Estate of George David Sturges, acquired from the above, 2005

3293

Jim Wilcox

(b. 1941) “Skies Ablaze” Oil on canvas board Signed lower right: Jim Wilcox ©; titled and numbered verso: #2878 9” H x 12” W $1,000-1,500 Provenance: Buffalo Bill Art Show and Sale, Cody, WY The Estate of George David Sturges, acquired from the above

3 2 2 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3292

Jim Wilcox

(b. 1941) “Soaring the Hill Cliffs, Study” Oil on canvas board Signed lower right: Jim Wilcox 12” H x 9” W $800-1,200 Provenance: Wilcox Gallery, Jackson, WY The Estate of George David Sturges, acquired from the above, 2005

w w w. j o h n m o r a n . c o m 3 2 3

3294

A Winchester lever action repeating rifle

1886 Marked: Winchester Repeating Arms, New Haven, Ct., / Improvement Patented March 29, 1855 October 16, 1860 / 32 Cal. / Model 1873 / serial no. 159368A A 32 caliber Winchester repeating rifle with lever action and possibly walnut stock 42.5” L x 4” W $800-1,200 Notes: Colloquially known as “The Gun that Won the West!”

3 2 4 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3295

A Winchester repeating rifle, model 1886

1889 Marked: Manufactured by the Winchester Repeating Arms Co. / New Haven, Conn., U.S.A. / Model 1886 / serial no. 29017 A John Browning-designed Winchester repeating rifle with lever action and possibly walnut stock with decorative brass tacking design and a leather strap 45” L x 1.75” W $1,000-1,500

w w w. j o h n m o r a n . c o m 3 2 5

3 2 6 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3296

A Mills Castle Front novelty slot machine

Circa 1933-1936 The Mills Novelty Co. five-cent slot machine with castle-themed decoration to the metal body; five cent slots and Gold Award token dispenser; attached candy dispenser; all with wood base 25” H x 18” W x 8.75” D $1,000-1,500

w w w. j o h n m o r a n . c o m 3 2 7

3297

A collection of wood duck decoys

20th century Six with various maker’s marks Each carved wood with varied hand-painted surfaces, representing different species; each varying in age and style, some with glass eyes, 18 pieces Largest (Canadian Goose): 11.25” H x 20” W; Smallest (Brown Duck) 5.75” H x 15” W $800-1,000

3 2 8 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

w w w. j o h n m o r a n . c o m 3 2 9

3298

3299

Mid-20th century; Dine Woven in black, gold, grey, tan and cream in a storm pattern with waterbugs and a black serrated border 79” H x 50” W

Mid/Late 20th century Woven in red, black, g pattern motif 49.25” H x 32” W

A Navajo Storm pattern rug

A Navajo Storm var

$800-1,200

Provenance: The Buck Jones Collection Private Collection, Central California, acquired from the above

Provenance: The Buck Private Collection, Cen

Notes: Attached tag d

3 3 0 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

riant rug, by Mary Begay

y; Dine grey, and cream wool, in an all-over elaborate storm

k Jones Collection ntral California, acquired from the above

3300

A Navajo double-faced blanket

Mid-20th century; Dine Woven in cream, tan, and orange wool with all-over checkerboard geometric motif 59” H x 33” W $300-500 Provenance: The Buck Jones Collection Private Collection, Central California, acquired from the above

denotes weaver.

w w w. j o h n m o r a n . c o m 3 3 1

3301

3302

Mid/Late 20th century; Dine Woven in yellow, tan, dark grey and light grey vegetal dyed wool with alternating narrow stripes and bands of conjoined serrated diamonds 66” H x 50” W

20th century Marked: PULLMAN 8 Pair of vintage Pullma Pullman with an accom Each: 84.5” L x 52.25”

A Navajo Wide Ruins rug

$400-600 Provenance: Property from the Private Collection of Gregory Sierra

3 3 2 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

A pair of Pullman w

$200-300 Notes: Numbers may

woolen railroad blankets

and 9 an railroad blankets in a two-tone brown patterned wool; each marked mpanying number, 8 and 9, 2 pieces ”W

be indicative of a room or railcar number.

w w w. j o h n m o r a n . c o m 3 3 3

d ay, Nov em ber 1 6 , 2 0 2 2

3 3 6 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3303

William Henry Dethlef Koerner

(1878-1938) “The Saturday Evening Post” Illustration sketch and cover Mixed media on paper Initialed lower right: WHDK 2 pieces Sight: 9.5” H x 6.75” W $7,000-9,000 Provenance: Debra Force Fine Art, Inc., New York, NY Private Collection, Central California Notes: A framed cover of “The Saturday Evening Post” from October 6, 1928 featuring this artwork accompanies the lot.

w w w. j o h n m o r a n . c o m 3 3 7

3 3 8 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3304

Maurice Taquoy (1878-1952)

“Deer Eating in a Forest,” 1911 Etching and aquatint with hand-coloring on paper From the edition of unknown size Signed and dated in pencil in the lower right margin: Maurice Taquoy; numbered in the lower left margin: 9; titled by repute Plate: 12.5” H x 18” W “The Fighting Stags,” 1911 Etching and aquatint with hand-coloring on paper From the edition of unknown size Signed and dated in pencil in the lower right margin: Maurice Taquoy; numbered in the lower left margin: 37; titled by repute Plate: 12.5” H x 18” W “Deer and Fallen Trees in a Snowy Landscape,” 1911 Etching and aquatint with hand-coloring on paper From the edition of unknown size Signed and dated in pencil in the lower right margin: Maurice Taquoy; numbered in the lower left margin: 23; titled by repute Plate: 12.5” H x 18” W “Deer Resting in a Forest at Dark,” 1911 Etching and aquatint with hand-coloring on paper From the edition of unknown size Signed and dated in pencil in the lower right margin: Maurice Taquoy; numbered in the lower left margin: 9; titled by repute Plate: 12.5” H x 18” W 4 pieces $400-600 Provenance: The Estate of George David Sturges

w w w. j o h n m o r a n . c o m 3 3 9

3305

After Paul Lauritz

(1889-1975) “A Song of Spring, California Eucalyptus,” 1924 Screenprint in colors on paper board Signed in the image lower left: Paul Lauritz 13.625” H x 16.625” W $200-300 Provenance: Sold: John Moran Auctioneers, Pasadena, CA, October 19, 1999, Lot 230 The Estate of George David Sturges, acquired from the above

3306

R.C. Gorman

(1932-2005) “Navajo Weaver,” 1985 Lithograph in colors on paper Edition: 154/200 Signed and dated in pencil in the image at the lower left: R.C. Gorman; numbered in pencil in the image at lower right; with the Western Graphics blindstamp lower center Sheet: 25” H x 34” W $500-700 Provenance: The Upstairs Gallery, Costa Mesa, CA Notes: A certificate of authenticity and original purchase receipt from The Upstairs Gallery accompanies the lot.

3 4 0 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3307

R.C. Gorman

(1932-2005) “Fall Etude,” 2002 Lithograph in colors on paper Edition: 74/75 Signed and dated in pencil at the lower left: R.C. Gorman; numbered in pencil at the lower right; with the artist’s blindstamp lower left and the Houston Fine Art Press blindstamp lower right Image/Sheet: 22.5” H x 30” W $500-700 Provenance: Rio Grande Gallery, Albuquerque, NM Johnson Galleries, Pasadena, CA

w w w. j o h n m o r a n . c o m 3 4 1

3308

R.C. Gorman

(1932-2005) “Secrets,” 1987 Lithograph in colors on paper Edition: 128/225 Signed and dated in pencil in the image at the lower left: R.C. Gorman; numbered in pencil in the image at the lower right; with the Origins Press blindstamp lower center Image/Sheet: 36” H x 52” W; Sheet 36.5” H x 53” W $1,200-1,800 Provenance: The Upstairs Gallery, Costa Mesa, CA Notes: A certificate of authenticity and original purchase receipt from The Upstairs Gallery accompanies the lot.

3 4 2 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3309

R.C. Gorman

(1932-2005) “Woman from Maui,” 1983 Screenprint in colors on paper Edition: 28/150, second (final) state Signed and dated lower left: R.C. Gorman; with the artist’s blindstamp lower left and the EP blindstamp lower right Image/Sheet: 28.5” H x 33.5” W $500-700 Provenance: The Upstairs Gallery, Costa Mesa, CA Notes: A certificate of authenticity and original purchase receipt from The Upstairs Gallery accompanies the lot.

w w w. j o h n m o r a n . c o m 3 4 3

3310

Bennie Nelson Yellowman

(b. 1952) “The Challenge,” 1991 Watercolor, gouache and ink on paper Signed, dated and inscribed, lower right: Yellowman © / phil. 4:13; titled on the artist’s card affixed to the backboard Image/Sheet: 22.5” H x 30” W $800-1,200

3 4 4 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3311

A Navajo Nativity pictorial weaving

Late 20th/21st century; Dine Woven in blue, brown, and multi-colored wool depicting a Nativity scene with attendant figures and animals 26” H x 36” W $200-400

w w w. j o h n m o r a n . c o m 3 4 5

3312

A framed cowboy scarf from Kalispell, Montana

Mid-20th century A square beige twill scarf with printed cowboy motifs in red and yellow, and a central roundel with words: Kalispell, Mont. 19.25” H x 19” W $400-600

3 4 6 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3313

A Navajo regional rug

Early/Mid-20th century; Dine Woven in brown, cream, red, and variegated brown wool with a single column of five conjoined stepped diamonds and a sawtooth border 43” H x 23.75” W $300-500

w w w. j o h n m o r a n . c o m 3 4 7

3314

A Navajo regional rug

Early 20th century; Dine Woven in brown, cream, red and variegated black wool with a double stepped cross motif and arrows, with a stepped border 85” H x 38.5” W $400-600

3 4 8 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3315

A Navajo regional rug

20th century; Dine Woven in red, cream, grey and black wool, with a central stepped diamond and lozenges 86” L x 59” W $200-400

w w w. j o h n m o r a n . c o m 3 4 9

3316

3317

(1872-1945) Cowboy with a herd of cattle India ink on board Appears unsigned; numbered, and inscribed verso Image: 1.25” H x 2.125” W; Board: 2.375” H x 3” W

(1872-1945) “Study of horses” India ink on paper Appears unsigned; titled on a label affixed v Sight: 7.5” H x 11.375” W

Edward Borein

$400-600

$800-1,200

Notes: The inscription reads: “From the collection of Dick Flood,” Dick Flood is an American singer and songwriter.

Provenance: Santa Barbara Historical Societ The Estate of George David Sturges, acquir

Notes: Letter of opinion accompanies this w California, August 20, 1998. Signed and dat

3 5 0 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

verso

ty, Santa Barbara, CA red from the above, 1994

worked from the Arlington Gallery, Santa Barbara, ted by Marlene R. Schulz, attached verso.

w w w. j o h n m o r a n . c o m 3 5 1

3318

Edward Borein

(1872-1945) Cowboy and stampeding horses India ink and pencil on paper Unsigned Sight: 7” H x 10” W; Sheet: 7.5” H x 12.375” W $700-900 Notes: This lot is accompanied by a letter of authentication prepared and signed by Harold G. Davidson on February 1, 1981.

3 5 2 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3319

Edward Borein (1872-1945)

“Vaquero Fun” India ink on paper Appears unsigned; titled on a copy of a letter of authenticity affixed to the frame’s backing paper Sheet: 8.5” H x 14” W “Western Cowboy” India ink on paper titled on a gallery label affixed to the frame’s backing paper Sight: 7.5” H x 10.5” W 2 pieces $1,000-1,500 Notes: This lot is accompanied by a copy of a letter of authenticity for “Vaquero Fun” prepared and signed by Harold G, Davidson, September 20, 1991.

w w w. j o h n m o r a n . c o m 3 5 3

3320

Edward Borein

(1872-1945) Nine Christmas and New Year’s cards framed together Each: Printed images and text on paper Each: From the edition of unknown size Each: Appears unsigned Sight of largest: 5” H x 11.75” W $700-900

3 5 4 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3321

Edward Borein

(1872-1945) ‘’Tecolote Ranch” Etching and drypoint on paper From the edition of unknown size Signed in pencil in the lower margin at right Plate: 7.5” H x 9” W $500-700 Literature: Galvin 274

w w w. j o h n m o r a n . c o m 3 5 5

3322

Paul Brown

(1893-1958) “The Red Rug,” 1936 Watercolor on paper Signed, titled, and dated lower right: Paul Brown 12.5” H x 15” W $1,000-2,000

3 5 6 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3323

L.F. Wheeler

(19th century) “Civilization from Johnsons Atlas,” 1868 Oil on canvas Signed and dated lower left: L. F. Wheeler; signed and dated again, titled, numbered, and inscribed verso: No. 3 / Tecumseh, Mich. 37.25” H x 31.5” W $2,500-3,500

w w w. j o h n m o r a n . c o m 3 5 7

3 5 8 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

w w w. j o h n m o r a n . c o m 3 5 9

3324

Oscar Bach (1884-1957)

A bronze wall mirror Circa 1920s Stamped plaque on verso With scrolled foliate designs, grapes, and bird heads 56” H x 30” W x 1” D $800-1,200

3 6 0 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3325

A George Hunt Spanish Colonial Revival walnut bench

Circa 1920s; Pasadena, CA With George Hunt maker’s mark and metal tag to underside With carved details centering a “B” monogram, commissioned for the 1927 Santa Barbara Biltmore Hotel, Montecito, CA 38.5” H x 71” W x 25” D $1,000-2,000 Provenance: Deaccessioned from the Santa Barbara Biltmore, Montecito, CA Notes: This bench is photographed in a Santa Barbara Biltmore souvenir magazine, published May 5, 1948, on page 48. This lot is accompanied by the souvenir magazine.

w w w. j o h n m o r a n . c o m 3 6 1

3326

Two Marshall Laird Spanish Colonial Revival walnut armchairs

Circa 1920s; Montecito, CA Each with Marshall Laird metal tag to underside Each with carved floral backs, commissioned for the 1927 Santa Barbara Biltmore Hotel, Montecito, CA, 2 pieces Each: 43.75” H x 21.25” W x 23” D $700-900 Provenance: Deaccessioned from the Santa Barbara Biltmore, Montecito, CA Notes: On page 84 in the Santa Barbara Biltmore souvenir magazine there is a note refrencing specialty furniture pieces created from the workshops of Marshall Laird.

3 6 2 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3327

A newspaper rack from the Santa Barbara Biltmore

Circa 1920s-30s; Montecito, CA With turned wood frame and five hanging dowels on casters 33” H x 35” W x 15” D $400-600 Provenance: Deaccessioned from the Santa Barbara Biltmore, Montecito, CA

w w w. j o h n m o r a n . c o m 3 6 3

3328

A collection of brass maritime lamps

Early 20th century Red lamp marked Trademark Triplex; Further marked Pat’d 1910; Larger pair marked Manufactured by Perkins Lamp Corporation, Brooklyn, New York Three pairs of ship lamps totaling six lamps; Four lanterns of the same style, consisting of two pairs; two paired brass, one painted green with green glass and one painted red with red glass, two brass with verdigris patina, again, one with green glass and one with red glass; additional larger pair of verdigris brass lamps with transparent glass, 6 pieces Largest lamp: 13.25” H x 6” W; Smallest lamp: 10.75” H x 6.5” W $500-700 Provenance: The Estate of George David Sturges

3 6 4 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3329

Two PERKO brass and glass ship lanterns

Early 20th century Marked: Perko / Perkins Marine Lamp, Brooklyn, NY Two large brass Perkins Marine Lamp Company PERKO oil lanterns, one with red insert, one with green insert, 2 pieces Each: 21.5” H x 11.5” W $800-1,200 Provenance: The Estate of George David Sturges

w w w. j o h n m o r a n . c o m 3 6 5

3330

A brass ship’s lantern with multicolor glass panels

Early 20th century Marked “Starboard” on one side and “Port” on the reverse Large brass maritime lantern with various-colored glass inserts; glass windows are colored using foil backing, varying from blue to red, to green, to orange, to yellow, and finally one transparent panel; cotton wick still present inside; embossed text above red glass panel reads ‘port’; embossed text above blue glass reads “starboard” 14” H x 7.5” W $200-300 Provenance: The Estate of George David Sturges

3 6 6 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3331

Two copper maritime items

Early 20th century Smaller lantern marked with a winged horse logo; Further marked: Tung Woo / Hong Kong; US Navy binnacle marked: US Navy BU. of Ships, Lionell Corporation, NY Comprising a larger WWI-era Lionel Lifeboat US Navy Binnacle constructed out of copper and brass, compass and oil burning wick are missing from this lifeboat binnacle, leaving only the exterior hull, complete with beveled glass window; and a smaller Starboard copper lantern by Tung Woo with transparent glass nautical lens and oil burning wick inside, 2 pieces Binnacle: 12.5” H x 8.5” W; Lantern: 11” H x 6.5” W $400-600 Provenance: The Estate of George David Sturges Notes: This maritime binnacle was commissioned from Lionel Corporation by the US Navy in 1942. The intact binnacle contained an oil burning wick in the side compartment, which, when lit, illuminated the magnetic, liquid compass in the base of the copper hull. Both the wick and the compass are missing from this piece.

w w w. j o h n m o r a n . c o m 3 6 7

3332

Two gold scales

19th century Coin scale marked: Made in England Two small balancing scales used for measuring coins and gold; one English coin scale complete with nine different weights, both ounces and ounces troy; one partial balancing scale, missing wood base, 11 pieces Coin scale: 3” H x 7” W; partial scale: 8.5” L x 2.75” W $200-400 Provenance: The Estate of George David Sturges

3 6 8 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3333

Three copper ale mugs

19th century A group of three hand-hammered copper ale mugs, likely from the 19th century, perhaps earlier, 3 pieces Largest: 5.125 H x 9” Dia. $100-200 Provenance: The Estate of George David Sturges

w w w. j o h n m o r a n . c o m 3 6 9

3334

A German painted tin flat circus set

19th century One marked: Zinn-Mory Munchen; Another marked “R / HW” A tin circus set comprising various pieces of performers, animals, gates, flags, and train cars, 30 pieces Largest: 2” H x 7.5” W; smallest: 1” H x 5” W $400-600 Provenance: The Estate of George David Sturges

3 7 0 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

w w w. j o h n m o r a n . c o m 3 7 1

3335

Keith Bond

(b. 1971) “Ala Heiav Coastline,” 2016 Oil on linen on artist’s board Signed, titled, dated, and inscribed verso: Keith Bond 10” H x 12” W $400-600 Provenance: Illume Gallery of Fine Art, Salt Lake City, UT The Estate of George David Sturges, acquired from the above, 2016 Notes: The inscription, verso, reads: Painted on location Hawaiian Paradise Park, Keaau, Hawaii. Painted as part of the “Where in the World is Plein Air” event.

3 7 2 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3336

Keith Bond

(Active 20th/21st century) “Rough Surf,” 2010 Oil on linen artist board Signed lower left: Keith Bond; signed again, titled, dated with the ©, and inscribed verso; titled again and dated again on artist label affixed verso 8” H x 10” W $300-500 Provenance: The Estate of George David Sturges Notes: The inscription on the verso reads: Apinted on location. Goat Rock Beach Near Jenner, CA, 5/20/10. Blustery, but a great day at beach. My son gathered shells & rocks while I painted.

w w w. j o h n m o r a n . c o m 3 7 3

3337

Steve Songer

(b. 1941) “Study for Sundown at Rocky Point” Oil on board Signed lower right: Songer; signed again, and titled verso 12” H x 16” W $700-900 Provenance: Taminah Gallery, Park City, UT The Estate of George David Sturges, acquired from the above, 2008

3 7 4 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3338

Peter Adams PSA

(b. 1950) “Cloudburst” Oil pastel on paper Signed lower left: Peter PSA; titled on label affixed to the frame’s backboard Sight: 12.5” H x 16” W $300-500 Provenance: The Estate of George David Sturges

w w w. j o h n m o r a n . c o m 3 7 5

3339

Peter Adams

(b. 1950) “Evening Fog over San Clemente Island” Oil on Masonite Signed lower right: Peter Adams; titled on a label affixed to the verso of the frame 9” H x 12” W $500-700 Provenance: The Estate of George David Sturges

3 7 6 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3340

Stephen Mirich

(b. 1954) “Warmth and Splendor,” 1996 Oil on board Signed lower left: Stephen Mirich; signed again, titled, inscribed, and dated verso: July, Portuguese Bend Looking West 9” H x 12” W $500-700 Provenance: The Estate of George David Sturges

w w w. j o h n m o r a n . c o m 3 7 7

3341

Stephen Mirich

(b. 1954) “Sacred Cove, Portuguese Bend,” 1998 Oil on artist board Signed lower right: Stephen Mirich; signed again, titled, dated, and inscribed verso: May 27, 1998 9” H x 12” W $500-700 Provenance: The Estate of George David Sturges

3 7 8 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3342

Tim Solliday

(b. 1952) Cliffside oceanview Pastel in colors on paper Signed lower right: T. Solliday Sight: 8.25” H x 10.75” W $300-500 Provenance: The Estate of George David Sturges

w w w. j o h n m o r a n . c o m 3 7 9

3343

Simon Winegar

(b. 1979) “Dark Waters Ahead,” 2006 Oil on board Signed lower right: Winegar; signed again, titled, and dated verso 8.75” H x 15” W $300-500 Provenance: The Estate of George David Sturges

3 8 0 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3344

John F. Budicin

(b. 1944) “Hazy Evening” Oil on canvas board Signed lower right: Budicin; signed again and titled verso; titled again on gallery label affixed verso 7” H x 10” W $500-700 Provenance: Michael Hollis Fine Art, South Pasadena, CA The Estate of George David Sturges, acquired from the above, 2009

w w w. j o h n m o r a n . c o m 3 8 1

3345

David C. Gallup

(b. 1967) “Master of Disguise,” 2010 Oil on canvas board Signed lower right: D. Gallup; signed again, titled, inscribed, and dated, verso 10” H x 10” W $700-900 Provenance: California Art Club, Pasadena, CA The Estate of George David Sturges, acquired from the above, 2010 Notes: For the Channel Islands Collection

3 8 2 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3346

Joel Ostlind

(b. 1954) “The Wall” Etching on paper Edition: 17/96 Signed and numbered in pencil in the lower margin: Joel Ostlind; titled on the label affixed verso Plate: 6” H x 8” W; Sight: 6.75” H x 8.5” W $200-400 Provenance: The Estate of George David Sturges

w w w. j o h n m o r a n . c o m 3 8 3

3347

Steve Songer

(b. 1941) “Late Summer” Oil on board Signed lower right: Songer; titled by repute 11.25” H x 14” W $800-1,200 Provenance: Montgomery-Lee Fine Art, Park City, UT The Estate of George David Sturges, acquired from the above, 2010

3 8 4 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3348 Guy Fish

(Active 20th century) Colorado Street Bridge Oil on canvas board Appears unsigned; with artist label verso 10” H x 8” W $200-300 Provenance: Guy Fish Fine Art, Pasadena, CA The Estate of George David Sturges, acquired from the above, 2013

w w w. j o h n m o r a n . c o m 3 8 5

3 8 6 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3349

A personal scrapbook of actor Gregory Sierra

Circa 1977 A large scrapbook bound in brown leatherette with gold foil embossing containing various performance photographs and programs, newspaper articles, professional headshots, correspondence with acting agents, and other ephemera relating to Gregory Sierra’s (1937-2021) career between the years of 1961-1976 approximately; additionally, there is a small section of photographs at the back of the scrapbook documenting what is described in a hand-written commentary interspersed throughout the scrapbook as Sierra’s “...other passion - his career as a professional hockey player” Each page: 23” H x 18.25” W; Overall: 23.5” H x 19.5” W x 2” D $800-1,200 Provenance: Property from the Private Collection of Gregory Sierra

w w w. j o h n m o r a n . c o m 3 8 7

3350

A Western wool jacket

20th century Tag: Manuel Collection / Size 44 Black wool jacket with notched lapel collar and structured shoulders; traditional white piping at the yolk and at both upper smile pockets and lower slit pockets; pockets finished with arrow design Chest: 22”; Length: 33.25”; Sleeve: 25” $200-300 Provenance: Property from the Private Collection of Gregory Sierra

3 8 8 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3351

A Ralph Lauren camel hair trench coat

21st century Tag: Polo by Ralph Lauren, Made in Italy / 42 With patch pockets and faux tortoiseshell buttons Chest: 21”; Length: 50”; Sleeve: 25.25” $300-500 Provenance: Property from the Private Collection of Gregory Sierra Notes: Coat is accompanied by the original receipt of sale from Saks Fifth Avenue.

w w w. j o h n m o r a n . c o m 3 8 9

3352

A group of Western vests 20th-21st century Three works:

A Shaefer Outfitters black wool vest with silver and brass branded buttons Label: Shaefer Outfitters, Steamboat Springs, Colorado / Made in U.S.A. / M Chest: 19.5”; Length: 28.5” A Ralph Lauren blanket vest with silver button and braided leather accent ties Label: Polo Ralph Lauren, Made in the U.S.A. of imported fabric / L Chest: 20”; Length: 28.5” A Polo Ralph Lauren leather waistcoat with arrow-accented slit pockets Label: Polo by Ralph Lauren, Made in Hong Kong Chest: 19”; Length: 26.5” 3 pieces $200-300 Provenance: Property from the Private Collection of Gregory Sierra

3 9 0 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

w w w. j o h n m o r a n . c o m 3 9 1

3 9 2 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3353

A group of three men’s gabardine Western shirts

20th century Each with label: Cad Zoots / Encore Attire / Made in U.S.A. / M A group of Western shirts comprising of a cream Western shirt with black piping, a black Western shirt with cream piping, a black and white Western shirt with red piping; all with arrow accented smile pockets and diamondshaped snap buttons; all 100% gabardine, 3 pieces Each chest: 24”; Each length: 33”; Each sleeve: 24” $300-500 Provenance: Property from the Private Collection of Gregory Sierra

w w w. j o h n m o r a n . c o m 3 9 3

3354

An Italian-made Armani black leather jacket

Late 20th century Tag: Giorgio Armani Le Collezioni, Made in Italy / 42 A 1990s-era Armani lambskin leather jacket with slit pockets and notched lapel collar, marked size 42 Chest: 22”; Length: 33.25”; Sleeve: 26” $300-500 Provenance: Property from the Private Collection of Gregory Sierra

3 9 4 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3355

A men’s Gucci black suede jacket

20th century Tag: Gucci, Made in Italy / 54 With peaked lapel and welt pockets, both with ticking; buttons at placket and sleeves branded Gucci Chest: 21.5”; Length: 33”; Sleeve: 26.5” $200-400 Provenance: Property from the Private Collection of Gregory Sierra

w w w. j o h n m o r a n . c o m 3 9 5

3356

A group of Tom Ford and Gucci dress shirts

21st century Each tagged: three marked Tom Ford, 16/17; one marked Gucci, Made in Italy, 17 A collection of oxford button down men’s shirts comprising of a charcoal grey and white striped Tom Ford shirt with white collar, a black Tom Ford shirt, and a grey and white plaid Tom Ford shirt; one additional Gucci navy and white striped shirt; all 100% cotton, 4 pieces Each chest: 22”; Each length: 33.5”; Each sleeve: 26.5” $200-300 Provenance: Property from the Private Collection of Gregory Sierra

3 9 6 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

w w w. j o h n m o r a n . c o m 3 9 7

3357

Autographed NHL Sherwood all-star game hockey stick

21st century Marked: Feather-lite Sher-wood 5030 SC; Further marked: Made in Canada, S.O.P. A Sher-wood NHL 2001 All-Star Game hockey stick signed by the members of the World All-star team, including Erik Nicklas Lidstrom 60.25” L x 15.5” W $300-500 Provenance: Property from the Private Collection of Gregory Sierra

3 9 8 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

3358

A vintage #7 Yeager Dodgers uniform jersey

20th century Tag reads: W.A. Goodman and Sons / 38 A vintage LA Dodgers uniform jersey for Steve Yeager #7 with stains and discoloration; additional patch reads: “National League Centennial, 1876-1976’, dated 1981 Marked size 38; Chest: 20.5”; Length: 29.75” $100-200 Provenance: Property from the Private Collection of Gregory Sierra Notes: Considered the “best throwing catcher in the game”, Steve Yeager played for Los Angeles Dodgers 1972-1985. Steve Yeager was co-MVP for the 1981 World Series.

w w w. j o h n m o r a n . c o m 3 9 9

4 0 0 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 1 6 , 2 0 2 2

Condition Reports

w w w. j o h n m o r a n . c o m 4 0 1

3001 Overall good condition with dust accumulation and wear commensurate with age. Scattered light scuffs to paint and imperfections inherent to wood. A few scattered surface marks and a couple of faint stains. 3002 Overall good condition with dust accumulation, light marks, and wear commensurate with age. Water marks to bottom of kayak. Parka with a few small splits to the sleeve creases and a small loss to bottom edge, under sleeve. 3003 Overall good condition with minor scuffs and oxidation to the bronze commensurate with age. 3004 Each in overall good condition with light tarnishing and scratches commensurate with age and use. 3005 Each overall good condition with wear commensurate with age. Most with various signs of wear, handling, bending/tears, scuffs, and postage markings typical for the material. 3006 Each overall good condition with general wear commensurate with age and from handling. Each with bending, scratches, wear, scattered small tears, and fading. The leatherette folio for the coins with heavier wear to the spine with cracking and peeling; the coins with green oxidation.

Condition Reports

3007 Overall good condition with minor scuffs and oxidation to the bronze commensurate with age. 3008 Overall good condition. Not examined out of the frame. Framed under glass: 20.25” H x 17.25” W x .75” D 3009 Visual: Overall good condition. A quarter-sized reverse pressure mark right center on the tail of the first horse. A spot of grime lower right. Blacklight: No evidence of restoration. Frame: 22”-38” H x 84.5”-86.5” W x 3.25” D 402

3010 Visual: Overall very good condition. Blacklight: No evidence of restoration. Frame: 16.75” H x 21” W x 2” D 3011 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 33.5” H x 43.5” W x 3.5” D 3012 Each sheet with slight overall toning, soft rippling, and dust accumulation. Occasional pale stains on some of the sheets. Occasional splits to the paper, confined primarily to one of the double-sided sheets with pencil sketches on each side. The longest of these splits forming an “L” shape and measuring approximately 4” total. The sheets are all mounted to, or sandwich mounted within, their mats, and the mats themselves quite brittle, dusty and worn, commensurate with age. Unframed in 10 separate mats: 20” H x 15” W 3013 Overall good condition with minor scuffs and oxidation to the bronze commensurate with age. 3014 Overall good condition with scattered scuffs, scratches, and nicks. 3015 Overall good condition with minor scuffs and verdigris oxidation to the bronze commensurate with age. 3016 Visual: Overall good condition. Dust accumulation and varnish discoloration commensurate with age. Blacklight: No evidence of restoration. Scattered tiny specks of what appears to be either mold or mildew fluoresces under blacklight. Frame: 31.5” H x 37.5” W x 2” D

Blacklight: A 2.5” W area of touch-up in the upper center. Frame: 31.375” H x 35.375” W x 4.5” D 3018 Visual: Overall good condition. Minor craquelure in the upper left and right corners. Minor surface dust and grime accumulation commensurate with age. Blacklight: A 7” H x 16” W ‘L-shaped’ touch-up in the upper left corner. A few unobtrusive touch-ups throughout the sky. Frame: 29” H x 33” W x 2.75” D 3019 Visual: Overall good condition. Minor dust accumulation commensurate with age. Blacklight: A 0.5” area of touch-up in the extreme left corner. Frame: 16.75” H x 20.75” W x 1.375” D 3020 Overall good condition. No examined out of the frame. Framed under glass: 14.75” H x 25.75” W x 1” D 3021 Overall good condition with typical wear and weathering commensurate with age and organic material. 3022 Overall good condition with scuffs and scratches commensurate with age. The stone with typical, natural, eye-visible inclusions, surface-reaching fractures, and abrasions. 3023 Overall good condition. Framed under Lucite: 24.75” H x 29.5” W x 1.5” D

3024 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a small area of soiling near one corner. 3025 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to side A; scattered areas of minor moth grazing overall, to each side. 3026 Each in overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: single Yei with very light fading to one side, scattered small spots of minor soiling to each side and loose stitching to one corner; Blue Yei with a few scattered areas of light moth grazing and scattered areas of soiling to one side. 3027 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: slight fading to one side; scattered areas of minor spots/stains to each side; areas of loose stitching to each side selvage, with raveled yarn to one area and a stitched repair to another area. 3028 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few areas of light soiling. 3029 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to one side, primarily the green wool; a couple of loose stitches near top edge. 3030 Each in overall good condition with dust accumulation and typical signs of wear commensurate with age and use. 3031 Overall good condition with minor scuffs and oxidation to the bronze commensurate with age.

Condition Reports

3017 Visual: Overall good condition. Minor craquelure scattered throughout. Minor dust accumulation and grime commensurate with age.

403

3032 Overall very good condition with minor scuffs and verdigris oxidation to the bronze commensurate with age. A 0.25” chip to the back of the figure’s head. 3033 Overall very good condition. Not examined out of the frame. Framed under glass: 17.25” H x 13.5” W x 1.25” D

3034 Visual: Overall very good condition. Blacklight: No evidence of restoration. Frame: 14.25” H x 17” W x 1.375” D 3035 Visual: Overall very good condition. Blacklight: No evidence of restoration. Frame: 17” H x 20” W x 2” D 3036 Visual: Overall good condition. Frame abrasion with minor paint loss in the center of the upper edge. Blacklight: No evidence of restoration. Frame: 19.75” H x 15.75” W x 2.5” D 3037 Visual: Overall very good condition. Blacklight: No evidence of restoration.

3040 Overall good condition. Not examined out of the frame. Framed under glass: 18” H x 21” W x 1.5” D 3041 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a minor area of light moth grazing to one side near center edge. 3042 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: slight fading to one side; scattered areas of soiling/staining to each side; scattered breaks to selvage cords on all sides, with minor raveling. 3043 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: slight fading to one side; areas of soiling and staining to one side, notably along one edge. 3044 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. 3045 Overall good condition. Minor toning to the margins. Handling creases throughout the paper. Soft horizontal ripples throughout and visible in raking light. Framed under Plexiglas: 63.5” H x 43.5” W x 1.25” D

Condition Reports

Frame: 17.125” H x 21.125” W x 1.75” D

Blacklight: Each: No evidence of restoration.

3046 Good condition. The paper very slightly rippled, which appears to be inherent in the choice of media used. The margins of the paper sandwiched between the recto and verso mat boards.

Each frame: Largest: 12” H x 14” W x 1.5” D

Framed under glass: 36” H x 30” W x 1.5” D

3038 Visual: Each: Overall good condition.

3039 Each Visual of each: Overall very good condition. Each Blacklight of each: No evidence of restoration. Each Frame of each: 14” H x 14” W x 1.5” D

404

Framed under glass: 36” H x 30” W x 1.5” D 3048 Overall good condition commensurate with age. 3049 Each in overall good condition with light tarnish and scratches commensurate with age and use. Leather with light wear at buckle holes. 3050 Each in overall good condition with light tarnishing, scratches, and wear commensurate with age and use. RDM buckle with sightly distorted prong. Wear to leather. 3051 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Light wear to leather. 3052 Overall good condition with minor scuffs and oxidation to bronze commensurate with age. 3053 Overall good condition with light tarnishing and scratches commensurate with age and use. 3054 Each in overall good condition with dust accumulation, light tarnishing to buckles, and wear commensurate with age and use. Cream felt hat with scattered faint spots to underside of brim and minor shallow grazing marks to exterior near hatband. 3055 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures.

3056 Visual: Overall very good condition. Blacklight: No evidence of restoration. Frame: 16.5” H x 18” W x 2” D 3057 Visual: Overall good condition. Very minor frame abrasion with paint loss at the left center edge. Blacklight: No evidence of restoration. Frame: 16.75” H x 18.75” W x 2” D 3058 Visual: Overall very good condition. Blacklight: No evidence of restoration. Frame: 16.5” H x 21.5” W x 1.50” D 3059 Visual: Overall very good condition. Blacklight: No evidence of restoration. Frame: 12.75” H x 15.875” W x 1.5” D 3060 Visual: Overall very good condition. Blacklight: No evidence of restoration. Frame: 11.625” H x 13.625” W x 1.25” D 3061 Visual: Overall very good condition. Blacklight: No evidence of restoration. Frame: 11” H x 13” W x 1.25” D 3062 Each: Overall very good condition. Framed under glass: Largest: 19.25” H x 25.25” W 3063 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: possible woven repair to one side edge, 3.5” L.

Condition Reports

3047 Good condition. The paper very slightly rippled, which appears to be inherent in the choice of media used. The margins of the paper presumably sandwiched between the recto and verso mat boards in the same fashion as “Sanostee Shaman in Homage” by the same artist and in a matching frame, in this same auction. Not examined out of the frame.

405

3064 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered soiling and small stains to cream field on both sides; color variation in dye to one half of rug on both sides; one corner with minor loose stitching. 3065 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: Slight fading to side A; scattered small stains throughout; scattered areas of loose stitching, primarily near edges. 3066 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: light fading to Side A; a few broken selvage stitches to one long edge, and minor loose stitching at corners. 3067 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered small spots and light soiling to each side. 3068 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: overall light soiling to one side; a couple of small stains to each side at center; a few broken stitches to one side edge selvage; minor loose stitching to three corners and to one small area near one corner, 0.5” x 0.5.”

Condition Reports

3069 Visual: Overall very good condition.

406

Blacklight: No evidence of restoration.

3071 Visual: Overall very good condition. Blacklight: No evidence of restoration. Frame: 13” H x 21” W x 0.375” D 3072 Visual: Good condition. Blacklight: No evidence of restoration. Frame: 38” H x 37.25” W x 4” D 3073 Visual: Overall very good condition. Blacklight: No evidence of restoration. Frame: 12.75” H x 14.75” W x 2.5” D 3074 Visual: Overall very good condition. Blacklight: No evidence of restoration. Frame: 11.5” H x 13” W x 1.25” D 3075 Visual: Overall very good condition. Very minor dust accumulation commensurate with age. Blacklight: No evidence of blacklight. Frame: 11.25” H x 11.25” W x 2” D 3076 Visual: Overall very good condition. Blacklight: No evidence of restoration. Frame: 19.75” H x 16.75” W x 1.5” D

Frame: 17” H x 12” W x 2.25” D 3077 Visual: Overall very good condition. 3070 Visual: Overall good condition. Minor surface dust and grime commensurate with age. Blacklight: No evidence of restoration. Frame: 19.25” H x 27” W x 1.5” D

Blacklight: No evidence of restoration. Frame: 17” H x 21” W x 1.5” D

Blacklight: No evidence of restoration. Frame: 24.5” H x 20.75” W x 2” D 3079 Visual: Overall good condition. Very minor frame abrasion on the left and right edges. Blacklight: No evidence of restoration. Framed: 24.75” H x 20.875” W x 2” D 3080 Visual: Overall good condition. Minor surface dust and grime accumulation commensurate with age. Blacklight: No evidence of restoration. Frame: 24.125” H x 27.125” W x 3.5” D 3081 Each overall good condition with wear, scuffs, scratches, and inherent firing flaws commensurate with age. Most with surface grime incurred during storage. 3082 Each overall good condition with scattered scuffs, scratches, nicks, and wear commensurate with age. Wiring should be checked by a qualified electrician prior to use. 3083 Overall good condition with scattered scuffs, scratches, nicks, and shelf wear commensurate with age. Wiring should be checked by a qualified electrician prior to use. 3084 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and indentations commensurate with age. Wiring should be checked by a qualified electrician prior to use.

3085 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Possibly missing a drawer to the larger compartment.

3086 Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The tops with natural imperfections in the wood and uneven surfaces. 3087 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Some loss to gold reverse painted lettering. “Tickets” sign has fogging/soiling on the interior of the glass. Wood frames have joint separation at corners due to shrinkage for both. 3088 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered small holes and very minor pinpoint areas of light moth grazing on both sides. 3089 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: Side A with slight fading; scattered breaks and a few areas of loss to selvage cords on all sides; fraying and loss to one corner; a few scattered small holes; a few areas with minor staining and minor dye migration. 3090 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: areas of red dye migration overall; a couple of areas of minor surface soiling to each side; scattered selvage breaks and stitch losses to three corner edges and a large hole to the remaining corner, 5” x 2.” 3091 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: mat with slightly heavier dust accumulation to one side. 3092 Each in overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: largest with slight fading to one side; overall dye migration/transfer; a few scattered small holes, with one stitched repair; areas of loose stitching and loss to the sides. The smaller with slight fading to one corner; scattered minor soiling and stains; loss and raveling to one corner.

Condition Reports

3078 Visual: Overall good condition. Dust accumulation commensurate with age.

407

3093 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: very slight fading to side A; areas of color variation in dye; scattered small spots, light soiling, and stains to both sides; minor breaks to selvage cords on each long edge, with minor weave raveling. 3094 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: Slight fading to side A; scattered areas of soiling/staining to each side and color variation in dye; a small area of dye migration; minor loose stitching to each corner and a few areas near one edge; a few areas of broken selvage stitching. 3095 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to side A; scattered stains and areas of soiling to each side; scattered breaks to selvage cords on all sides and minor raveling to edges; scattered areas of loose stitching with 3-4 holes to the weave. 3096 Visual: Each: Toning throughout and with uneven light-struck areas. Minor dust accumulation and grime commensurate with age. The second: The uneven toning is concentrated at the upper and lower right edges and corners. The third: A 6” H tear to the paper in the upper right corner. A 1” W obtrusive tear of the paper in the upper center edge.

Condition Reports

Framed under glass: Largest: 23.75” H x 35.75” W x 1.125” D

408

3097 Overall good condition. The paper evenly toned. Not examined out of the frame. Framed under glass: 27.5” H x 23.75” W x 1” D 3098 The paper evenly toned overall. Scattered very pale foxing showing mostly in the margins. The upper margin edge unintentionally folded over 0.25,” along the mat window’s upper edge. Not examined out of the frame. Framed under glass: 27.5” H x 23.75” W x 1” D

3099 Visual: Craquelure throughout. Stretcher bar creases along the edges. Small spots of paint loss lower left, lower right and in the man’s earlobe. Frame abrasion along the edges. Surface dirt and grime. Blacklight: Apparently no evidence of restoration. Difficult to read under uneven varnish. Unframed

3100 Visual: Good condition. Blacklight: No evidence of restoration. Frame: 27.5” H x 23.5” W x 2” D 3101 Visual: Overall very good condition. Blacklight: No evidence of restoration. Framed: 41.5” H x 51.5” W x 3.25” D 3102 Scattered unobtrusive handling marks throughout the paper. A 1” H crease and abrasion in the center. A 1.25” H x 0.75” W tear of paper at the lower margin left corner. Scattered pea-sized holes throughout the margins. Extreme pale stains scattered throughout the margin, the largest 0.5” W. Framed under Plexiglas: 32.875” H x 24.25” W x 1.25” D 3103 Visual: Overall good condition. Small unobtrusive specks of paint lose scattered throughout the lower image and concentrated near the edges and corners. A 0.5” circular pale stain in the lower right corner. Blacklight: No evidence of restoration. Frame: 22.5” H x 22.6” W x 3” D 3104 Visual: Overall very good condition. Very slight frame abrasion on the upper left corner and lower right corner. Blacklight: No evidence of restoration. Framed: 29.375” H x 33.375” x 2.75” D

3106 Overall good condition with minor scuffs and oxidation to the bronze commensurate with age. The rifle is slightly bent. 3107 Overall good condition with minor scuffs and verdigris oxidation to bronze commensurate with age. 3108 Visual: Overall very good condition. Blacklight: No evidence of restoration. Frame: 13” H x 15” W x 1.5” D 3109 Visual: Overall very good condition. Blacklight: No evidence of restoration. Frame: 19.5” H x 23.5” W x 1.5” D 3110 Visual: Overall very good condition. Blacklight: No evidence of restoration. Frame: 12.25” H x 17.25” W x 1.25” D 3111 Visual: Overall very good condition. Slight dust accumulation commensurate with age. Blacklight: No evidence of restoration. Framed: 13.25” H x 15.25” W x 2.25” D

3113 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a couple of scattered small stains and small spots of surface soiling; a minor break to one selvage cord, with a few loose stitches near one corner. 3114 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: slight fading to one side; scattered areas of dye migration; a darned repair to one long edge and to a small area in center; a couple of small spots near one long edge. 3115 Overall good to fair condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to side A and to one end of side B; a few scattered stains to each side; scattered small holes with loose stitching and loss to edges, as well as areas of stitched repair primarily along one long edge. 3116 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: slight fading to side A; side B with a few scattered dark spots; a few breaks to selvage cords on two edges, and multiple breaks to selvage cords on long edges, with weave raveling. 3117 Overall good condition with dust accumulation, light soiling, and typical signs of wear commensurate with age and use. One quill piece slightly loose. 3118 Visual: Overall good condition. Stretcher bar creases along the edges. Craquelure scattered throughout. Minor surface dust and grime accumulation commensurate with age.

3112 Visual: Overall very good condition.

Blacklight: No evidence of restoration.

Frame: 26” H x 29” W x 1.5” D

Frame: 20” H x 23” W x 1.75” D

Condition Reports

3105 Overall good condition with minor scuffs and oxidation to the bronze commensurate with age.

409

3119 Visual: Overall good condition. Minor dust and grime commensurate with age. Slight frame abrasion along the edges.

3125 Visual: Overall very good condition.

Blacklight: No evidence of restoration.

Frame: 23.25” H x 27.25” W x 1.5” D

Frame: 16.75” H x 19.5” W 1.75” D 3120 Visual: The original canvas has been striplined and restretched. Wax-lined with adhered film acrylic backing. Isolated areas of fine craquelure scattered throughout. Blacklight: Touch-up along the extreme upper and lower edges. Crack-fill throughout the left edge. Three diagonal lines of touch-up from the center to left edge, largest measuring 9.5” H. Other scattered flecks of paint loss concentrated in the left side of the painting. A quarter-sized spot of touch-up lower right center. Frame: 26” H x 32.25” W x 2.5” D 3121 Visual: Overall very good condition. Blacklight: No evidence of restoration. Frame: 16.75” H x 20.75” W x 2.25” D 3122 Visual: Overall very good condition. Blacklight: No evidence of restoration. Frame: 21” H x 17” W x 1.5” D

Condition Reports

3123 Visual: Overall very good condition.

410

Blacklight: No evidence of restoration. Framed. 11.5” H x 13.5” W x 1.25” D 3124 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 13” H x 21” W x 2” D

Blacklight: No evidence of restoration.

3126 Visual: Overall good condition. Minor surface dust and grime commensurate with age. Uneven varnish along the lower edge. Blacklight: No evidence of restoration. Frame: 13.25” H x 23.25” W x 1.25” D 3127 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Leather belts with light wear. 3128 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Leather belt with light wear. 3129 Toning to the paper. With two horizontal folds across the center of the sheet. Not examined out of the frame. The photo in overall good condition. Larger: Framed under glass: 16” H x 13.75” W x .75” D

3130 Overall good condition. Toning to the paper. Very minor frame abrasion along the extreme edges. Framed under glass: 11.75” H x 9.25” W x .5” D

3131 Each in overall good condition with dust accumulation, tarnishing and wear commensurate with age and use. Hat with scattered pinpoint areas of light moth grazing to inner brim. Wear and dark marking/soiling to front of inner leather band. The bit and spurs with oxidation, rust, and wear from use typical for the material.

3133 Overall good condition. Minor toning to the paper. A 2.5” W surface crease at the upper right center. Not examined out of the frame. Framed under glass: 13.25” H x 16.25” W x 1.25” D 3134 Overall good condition. Minor toning to the paper. Pea-sized extremely pale stains scattered throughout the image. Not examined out of the frame. Framed under glass: 18.5” H x 20” W x 1” D 3135 Overall good condition. Slight toning to the paper. Not examined out of the frame. Framed under glass: 13.75” H x 19.25” W x 0.5” D 3136 Overall good condition. Minor toning to the paper. Not examined out of the frame. Framed under glass: 18.375” H x 25.375” W x 0.75” D 3137 Overall good condition. Not examined out of the frame. Framed under glass: 13.5” H x 11.75” W x 0.75” D 3138 Overall good condition. Minor toning to the paper throughout. Two vertical creases going down the center of the image. Minor handling creases. Two pea-sized pale stains at the upper right corner edge. Framed under glass: 14.125” H x 16.625” W x 0.75” D 3139 Overall good condition. Minor toning to the paper. Not examined out of the frame. Framed under glass: 20” H x 17” W x 0.75” D

3140 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: side A with very slight fading and scattered minor spots; scattered small areas of minor moth grazing; scattered minor areas of loose stitching, including one corner and some areas with stitched repair; scattered minor breaks to selvage cords to all edges; one short end with repair/added woven strip, 1.25’ W. 3141 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few scattered areas of minor moth grazing. 3142 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few scattered spots and minor areas of surface soiling; a break and loss to selvage cord on one end, 1.5” L. 3143 Each in overall good condition with dust accumulation and typical signs of wear commensurate with age and use. 3144 Visual: Overall good condition. A 1.5” unobtrusive scratch in the lower left. A pea-sized surface abrasion near the lower left center edge. Blacklight: No evidence of restoration. Frame: 28” H x 23.375” W x 1.75” D 3145 Visual: Overall good condition. A 1.5” x 1” pressure mark upper left. A few minor scuff marks scattered throughout. Blacklight: No evidence of restoration. Frame: 51” H x 61” W x 4” D

3146 Visual: Overall very good condition. Blacklight: No evidence of restoration. Frame: 9.5” H x 11.5” W x 1.25” D

Condition Reports

3132 Overall good condition with scattered scuffs, scratches, nicks, and general wear commensurate with age and use. The hide with loss to painted decoration and the wood frame with typical rubbed wear, scratches, and dust.

411

3147 Visual: Overall very good condition. Blacklight: No evidence of restoration. Frame: 14.25” H x 17.25” W x 1.75” D

3153 Visual: Overall good condition. Fine craquelure throughout. Light stretcher bar creases along the four edges. Frame abrasion along the four edges. Artist’s pinholes along the upper edge.

3148 Visual: Overall very good condition.

Blacklight: Spots of touch-up scattered throughout the sky in the center, the largest dime-sized. A quarter-sized area of restoration lower left with corresponding patch verso.

Blacklight: No evidence of restoration.

Frame: 36.25” H x 53” W x 1.25” D

Frame: 13” H x 15” W x 1.5” D 3149 Visual: Each with overall good condition. Very minor dust accumulation and grime commensurate with age. Blacklight: Each with no evidence of restoration.

3154 Each: Good condition. The walking vaquero image with either the start of an additional feature by the artist, or an approximately 2” H x 3” W irregular area of pale discoloration in the upper right quadrant. Not examined out of the frame. Each framed under glass: 22” H x 18” W x 1” D

Frame of Each: 15.125” H x 16.375” W x 0.75” D 3150 Visual: Overall good condition. Very minor dust accumulation.

3155 Overall good condition. Very minor toning to the right edge. Not examined out of the frame. Framed under glass: 17.25” H x 21.25” W x 1” D

Blacklight: No evidence of restoration. Frame: 17.5” H x 20.5” W x 2” D 3151 Visual: Overall good condition. Very minor craquelure scattered throughout, primarily concentrated in the sky. Minor surface dust and grime accumulation commensurate with age. Blacklight: Not evidence of restoration.

Condition Reports

Frame: 28.75” H x 35” W x 2” D

412

3152 Visual: Minor frame abrasion along the edges. Minor surface dust and grime accumulation commensurate with age. Blacklight: No evidence of restoration.

3156 Overall good condition. With wide margins. Very pale staining and remains of old hinging glue in three places at the upper margin edge. Hinged to the back mat at two places at the verso of the upper margin edge. Framed under glass: 18” H x 19.25” W x 0.75” D 3157 Overall good condition. With margins. Minor handling creases on the margin edges. A 0.75” H unobtrusive mark in the lower center image. Slight toning and matte burn to the margins. Old mat tape on the upper verso, and residue on the upper recto margin. Small specks of leftover ink in the lower margin. The sheet is loose, secured to the back mat with four clear archival corners. Framed under glass: 16” H x 18” W x 1.5” D

Frame: 26” H x 34” W x 2.5” D 3158 Overall good condition. Not examined out of the frame. Framed under glass: 16.375” H x 13.375” W x 0.5” D

Frame: 19.75” H x 27.5” W x 1” D 3160 Visual: Overall good condition. Surface dust accumulation and grime commensurate with age. Blacklight: No evidence of restoration. Certain pigments fluoresce under blacklight but these appear to be in the hand of the artist. Frame: 34.25” H x 40.25” W x 4” D 3161 Visual: Overall very good condition. Blacklight: No evidence of restoration. Frame: 39.5” H x 49.5” W x 3” D 3162 Overall good condition. Not examined out of the frame. Framed under glass: 20.75” H x 19.25” W x .75” D 3163 Overall good condition. Minor toning to the paper. Not examined out of the frame. Framed under glass: 13.25” H x 17.125” W x 0.75” D 3164 Each watercolor: Overall good condition. Minor toning to the paper. Not examined out of the frame; Belt and holster: with drying, wear, scratches, and soiling commensurate with age and use. Frame of larger under glass: 13” H x 10.75” W x .75” D 3165 Overall good condition. Not examined out of the frame. Framed under glass: 18.375” H x 16.375” W x 2.25” D 3166 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: loose stitching to top and bottom edges, with some raveled wool.

3167 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: partial fading to side A; side B with a few scattered minor spots; a small hole near one corner. 3168 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: color variation to natural wool; fading to blue tassels; a few scattered spots and light staining to each side; a small area of minor moth damage to one side, with moth grazing and a small hole; a break to selvage on one end, 7” L, with loose stitching. 3169 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to side A; faint dye migration to the playing card motif inserts; scattered minor holes and faint moth grazing. 3170 Each in overall good condition with dust accumulation and wear commensurate with age and use. Some with scattered light soiling and staining to exterior and interior. Some with scattered small areas of grazing from moths. Drawstring bag with three small holes near base. Three with boxes. 3171 Each in overall good condition with dust accumulation and wear commensurate with age and use. Some with scattered light soiling to exterior and interior. Some with scattered minor areas of light grazing from moths. Light blue clutch with scattered spotting to interior lining. Three with original boxes. 3172 Overall good condition commensurate with age. Scattered losses to what appears to be original paint, in some areas down to wood with some later retouches possibly to face and elbows. Structurally sound and well built. Scattered expansion cracks to wood figure. 3173 Overall good condition with minor scuffs and oxidation to the bronze commensurate with age.

Condition Reports

3159 Each: Overall good condition. Occasional very minor and unobtrusive handling creases, slightly more obvious in the smaller image.

413

3174 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: Side A with an area of dye migration/staining near one corner; side B with a few areas with minor dye migration and a small area with an orange stain. 3175 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few areas of possible dye migration; fading to one side and color variation in dye; a few scattered minor areas of loose stitches to cream border at one end. 3176 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: very slight fading to one side; a few scattered small spots, primarily to one side; a couple of minor breaks to selvage cords. 3177 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: slight fading to one side; scattered faint stains to each side; a 0.5” break to one side selvage with a few loose stitches; possible shrinkage to selvage edges causing buckling.

Condition Reports

3178 Each in overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: each with scattered areas of minor moth damage with grazing and small holes; smaller weaving with a small darker spot, and a few scattered areas of pale staining to each side.

414

3179 Each in overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: larger with very slight fading to one side, and a few scattered light spots. Each with a few scattered minor spots of moth grazing. Smaller with a few scattered light spots.

3180 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: slight fading to one side; scattered minor faint spots to each side; scattered areas of minor loose stitching, primarily to the edges and a couple of small holes at color change areas, 0.5” L. 3181 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: side A with slight fading, scattered minor spots and light stains; a couple of areas of dye migration, and a 2” wide band of possible adhesive residue to one long edge; a couple of minor holes; Side B with a few scattered faint spots. 3182 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Both leather and Chimayo wool upholstery are in good condition with no major flaws. Minor scuffing to the leather on the back and corners of the sofa. 3183 Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Rear right leg has large area of loss to the burlwood. As well, upholstery on the chair has multiple small areas of scuffing and scraping. 3184 Each overall fair to good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Quite a bit of surface grime and scuffing on the leather upholstery, as well as creasing on the seat from use. 3185 Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Table is missing several pyramidal tacks. Red leather on the tabletop as well as upholstery on chairs has significant scuffing. The burlwood base of table has one large area of loss, approximately 1” x 2” large.

3186 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age.

3193 Each: Overall good condition. The first image has minor toning throughout the paper. A 0.75” tear to the paper at the lower right edge. Very minor handling marks throughout the paper.

3187 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Several indentations and scuffs in the red leather tabletop.

Each framed under glass: Largest: 10.25” H x 13.875” W x 0.875” D

3188 Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. 3189 Overall good condition. Soft ripples throughout the paper. A 0.25” hole in the upper right edge. A 0.75” W area of stray ink at the lower left. 1” smear of ink coming from the image by the lower right edge. A pea-sized extremely pale stain in the lower left corner. Framed under glass: 15.5” H x 20” W x 0.75” D 3190 Overall good condition. Slight toning to the paper. Not examined out of the frame.

3194 Overall good condition. Minor mat abrasion at the left edge. Not examined out of the frame. Framed under glass: 23.75” H x 29.75” W x 1.5” D 3195 Visual: Overall good condition. Very minor dust and grime accumulation commensurate with age. Blacklight: No evidence of restoration. Frame: 20.75” H x 24.75” W x 2.5” D 3196 Visual: Overall good condition. Small spots of grime in the upper left corner. Blacklight: No evidence of restoration. Unframed

Framed under glass: 17.75” H x 19.75” W x 0.5” D 3191 Overall good condition. Extremely pale small stains scattered throughout. Minor toning to the paper. Not examined out of the frame.

3197 Visual: Overall good condition. A 2.5” W area of frame abrasion resulting in paint loss at the lower left. Very minor dust and grime commensurate with age.

Framed under glass: 15” H x 16.5” W x 0.75” D

Blacklight: No evidence of restoration.

Frame of each under glass: Largest: 11.375” H x 14.375” W x 0.625” D

3198 Visual: Overall very good condition. Blacklight: No evidence of restoration. Frame: 14” H x 17.25” W x 2.125” D 3199 Visual: Overall very good condition. Blacklight: No evidence of restoration.

Condition Reports

Frame: 15.75” H x 17.75” W x 1.25” D 3192 The first with minor toning throughout the paper. Soft ripples in the paper noticeable in raking light; The second with minor toning and extremely pale stains throughout the paper, mainly concentrated along all four edges. The upper edge seems to have shifted downwards, revealing white paper, to which it might possibly be laid down.

Frame: 13” H x 15” W x 2” D 415

3200 Visual: Overall good condition. Slight surface dust commensurate with age. Blacklight: No evidence of restoration. Frame: 17.375” H x 20.375” W x 1.5” D 3201 Visual: Overall good condition. Minor dust accumulation commensurate with age. Blacklight: A 4” W touch-up at the center of the upper edge. Frame: 23” H x 27” W x 2” D 3202 Visual: Overall very good condition. Blacklight: No evidence of restoration. Frame: 19” H x 19” W x 2” D 3203 Visual: Overall very good condition. Blacklight: No evidence of restoration. Frame: 13.5” H x 11.5” W x 0.75” D

Condition Reports

3204 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: side A with very slight fading in areas and overall light surface soiling; a few scattered surface spots and faint marks; a few scattered small holes and scattered areas of loose stitching to selvage edges. One short edge with wear, loose stitching, and scattered areas of repair stitching.

416

3205 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered areas of light soiling to one side. 3206 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered areas of small spots and light staining overall; a few scattered breaks to selvage cords; a few scattered small holes.

3207 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: slight fading to one side and variations in dye to both sides; scattered areas of small spots and faint stains; scattered areas of loose stitching and a few small holes; a few minor breaks to selvage cords on two edges. 3208 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered areas of surface soiling, stains, and small spots overall, primarily to one side. 3209 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: one stitch break to side selvage; a small area of scattered minor moth damage to one side, at center edge, with light grazing and a couple of pinpoint holes. 3210 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a large stain to both sides, near one end; scattered smaller spots in a few areas. 3211 Each in overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: each with a few scattered areas of dye migration; a few loose stitches at seams; a few small holes; the smaller with scattered minor soiling. 3212 Visual: Overall good condition. A very minor 0.25” H loss of paint from frame abrasion. Blacklight: No evidence of restoration. Frame: 11.5” H x 13.5” W x 1.25” D 3213 Visual: Overall very good condition. Blacklight: No evidence of restoration. Frame: 15.375” H x 17.375” W x 2” D

Blacklight: No evidence of restoration. Frame: 14.25” H x 16.25” W x 1.5” D 3215 Visual: Overall very good condition. Blacklight: No evidence of restoration. Frame: 11.50” H x 14.625” W x 2.25” D

3222 Overall good condition with minor scuffs and oxidation to the bronze commensurate with age. 3223 Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age. Adhesive felt pads to verso. 3224 Overall good condition with minor scuffs and verdigris oxidation to bronze commensurate with age.

3216 Overall good condition with shelf wear, scattered minor cuffs, scratches, and inherent firing flaws commensurate with age. Interior has a coating of surface grime and dust. No evidence of repairs or restorations under blacklight.

3225 Visual: Overall very good condition.

3217 Visual: Overall very good condition.

3226 Visual: Overall very good condition.

Blacklight: No evidence of restoration.

Frame: 16.75” H x 19.75” W x 1.25” D

Frame: 15.5” H x 13.5” x 2” D

3218 Visual: Overall very good condition.

3227 Overall good condition with minor scuffs and oxidation to the bronze commensurate with age.

Blacklight: No evidence of restoration

Blacklight: No evidence of restoration. Frame: 16.5” H x 19.5” W x 1” D

Frame: 15.75” H x 17.75” W x 0.6” D

3228 Each: Overall good condition with minor scuffs and oxidation to the bronze commensurate with age.

3219 Overall good condition with scattered scuffs, scratches, and minimal oxidation commensurate with age and use.

3229 Visual: Overall very good condition. Blacklight: No evidence of restoration.

3220 Visual: Overall very good condition.

Frame: 15.75” H x 18.75” W x 1.5” D

Blacklight: No evidence of restoration.

3230 Visual: Overall good condition.

Frame: 23.25” H x 29.25” W x 3.5” D 3221 Visual: Overall very good condition. Blacklight: No evidence of restoration.

Blacklight: No evidence of restoration. Frame: 15.75” H x 18.75” W x 1.25” D

Condition Reports

3214 Visual: Overall very good condition.

Frame: 15.75” H x 18.75” W x 1.123” D 417

3231 Overall good condition with minor scuffs and oxidation to bronze commensurate with age. Adhesive felt pads to the back.

3238 Visual: Overall very good condition. Blacklight: No evidence of restoration. Frame: 13.875” H x 16” W x 1.125” D

3232 Visual: Very good condition. Dust accumulation commensurate with age. An old damp stain in the upper left corner of the linen-covered slip, although this does not appear to have reached the artwork. Blacklight: No evidence of restoration.

3239 Visual: Overall very good condition. Blacklight: No evidence of restoration. Frame: 14.5” H x 18” W x 1.5” D

Frame: 22.25” H x 18.5” W x 2” D 3233 Visual: Very good condition. Dust accumulation commensurate with age. Blacklight: No evidence of restoration.

3240 Visual: Overall good condition. Very minor dust and grime accumulation commensurate with age. Blacklight: No evidence of restoration. Frame: 16.5” H x 19.5” W x 1.75” D

Frame: 17.5” H x 21.5” W x 2” D 3234 Overall good condition. Paper tape remnants along the upper edge. Very slight toning throughout.

3241 Visual: Overall very good condition. Blacklight: No evidence of restoration.

Framed under glass: 23.5” H x 30.25” W x 1.25” D

Frame: 13.125” H x 20.125” W x 2” D

3235 Visual: Overall very good condition.

3242 Visual: Overall very good condition.

Blacklight: No evidence of restoration.

Frame: 14.75” H x 17.75” W x 2” D

Frame: 11” H x 8.25” W x 1.5” D

3236 Visual: Overall very good condition.

3243 Overall good condition with minor scuffs and verdigris oxidation to the bronze commensurate with age.

Condition Reports

Blacklight: No evidence of restoration.

418

Frame: 11.375” H x 13.375” W x 1.75” D 3237 Visual: Overall good condition. Frame abrasion in the upper center edge. Blacklight: No evidence of restoration. Frame: 16” H x 18” W x 1.75” D

3244 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Upholstery is in good condition with no fading, but a few small scuffs to the leather on the seat. 3245 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Upholstery is in good condition with no fading, scuffs, or tears.

3247 Overall good condition with minor scuffs and shelf wear commensurate with age. 3248 Overall good condition with scattered minor scuffs and shelf wear commensurate with age. 3249 Overall good condition with tarnishing and scratches commensurate with age and use. A few unobtrusive spots of minor oxidation. Unmarked for silver, but tests positive for sterling. 3250 Overall good condition. Minor toning to the paper. A pin-head sized pale stain in the sky at the upper left. Occasional unobtrusive foxing concentrated in the margins. The sheet is laid to cardboard. Framed under glass: 14.25” H x 19.25” W x .5” D

3254 Each: Overall good condition. Minor toning to the paper. Not examined out of the frame. Each framed under glass: 13.75” H x 16.25” W x 0.75” D 3255 Overall good condition. Very minor handling creases. Not examined out of the frame. Framed under glass: 16.75” H x 13.5” W x 0.75” D

3256 Overall good condition with minor scuffs and verdigris oxidation to bronze commensurate with age. 3257 Overall good condition with minor scuffs and oxidation to the bronze commensurate with age. 3258 Visual: Overall very good condition. Blacklight: No evidence of restoration. Frame: 9.375” H x 13.375” W x 1.5” D 3259 Visual: Overall very good condition.

3251 Overall good condition. Minor toning to the paper throughout. Two pea-sized pale stains along the left and lower margin. Not examined out of the frame.

Blacklight: No evidence of restoration.

Framed under glass: 11.75” H x 13.375” W x 0.625” D

3260 Visual: Overall good condition. Very minor dust accumulation commensurate with age.

3252 Overall good condition. Minor toning to the paper. Not examined out of the frame.

Blacklight: No evidence of restoration.

Framed under glass: 18” H x 17” W x 0.50” D 3253 Overall good condition. Not examined out of the frame. Framed under glass: 11.25” H x 14.125” W x 0.75” D

Frame: 15” H x 17.5” W x 2” D

Frame: 14.5” H x 16.5” W x 1.25” D 3261 Visual: Overall very good condition. Blacklight: No evidence of restoration. Frame of largest: 12” H x 13.5” W x 1.25” D

Condition Reports

3246 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Scuffing to a few exterior areas just below the rim. Scattered minor fleabites. A couple of light scratches to interior. One hairline to rim, approximately 1” L. No evidence of restorations under blacklight.

419

3262 Visual: Overall good condition. Minor dust accumulation commensurate with age. Blacklight: No evidence of restoration. Frame: 15” H x 15” W x 1.5” D 3263 Visual: Overall very good condition. Blacklight: No evidence of restoration. Frame: 9.5” H x 14” W x 1.875” D 3264 Overall very good condition. Frame: 15.75” H x 17” W x 1.25” D 3265 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Scattered areas of minor moth grazing. Not examined out of frame. Mounted and framed under Plexiglas: 29.75” H x 30.5” W x 3266 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use.

Condition Reports

3267 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use.

420

3268 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: slight fading to side A; one side edge with loose stitching and weave loss, with raveled edges, approximately 15” L; adjacent corner with loose stitching and loss to selvage; adjacent area to interior with broken warps and loose stitching with three holes, largest: 1.5” H.

3269 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. A couple of minor areas of moth grazing. Not examined out of frame. Mounted and framed under Plexiglas: 20.5” H x 33.25” W x 1.125” D 3270 Overall good condition with wear commensurate with age. Worn and with scattered areas of darkening to the leather and typical scuffs/scratches from use. The billet strap with heavier wear/drying and cracking with losses. Lacking a cinch. 3271 Overall good condition with wear commensurate with age. Worn with scattered areas of darkening to the leather and typical scuffs/scratches from use. 3272 Overall good condition with wear commensurate with age. Worn and with scattered areas of darkening to the leather and typical scuffs/scratches from use. Lacking hobble strap. 3273 Overall good condition with wear commensurate with age. Worn with scattered areas of darkening to the leather and typical scuffs/scratches from use. The billet strap with dry rot and cracking with losses, one concho is detached, but accompanies the lot, and the horn is worn. 3274 Overall good condition with signs of wear commensurate with age. Light scuffing and patination of the leather throughout. 3275 Overall good condition with minimal signs of wear commensurate with age and use. 3276 Each overall fair to good condition with typical signs of wear, scuffs, scratches, and tarnishing commensurate with age. Leather with drying, fading, and wear from use.

3277 Each overall good condition with typical signs of wear, scuffs, scratches, and tarnishing commensurate with age. Leather with drying, soiling, and wear.

3285 Overall good condition. Minor toning to the paper. A few minor handling creases scattered throughout. Mounted to the recto mat with brown paper tape along the upper and lower edges.

3278 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered minor areas of possible grazing from moths to each side; one side with a small area of soiling.

Framed under glass: 16” H x 16.75” W x .75” D

3286 Visual: Overall very good condition. Blacklight: No evidence of restoration.

3280 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered light soiling and a couple of small stains to each side. 3281 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: each with scattered small spots/ light soiling; the smaller with minor breaks to selvage cords and loose stitching and loss to one edge, 2” x 1.” 3282 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a couple of small areas of staining at two edges, one on each side; scattered areas of minor moth damage from grazing to both sides. 3283 Overall good condition with minor scuffs and oxidation to the bronze commensurate with age. 3284 Overall good condition with minor scuffs and oxidation to the bronze commensurate with age.

Frame: 11.5” H x 15.5” W x 1.75” D 3287 Visual: Overall very good condition. Blacklight: No evidence of restoration. Framed: 16.5” H x 16.5” W x 2” D 3288 Visual: Overall good condition. A 0.25” H paint loss in the sky at upper center. Blacklight: No evidence of restoration. Frame: 17.5” H x 15.5” W x 0.75” D 3289 Visual: Overall very good condition. Blacklight: No evidence of restoration. Frame: 12.625” H x 14.5” W x 1.375” D 3290 Overall very good condition. Framed under glass: 22” H x 19” W x 1.375” D 3291 Visual: Overall good condition. Very minor dust accumulation commensurate with age. Blacklight: No evidence of restoration. Frame: 15.25” H x 18.25” W x 3” D

Condition Reports

3279 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few scattered spots of light soiling to each side.

421

3292 Visual: Overall very good condition. Blacklight: No evidence of restoration. Frame: 19” H x 16” W x 2.5” D 3293 Visual: Overall very good condition.

3299 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. 3300 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: slight fading to one end of one side.

Blacklight: No evidence of restoration. Frame: 16.25” H x 19.25” W x 2.75” D 3294 Overall good condition with scuffs, scratches, general wear, and oxidation commensurate with age and use. Working condition unknown. 3295 Overall good condition with scuffs, scratches, general wear, and oxidation commensurate with age and use. Leather strap is dry and cracked from use. General patination and soiling to leather as well. Working condition unknown.

Condition Reports

3296 Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Surface grime throughout. Some fading, scratching, and chipping to wood base. Coin bank still contains nickels, which are visible through multiple windows. Likewise, the candy dispenser still contains several packs of Lifesavers WintOgreen mints. Mills metal plaque appears to have fallen off. Unsure of operational functionality. Keys and additional gold tokens included 3297 Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Occasional raised grain, surface abrasions, indentations, and paint loss for each. Canadian Goose has distinct areas of loss due to wood worm.

3301 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: light fading to one side; scattered areas of minor moth damage with light grazing and small holes. 3302 Overall good condition with minimal signs of wear commensurate with age. Small pin-head stains and discoloration sporadically. Scattered thread pulls.

3303 Overall good condition. Minor toning to the paper. Small spots of staining to the paper lower left and upper left. Not examined out of the frame. Framed under glass: 16.75” H x 13.75” W x 0.75” D

3304 Visual of each: Overall good condition, with margins. Minor toning to the paper. Not examined out of the frame. The third image has three pea-sized extremely pale stains along the upper left margin edge. Framed under glass: Largest: 24” H x 28.75” W x 1” D 3305 Overall good condition. Minor surface dust and grime accumulation commensurate with age. Frame: 18.75” H x 21.25” W x 1.75” D

3298 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to side A; a few scattered minor faint spots throughout; side B with a 2” wide band of possible adhesive residue to each short edge and to one long edge.

3306 Overall good condition. The paper with deckled edges. Minor toning to the paper. Framed floating and mounted to the back mat. Not examined out of the frame. Framed under Plexiglas: 32.5” H x 41.5” W x 1.5” D

422

Framed under glass: 31” H x 38.5” W x 1” D 3308 Overall good condition. Framed under Plexiglas: 44” H x 60” W x 1.5” D 3309 Overall good condition. The paper with deckled edges. Minor toning to the paper. Framed floating and mounted to the back mat. Not examined out of the frame. Framed under Plexiglas: 36” H x 41” W x 1.75” D 3310 Overall good condition. Not examined out of the frame. Framed floating and hinged to the back mat. Framed under glass: 31” H x 38.5” W x 1” D 3311 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. 3312 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: overall minor creasing and light soiling throughout. A few darker stains to one corner. Scattered minor pulls to fabric. Not examined out of frame. Framed between two pieces of glass: 24.25” H x 24.25” W x 1” D 3313 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered light soiling and stains to each side; a couple of minor breaks to selvage cords.

3314 Overall fair condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: slight fading to one side; scattered soiling, spots and stains overall; scattered holes and areas of loose stitching; selvage breaks, loose stitching, and loss to one short edge. 3315 Overall fair condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: dye migration, staining, discoloration, and small spots overall; scattered holes and pulled stitches overall and losses to some corners. 3316 Overall good condition. Minor dust accumulation commensurate with age. Framed under glass: 8” H x 10.25” W x 2.125” D 3317 Overall good condition. Extreme pale stains on the paper. A horizontal crease that runs along the lower region of the image. Not examined out of the frame. Framed under glass: 15” H x 18.5” H x 1” D 3318 Overall good condition. Not examined out of the frame. Frame: 14.5 x 19.5 x 0.75 3319 Each: Overall good condition. Scattered soft handling creases. The first with wide margins revealing very pale mat staining in the outer sections and a diagonal crease across the lower right corner, primarily in the margin. Two old binding holes in the upper margin corners. Taped to the back mat with white paper tape in two places at the recto of the upper margin edge. The second with pale overall toning, a pinpoint-size hole near the center, and a few vertical and diagonal creases, visible mostly in raking light. Sealed in the mat. Each framed under glass. Frame of the larger: 15” H x 18” W x 0.75” D

Condition Reports

3307 Overall good condition. The paper with deckled edges. Minor toning to the paper. Framed floating and mounted to the back mat. Not examined out of the frame.

423

3320 Each: Overall good condition. Deckled edges along verious sides of the different cards. Wear to all four corners of the cards commensurate with age. Foxing scattered on each card. The fifth, eigth, and ninth cards have a crease running from the center upper and lower edge of the paper, as issued. The eighth image has very minor toning to the paper. The first card with a 0.5” W tear at the center left of the edge. The seventh: a 1.75” H tear at the lower right edge. Not examined out of the frame. Framed together under glass: 36.75” H x 31.75” W x 1” D 3321 Overall good condition. Slight toning to the paper. Not examined out of the frame. Framed under glass: 15” H x 16.25” W x 0.75” D 3322 Overall good condition. Minor toning to the paper. The sheet is loose, secured with archival tape to the overmat. Framed under glass: 18.5” H x 21.25” W x 0.75” D 3323 Visual: Craquelure throughout. Stretcher bar creases along the edges. Varnish discoloration. Surface dirt and grime commensurate with age. Blacklight: Touch-up and restoration throughout, the largest being an 8” H x 8.5” W area lower center with corresponding patches verso.

Condition Reports

Frame: 43.5” H x 38” W x 2” D

424

3324 Overall good condition with darkening/oxidation to bronze commensurate with age. The bronze scrollwork with some areas of cracking and separation. The glass likely new. 3325 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. 3326 Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age.

3327 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. 3328 Overall good condition with heavy patina on brass finish, scuffs, and flaking paint surface commensurate with age. Weathering indicative of items used and stored outdoors. Original electrical wiring still present for smaller verdigris pair. Red lantern has sizable dent to the back panel. No evidence of restoration or hairlines under illumination. No evidence of repairs or restorations under blacklight. 3329 Each overall good condition with shelf wear, scuffs, and scratches to the metal commensurate with age. Surface dust and grime on exterior and interior of both lanterns. Weathering of all surfaces indicative of outdoor use and storage. No evidence of restoration or hairlines under illumination. No evidence of repairs or restorations under blacklight. Key included in lot, but unclear on functionality. 3330 Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Light coating of dust and grime covering brass surface. General weathering commensurate with outdoor use and storage. Applied colored foils are flaking off of the interior of the glass panels in some areas. No evidence of restoration or hairlines under illumination. No evidence of repairs or restorations under blacklight. 3331 Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Binnacle should be comprised of an oil burning wick in the side compartment and magnetic liquid compass on the interior base of the body, however this particular item is missing these functional parts. Tung Woo lantern has fairly heavy grime and verdigris. No evidence of repairs or restorations under blacklight. 3332 Each overall fair to good condition. Coin scale has overall patination on brass surfaces as well as dust and grime. Brass balancing scale also has heavy oxidation and surface grime. Additionally, the balancing scale is missing the supportive base.

3333 Each overall good condition with scattered dings, light scratches, and oxidation commensurate with age. Heavier verdgis patina and darkening on the interior of each. Surface dust and grime present on interior and exterior of each mug.

3340 Visual: Overall good condition. Minor frame abrasion on the left and right edge.

3334 Overall fair to good condition with light surface wear, minor paint loss, and slight bending to metal for each. Some pieces are misshapen and unable to stand on their own base as intended. For one piece, depicting a wagon car, the driver’s head is missing. Additionally one of the wagon passenger’s head is detached, but the piece is retained.

Frame: 14.25” H x 17.25” W x 1.375” D

Blacklight: No evidence of restoration. Frame: 16.25” H x 18.25” W x 1.75” D 3336 Visual: Overall good condition. Very minor dust accumulation commensurate with age.

3341 Overall very good condition. Slight surface dust accumulation commensurate with age. Blacklight: No evidence of restoration. Frame: 14” H x 17” W x 1.5” D 3342 Overall very good condition. Not examined out of the frame. Framed under glass: 15.625” H x 18.625” W x 1” D

Blacklight: No evidence of restoration.

3343 Visual: Overall good condition. Very minor surface dust and grime commensurate with age. Slight unobtrusive frame abrasions along the edges.

Frame: 15.5” H x 17.5” W 1.625” D

Blacklight: No evidence of restoration.

3337 Visual: Overall good condition. Very minor frame abrasion with paint loss at the upper and left edge. Minor dust accumulation and grime concentrated at the lower edge. Blacklight: No evidence of restoration. Frame: 20.625” H x 24.625” W x 3” D 3338 Overall very good condition. Not examined out of the frame. Framed under glass: 20.625” H x 24.625” W x 1.25” D

Frame: 12.75” H x 18.75” W x 1.5” D 3344 Visual: Overall good condition. A small pea-sized paint loss at the lower right edge. Minor surface dust and grime commensurate with age. Blacklight: No evidence of restoration. Frame: 12.125” H x 14.125” W x 1.375” D 3345 Visual: Overall good condition. Very minor dust accumulation commensurate with age. Blacklight: No evidence of restoration.

3339 Visual: Good condition.

Frame: 15” H x 15” W x 1.375” D

Blacklight: No evidence of restoration.

3346 Overall very good condition.

Frame: 15.5” H x 18.75” W x 1.5” D

Framed under glass: 14.5” H x 16” W x 1” D

Condition Reports

3335 Visual: Overall very good condition.

Blacklight. No evidence of restoration. Certain pigments fluoresce under blacklight but these appear to be in the hand of the artist.

425

3347 Visual: Overall very good condition. Blacklight: No evidence of restoration. Frame: 16.25” H x 19.25” W x 2” D 3348 Visual: Overall very good condition. Blacklight: No evidence of restoration. Frame: 16.75” H x 14.75” W x 1.5” D 3349 Overall good condition. An occasional soft handling crease or short tear at the sheet corners or edges. Time staining commensurate with age showing along the sheet edges. 3350 Overall good condition with light wear commensurate with age and use. Some minor fraying to the white piping on sleeves. 3351 Overall good condition with light wear to the camel hair exterior commensurate with age and use. Small area of loss to the pile on the interior of the lapel - possible moth damage. Rayon lining is in good condition with no rips or fraying. Additional buttons provided.

Condition Reports

3352 Overall good condition with light wear commensurate for age and use. Leather waistcoat has an attractive patina.

426

3353 Overall good condition with light wear commensurate with age and use. slight discoloration and staining on the white cuffs of the black shirt. 3354 Overall good condition with light wear commensurate with age and use. Uncut pockets. 3355 Overall good condition with minor wear to the suede outer commensurate with age and use. One small .5” scuff to the suede on the back on the collar. Rayon lining has several small areas of light abrasion.

3356 Each overall good condition with minor wear commensurate with age and use. 3357 Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with use. 3358 Overall good condition with creasing and signs of wear commensurate with age. Discoloration and yellowing with small spotting/staining throughout. Some loose threads around button holes. Final button on the placard is missing.

Consign Today

Art of the American West March 14, 2023

An Extraordinary Tlingit ‘Oyster Catcher’ Rattle PRICE REALIZED: $46,875 Consignment and Auction Inquiries: info@johnmoran.com

SINCE 1969

AUCTIONEERS & APPRAISERS

bid in person - absentee - telephone - live online 145 East Walnut Ave, Monrovia, CA 91016 | www.johnmoran.com · info@johnmoran.com · (626) 793-1833 w w w. j o h n m o r a n . c o m 4 2 7

John Moran Auctioneers, Inc SPECIALISTS

Head of Sale, Vice President, Silver, Western, and American Indian Specialist Maranda Moran President, Auctioneer Jeffrey J. Moran Silver, Western and American Indian Cataloguer Sally Andrew Fine Art Director Jenny Wilson Junior Specialist / Senior Fine Art Cataloguer Bobby Cullen Fine Art Cataloguer Anne Spink Fine Art Cataloguer Madison Ari Senior Furniture & Decorative Arts Cataloguer Shannon Dailey Furniture & Decorative Arts Cataloguer Sarah Beaver Senior Vice President Morgana Blackwelder AAA Post-War & Contemporary Fine Art Specialist Hayden Hunt 20th Century Design Specialist Matthew Grayson Vice President, Furniture & Decorative Arts Director Furniture & Decorative Arts Department Administrator

Roland Rynkiewicz Alek Ellis

Jewelry Director Mollie Burns Keith, G.J.G

CLIENT SERVICES

Office Manager Mario Esquivel Client Services Ella Fountain Finance Administrator Jamie Holthauser

OPERATIONS

Vice President, Business Director, Auctioneer Stephen Swan Finance & Human Resources Director Maha Darwish Consignment Coordinator Jean Rapagna Operations Coordinator Ian Anderson Art Handler Joe Miranda Art Handler Richard Corral Art Handler Angel Sanchez Art Handler Jacob Baer

MARKETING

Advertising & Marketing Director, Art Design Nathan Martinez PR Manager/Social Media Brenda Smith Graphic Designer Brian Olivas

PHOTOGRAPHY

Photographer Keith Berson Photographer Madison Torres Photographer Michael Mizerowski

TRUSTS & ESTATES

Department Administrator Melissa Brownell

FOUNDERS

Founder John H. Moran (1942-2017) Co-Founder Madeleine Moran

This catalogue is meant merely as a guide. The Auctioneers do not warrant the accuracy, genuineness, authenticity, description, weight, count or measure of any of the lots specified herein.

BUYER’S PREMIUMS: BUYER’S PREMIUM is calculated at 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,001 - $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Credit card payments will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards. Buyers outside of the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside of the United States.

BIDDING INCREMENTS:

$100 - $475 @ $25 increments $500 - $950 @ $50 increments $1,000 - $1,900 @ $100 increments $2,000 - $4,750 @ $250 increments $5,000 - $9,500 @ $500 increments $10,000 - $19,000 @ $1,000 increments $20,000 - $47,500 @ $2,500 increments $50,000 - $95,000 @ $5,000 increments $100,000 - $190,000 @ $10,000 increments $200,000 - $480,000 @ $20,000 increments $500,000 & above @ $50,000 increments, or at Auctioneer's discretion.

View Illustrated Catalogue Online @ www.johnmoran.com

Download Moran Mobile today at the App Store and Google Play!

Conditions of Sale AUCTION HOUSE AS AGENT Except as otherwise stated, John Moran Auctioneers Moran's) acts as agent for the seller. The contract for the sale of the property is therefore made between the seller and the buyer. BEFORE THE AUCTION (a) Public Preview: All property is available for inspection by public preview during the day of auction. In many cases, particular lots can be examined in advance by private appointment. Prospective buyers are strongly encouraged to personally examine any property in which they are interested. (b) Buyer's Responsibility: Buyers are responsible for determining to their own satisfaction the true nature and condition of any lot prior to bidding. Though buyers are not legally required to inspect lots prior to purchase, failure to do so may constitute a waiver of complaint that an item was not delivered in a condition equal to the existent condition at the auction. (c) Property Sold 'As Is': Neither Moran's nor the seller provides any guarantee in relation to the nature of the property, or to any errors or omissions in the catalogue or supplemental material apart from the Limited Warranty stated below. Condition reports are offered as a courtesy and are typically published in Moran's catalogue or can be made available upon request. The absence of a condition report does not imply than an item is free from defects or restoration, nor does a reference to particular defects imply the absence of others. AT THE AUCTION (a) Admission: The auction is open to the public, though Moran's reserves the right to refuse admission or participation to anyone at any time. The auctioneer may be recorded (visually, aurally or otherwise) and all participants consent to such recording. (b) Buyer Registration: Prospective buyers must register with Moran's before bidding. Moran's may require identification and financial references in advance of buyer eligibility. Registered bidders accept personal liability to pay the purchase price, including the buyer's premium plus all applicable charges, unless Moran's agrees in advance that the bidder is acting as agent on behalf of an identified third party acceptable to Moran's. In such case, Moran's will look to the third party for payment. (c) Bidding Guidelines: Bidding, whether in person, by agent, absentee bid, telephone, or internet, constitutes a bidder's acceptance of these conditions. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer retains the absolute right to reject any bid, to withdraw, pass or divide any lots, to combine multiple lots, to advance the bidding at his or her absolute discretion and (in the case of error or dispute, whether during or after the sale) to determine the successful bidder, to continue the bidding, cancel the sale or to re-offer and sell the lot in question. Under no circumstances are the consignors' or agents acting on their behalf, permitted to bid on their consignment. In the event of any dispute after the auction Moran's sale record shall be conclusive. (d) Absentee, Telephone and Internet Bidding: Moran's offers absentee, telephone and internet bidding as a convenience to clients and does not accept liability for errors or failures to execute such bids. Absentee and telephone bids must be recognized by Moran's prior to auction day. When identical absentee bids are submitted that become the highest bids at the auction, the bid first received by Moran's shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure. (e) Reserves: Unless indicated otherwise, lots may be offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve for any lot shall not exceed its published estimate. Moran's shall act to protect the reserve by bidding through the auctioneer, who may open bidding on any lot below the reserve by placing a bid on the seller's behalf. The auctioneer may continue to bid on behalf of the seller up to the reserve amount, either by placing consecutive bids or by placing bids in response to other bidders. Lots without reserves are typically opened for bidding at 50% of their low estimate. In the absence of a bid at that level, the auctioneer may proceed backwards at his discretion or deem the lot unsold if a bid is not recognized. AFTER THE AUCTION (a) Payment and Title Transfer: The buyer agrees to pay the sum of the hammer price plus Buyer's Premium, plus any applicable sales tax. Buyer's Premium is calculated as follows: 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,001 - $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Successful bidders using Live Auctioneers platform will be charged a Buyer’s Premium of: 30% on the first $500,000 of the hammer price, plus 23% on any amount between $500,001 - $1,000,000, and 20% on any amount above $1,000,000 when paying by cash, check or wire transfer. Credit card payments will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards. Buyers outside the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside the United States. Buyers are strongly encouraged to provide full payment at the auction. Payment must be received by Moran's within five business days immediately following the auction. The buyer shall not acquire title or take possession of the lot until all amounts (including the hammer price, premium and applicable taxes) due to Moran's have been paid in full. (b) Collection: Buyers are strongly encouraged to collect purchased items from the sale site at the time of the auction. Packing material and labor are provided free of charge at the sale site during the auction. Packing and handling of purchased lot is undertaken by Moran's solely as a convenience to customers. Moran's is not liable for damage to property, regardless of cause, in connection with this courtesy service (c) Storage: Following the auction, uncollected lots shall be relocated to and stored in Moran's warehouse. Moran's shall retain possession of all purchases until full payment has been received from the buyer. Lots remaining uncollected after the fifth business day following the sale, regardless of payment status, are subject to a per-lot daily storage charge of $10.00. In addition to other remedies available by law, Moran's reserves the right to impose upon delinquent buyers a separate 1% monthly charge (of the

purchase price, or the maximum permitted by law) commencing on the sixth business day after the sale date. (d) Shipping: Buyers are responsible for arranging their own shipping estimates and deliveries. Moran's in our discretion and as a courtesy to buyers, can arrange to have purchased lots packed, insured and forwarded by a third-party shipper at the request, expense and risk of the buyer. Moran's assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers, even if recommended by Moran's. Nor does Moran's assume any responsibility for any damage to picture frames or to the glass therein. In circumstances where Moran's arranges for such third-party services, Moran's may apply an administration charge of 15% of that service fee. (e) All Sales Final: Notwithstanding other terms mentioned herein, refunds shall be given at Moran's sole discretion. Refunds requested on the grounds of authenticity must be made within 10 days of the auction and accompanied by a supporting written statement from a recognized authority (defined as a person who has authored, edited, or substantially contributed to a monograph on the artist, a person who has curated, organized or substantially contributed to a solo exhibition on the artist, a person who has represented the artist's estate or someone who represented or worked closely with the artist while they were alive and, in any of the above instances physically handled works of the period, medium and subject matter in question during the course of their duties) stating that the object sold is incorrect or not the work of the artist. Dealers, appraisers and representatives of other auction firms do not qualify as authenticators of individual artists unless they have had such specific involvement with that artist's work, as specified above, in addition to their daily duties. Refunded lots must be returned to Moran's in the same condition as when sold. Moran's does not grant extensions to refund considerations based upon authenticity due to shipping delays. There are no exceptions to this refund policy. LIABILITY AND LIMITED WARRANTY (a) Liability: The buyer expressly agrees that (i) neither Moran's nor the seller shall be liable, in whole or in part, for any special, indirect or consequential damages, including, without limitation, loss of profits and (ii) the buyer's damages, if any, are limited exclusively to the original purchase price paid for the lot. (b) Limited Warranty: All property is sold as is. Neither Moran's nor the consignor or our associates make any representation, express or implied warranty (including merchantability and fitness) or guarantee in condition, age, size, provenance, medium, signature, inscription, exhibition history, importance, rarity, country of origin, genuineness, historical relevance, monetary or other value, framing or lack thereof, mounting, conservation, coloring, palette, inscription, edition, style, label or other descriptor. No statement in the catalogue, brochures, website, bill of sale or invoice, any supplementary material, or statements by any Moran's employee shall be deemed such a warranty or representation or an assumption of liability. (c) Descriptions: No warranty, whether express or implied, is made with respect to any description contained in this auction or any second opinion. Any description of the items or second opinion is for the courtesy of identifying the items for those Bidders who do not have the opportunity to view the lots in person, and no description of items has been made part of the basis of the transaction or has created any express warranty that the goods would conform to any description made by the Auctioneer. Color variations can be expected in any electronic or printed imaging and are not grounds for the return of any lot. (d) Estimates: All estimates provided are carefully considered opinions of Moran's specialists, and are merely suggested guidelines for interested buyers. Buyers must be aware that all property sold is subject to fluctuating values depending on the subjective interests of collectors and a wide variety of other uncontrollable factors. The lots auctioned may sell at prices above, within, or below estimate. (e) Regulated Species: Lots with a "◊" symbol in the printed or digital catalog, or noted within the condition report of a lot, may contain regulated plant or animal materials and could be subject to certain import or export restrictions. It is the buyer’s responsibility to investigate any such restrictions and obtain any required import or export permits / licenses. The inability to obtain any such document(s) is not grounds for requesting a refund nor does it negate the buyer from making full payment for their purchase. (f) Notices, Demands and Refunds: Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016. ADDITIONAL MATTERS (a) Copyright: The copyright on all images, illustrations and written material produced by or for Moran's for this auction is and shall remain at all times the property of Moran's. Moran's and the seller make no representation or warranty that the buyer will acquire any copyright or reproduction rights to a purchased lot. (b) Buyer's Breach of Conditions: If a buyer fails to comply with any of these conditions, Moran's may, in addition to asserting all remedies available by law, including the right to hold that buyer liable for the purchase price, (i) cancel the sale, retaining as liquidated damages any payment made by the buyer, (ii) resell the property without reserve at public auction or privately upon notice to the buyer, or (iii) take such other action as we deem necessary or appropriate. If Moran's resells the property, the original defaulting buyer shall be liable for the payment of any deficiency between the original sale price and any subsequent mitigation sale, including warehousing, the expenses of both sales, reasonable attorney's fees, commissions, incidental damages and all other charges due hereunder. In the event that such buyer pays a portion of the purchase price for any property, Moran's shall apply the payment received to such property that Moran's in our sole discretion, deems appropriate. Moran's shall have the benefit of all rights of a secured party under the Uniform Commercial Code adopted in the State of California. (c) Severability: Should any of these conditions be deemed unenforceable, invalid or illegal in any court having jurisdiction, that part shall be discounted and shall have no effect on the enforceability of the remaining provisions contained herein, which shall remain valid to the fullest extent permitted by law. (d) Jurisdiction: The rights and obligations of the parties with respect to these conditions and the conduct of the auction shall be governed and interpreted by the laws of the State of California. By bidding, whether in person or by agent, by absentee bid, telephone, internet or other means, the buyer shall be deemed to have consented to the exclusive jurisdiction of the courts of the state of California or, if applicable, the federal courts sitting in this state. Further, the buyer agrees that the venue for any action arising out of the failure to abide by these conditions, or any conduct related to or arising out of the auction, shall be the Los Angeles Superior Court, North East Branch located at 600 Olive Street, Burbank, California.

SINCE 1969

AUCTIONEERS & APPRAISERS

w w w. j o h n m o r a n . c o m · i n f o @ j o h n m o r a n . c o m · ( 6 2 6 ) 7 9 3 - 1 8 3 3