Art of the American West — Wednesday, November 13, 2024 | John Moran Auctioneers
Sale 293 145 East Walnut Avenue, Monrovia CA 91016 Previews:
Friday, November 8th: 12-4pm
Saturday, November 9th: 12-4pm
Monday, November 11th: 12-4pm
Tuesday, November 12th: 12-4pm
Wednesday, November 13th: Doors open 9am
Meet the Team
Maranda Moran Vice President, Head of Sale Specialist, Silver, Western & American Indian Art marandam@johnmoran.com
Sally Andrew Cataloguer, Silver Jewelry & Decorative Arts sally@johnmoran.com
Grant Stevens Cataloguer, Decorative Arts grant@johnmoran.com
Madison Ari Cataloguer, Fine Art mari@johnmoran.com
Client Services
Mario Esquivel Office Manager mario@johnmoran.com Ella Fountain Client Services ella@johnmoran.com
Heinie Hartwig ( b. 1937)
Heinie Hartwig is a versatile artist best known for of landscapes and still lifes.
He began painting in 1970, initially dedicating his pursue art full-time. Raised in California’s Santa historic moments like the construction of the Berlin the two returned to Santa Clara. By 1991, Hartwig
Hartwig honed his artistic skills by studying the classical art. While the Western theme doxminates serene natural scenes and carefully composed still-life
for his Western-themed paintings, though his portfolio also includes a wide range his evenings to his craft while working a day job. A year later, he left his job to Clara Valley, Hartwig spent three years in Europe with the Army, witnessing Berlin Wall. During this time, he convinced his wife, Eva, to leave East Germany, and Hartwig earned a spot in “Who’s Who in American Art.” techniques of the “Old Masters,” drawn to the timeless charm and romance of doxminates much of his work, his versatility shines through in his meticulously detailed still-life compositions.
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Signed lower right: Heinie Hartwig; titled verso 6” H x 12” W
$600-800
Heinie Hartwig (b. 1937)
“Camp on the Lake” Oil on Masonite
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Signed lower right: Heinie Hartwig; titled verso 6” H x 12” W
$600-800
Heinie Hartwig (b. 1937)
“Buffalo at Sundown” Oil on Masonite
Signed lower left: Heinie Hartwig; titled verso 6”
Signed lower left: Nicholas Coleman; signed again and titled in pencil verso 12” H x 9” W
$1,000-1,500
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R.C. Gorman (1931-2005)
Study for “Night,” 1975
Mixed media on paper
Signed and dated lower left: R.C.
Sight: 22.625” H x 28.5” W
$2,000-3,000
Provenance:
Property from the Collection of Susan Sold: Heritage Auctions, Dallas TX,
Literature: cf. Adams & Newlin, pp.
Notes: This lot is sold together with the artist’s market, and the editioned
Susan and Allen Coles
TX, “Dallas Signature Art of the American West & Texas,” November 20, 2010, Lot 76483
pp. 137 and 139
with a copy of the invoice from the above mentioned auction as well as assorted other materials about the auction, editioned lithograph for which this work was a study.
Harry Andrew Jackson grew up on the gritty streets teacher and a scholarship to the Chicago Art Institute. a ranch hand. After the war, Jackson moved to New However, he soon pivoted to realism, focusing on
One of Jackson’s significant works, and the first guide of Lewis and Clark’s expedition to the Pacific color treatments and served as a study for a ten-foot at the Plains Indian Museum at the Buffalo Bill Historical Goddard’s 1981 book “Harry Jackson” as “an image images in Western Art — the Madonna and Child,
streets of Chicago, where he discovered his passion for art through a supportive Institute. At 14, he ran away to Wyoming, embracing the cowboy life and working as New York, where he initially made a name for himself in Abstract Expressionism. on Western themes that reflected his deep connection to cowboy culture.
to use a woman as the central theme, was inspired by Sacajawea, the Shoshone Pacific Ocean between 1804 and 1806. This piece was produced in various sizes and ten-foot version completed in 1980. This larger sculpture is prominently displayed Historical Center in Cody, WY. Sacagawea is identified in Larry Pointer and Donald image and form that encompasses the source of life and the history of all such Child, the robed Venus” (p. 145).
Bronze: 17.875” H x 8.75” W x 6.25” D; Overall: 20” H x 9.125” W x 7” D
$1,000-2,000
One of Jackson’s significant works, and the first to use a woman as the central theme, was inspired by Sacajawea, the Shoshone guide of Lewis and Clark’s expedition to the Pacific Ocean between 1804 and 1806. This piece was produced in various sizes and color treatments and served as a study for a ten-foot version completed in 1980. This larger sculpture is prominently displayed at the Plains Indian Museum at the Buffalo Bill Historical Center in Cody, WY.
Sacagawea is identified in Larry Pointer and Donald Goddard’s 1981 book “Harry Jackson” as “an image and form that encompasses the source of life and the history of all such images in Western Art — the Madonna and Child, the robed Venus” (p. 145).
Harry Andrew Jackson (1924-2011)
“Iroquois Guide II,” 1980
Cold-painted bronze on a stone plinth he inscription text with:
Signed and numbered in the casting: Joe Cajero Jr.; further marked: B [in a cartouche]
16” H x 11.5” W x 1.375” D
$400-600
Notes: Joe Cajero, Jr. was born in 1970 in Santa Fe, New Mexico, and raised in the Pueblo of Jemez. He earned his Associate of Fine Arts Degree from the Institute of American Indian Arts in May 1992. Reflecting on his artistic journey, he says, “I feel that my work with clay has naturally led me to bronze, and in turn, my experiences with bronze have enhanced my skills in working with clay.”
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Joe Cajero Jr. (b. 1970, Jemez Pueblo)
“The Embodiment of Prayer”
Patinated and cold-painted bronze on a rotating wood base
Edition: 25/30
Signed and numbered in the casting: Joe Cajero Jr.; foundry mark: B [in a cartouche]
Bronze: 19.25” H x 6.25” W x 5.75” D; Overall: 21.125” H x 8” W x 7.5” D
$700-900
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Upton (Greyshoes) Ethelbah Jr. (b. 1943, Santa Clara Pueblo/Apache)
Untitled figure, 2002
Carved stone on a stone plinth
Incised signature and date near base: Greyshoes / 2002
Stone: 33” H x 9.75” W x 4.5” D; Overall: 34.25” H x 13.125” W x 8.125” D
$2,000-4,000
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Fritz Scholder (1937-2005)
Untitled, from the “Shaman Series”
Lithograph in colors on wove paper
Edition: One of 100 artist’s proofs
Signed and inscribed “artist’s proof” in pencil at the lower edge: Scholder; with the Houston blindstamp in the lower right sheet corner
Image/Sheet: 30.25” H x 22” W
$800-1,200
Fritz Scholder (1937-2005)
“Action Shaman (State II)”
Lithograph in colors on wove paper Edition: 32/50
Signed and numbered in pencil at the lower edge: Scholder; with the Houston blindstamp at the lower right sheet corner
Image/Sheet: 41.25” H x 29.625” W
$1,000-2,000
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Fritz Scholder (1937-2005)
“Lily,” 1983
Lithograph in colors on wove paper
Edition: 55/90
Signed and numbered in pencil in the lower margin: Scholder; with the Houston blindstamp in the lower right margin corner
Image: 34” H x 24” W; Sheet: 41.25” H x 29.25” W
$1,500-2,500
Fritz Scholder (1937-2005)
Tulip, 1983
Lithograph in colors on wove paper
Edition: 23/60
Signed and numbered in pencil in the lower margin: Scholder; with the Houston blindstamp in the lower right margin corner
Image: 34” H x 24” W; Sheet: 40” H x 29” W
$1,500-2,500
John Nieto (1936-2018)
Nieto was born in Denver and received a BFA Hispanic and American Indian parents traced cultural heritage. Nieto spent time in Paris where daring use of color and the way that subconscious artist’s work.
Nieto exhibited his work nationally in Western at the “Salon d’Autumn” at the Grand Palais, in 1989. In 1982, Nieto presented a portrait of House” to President Ronald Regan at the Oval Library. Beginning in 1982 and through at least Embassies Program.
In 1994, Nieto received the New Mexico Governor’s both the Wheelwright Museum in Santa Fe and of many institutions including Booth Museum, Museum.
In “Desert Water II,” Nieto depicts a central standing head, set against a typical dark purple background. and blue, and the horizontal shadow is in bright of modernism and abstraction. He chooses to incredibly forward-thinking design of the Zuni figure and shadow.
BFA from Southern Methodist University, where he remained an active alum. The artist’s their roots in New Mexico back over 300 years, and Nieto’s work reflects this rich where he studied the French Fauvist and Expressionist movements. The Fauvist’s subconscious manifested in Expressionist compositions were both major influences on the
Western states including annual shows at Jackson Holy, WY and internationally including Paris, France in 1981, and in a one-man show at the Axis Gallery in Tokyo, Japan of a seated Native American figure in traditional dress titled “Delegate to the White Oval Office of the White House. The painting currently hangs at the Reagan Presidential least 2006, Nieto actively exhibited throughout the world as part of the US Art in
Governor’s Award for Achievement in the Arts, and served on the Advisory Boards for and the Native American Preparatory School. His work is in the permanent collections Museum, National Museum of W ildlife Art, New Mexico Museum of Fine Arts and The Heard standing robed figure carrying a traditional Zuni polychrome pottery olla on her background. The figure is engulfed in a red robe, outlined in vivid brushstrokes of green bright pink. In this painting, Nieto explores the interaction between timeless themes depict the Native jar in a realist style seemingly to acknowledge and celebrate the peoples, in dynamic contrast to his signature contemporary presentation of the
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John Nieto (1936-2018)
“Desert Water II,” 1984
Acrylic on canvas
Signed lower right: Nieto; signed again, titled, and dated on the upper portion of the stretcher
30” H x 24” W
$8,000-12,000
Provenance:
Sold: Heritage Auctions, Dallas, TX, “American Indian Art Signature AuctionSlocum,” May 16, 2014, Lot 54003
Private collection, acquired from the above
Notes: This lot is accompanied by a copy of a sales invoice and an auction certificate, both from the auction house mentioned above.
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Frank LaPeña (1937-2019)
Abstract in greens, 1974 Oil on board
Signed and dated lower right: Signed and dated lower right: LaPena 74 21” H x 23.5” W
$400-600
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A Southwest katsina figure
Early 20th century, Hopi-Tewa
The carved and polychromed cottonwood dancer figure with stepped tabletta, depicting symbols celebrating fertility, harvest, and friendship
26.25” H x 10.75” W x 7.75” D
$3,000-5,000
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Sergei Bongart (1918-1985)
Portrait of a Native American child Oil on canvas
Signed upper right: Sergei Bongart 21.5” H x 19.5” W
$700-900
Provenance: The Estate of Sergei Bongart
Kathryn Woodman Leighton (1875-1952)
Kathryn Woodman Leighton was considered one of the world’s most notable Tewa artist Julián Martinez is a fine example of Leighton’s renowned series
Born in Plainfield, New Hampshire in 1875, Kathryn was educated locally and married attorney Edward L. Leighton, and they moved west in 1910 when a successfully mix serious artistic pursuits and practical home life. Leighton opened Jean Mannheim. Her canvases featured portraits as well as local landscapes,
A fortuitous meeting with Charles M. Russell at a party in Los Angeles led to to paint the newly formed Glacier National Park in Montana, (which she did summer home on Lake McDonald in 1925, where she reportedly painted two introduced Leighton to members of the Blackfeet Indian tribe and to officials Los Angeles studio, and her talent and reputation were established at the time
Leighton was commissioned by the Great Northern Railway to paint grand GNR perspective) of the park. The railway bought over twenty of Leighton’s portraits helped to shape Leighton’s career, as she was “propelled to fame Angeles, Chicago, and Boston as well as in Paris and London, with rave critical dignity of tradition, and the fundamental beliefs of our first American people…” tribes. She even travelled as far afield as the Iroquois Nation. In each portrait, bone work, jewelry ornamentation, bonnets and headdresses, interior spaces,
This portrait depicts Julián Martinez (1879-1943), also known as Pocano, “Coming ceramic artists. Martinez was also elected governor of San Ildefonso. He married couple were credited with revitalizing a waning pottery tradition, with their
Although Julian Martinez created many paintings on paper, he is best known black-on-glossy black pieces in 1918. Maria formed and polished the hand-coiled pottery decoration, Julián excelled in painting geometrically stylized forms, modifying classical Pueblo designs to create his own. The smooth, geometric had gained national recognition by the time Julián Martinez died in 1943.
Martinez is depicted in this portrait wearing a vivid red shirt contrasting with in strong colors in exquisite detail which come together to create a powerful the variety of clothing, objects, and sacred facial paints of her Native American music of the many visitors to be found there of an evening.
Leighton’s portraits included Blackfeet, Sioux, Cherokee, Shoshone, Yakima, figures of the time including Pawnee Bill, Iron Eyes Cody, Florence Collins
Leighton’s versatility was expressed in over 700 works, and her Native American cultural details and perspectives of the First Nation people she was privileged
Sources: Patricia Trenton, ed. “Independent Spirits: Women Painters of the American Phil Kovinick and Marian Yoshiki-Kovinick, “An Encyclopedia of Women Artists
notable painters of American Indian portraits, “at a time when the subject was reserved for males.” This painting of important of Native American portraiture.
and taught school for three years before studying at the Massachusetts Normal Art School in Boston, graduating in 1900. She a planned vacation to California turned into a permanent relocation. Dedicated support from Edward enabled her to opened a studio in South Los Angeles while continuing her studies at the Stickney School of Art in Pasadena and with artist landscapes, especially California desert wildflowers and coastal seascapes of Laguna and Morro Bay.
to an important shift in subject matter and a change to her popularity as a painter. Russell encouraged Leighton to visit and did and produced a number of panoramic landscapes of the area) and the Leightons were invited to stay at the Russell’s two landscapes on the curtain dividers between the guest beds in the lodge. On a return trip in the summer of 1926, Russell officials of the Great Northern Railway. Leighton had already begun to paint portraits of Native American Indians, often out of her time of meeting with the GNR officials.
landscapes of the majestic peaks and lakes, as well as portraits of various Blackfeet elders as part of a promotion (from the Leighton’s works to augment a national touring lecture series on the history of the Blackfeet. At the age of fifty, the success of these as the world’s foremost painter of Native American portraits.” Her portraits were featured in major exhibitions in Los critical reviews. Leighton felt: “I am trying to put on canvas…the nobility of the Indian as I see him, the beauty of color, the people…” Leighton continued to make annual painting trips to the Blackfeet tribe as well as other Midwestern and Southwestern portrait, including the subject painting included in this sale, Leighton chronicled in great detail the leather clothing, bead and spaces, exterior dwellings, and especially the individual features of her sitters.
“Coming of the Spirits.” He was a Tewa/San Ildefonso Pueblo potter, painter, and the patriarch of a family of Native American married Tewa potter Maria Martinez, considered the preeminent creator of San Ildefonso blackware pottery, and together, the son Popovi Da, and other family members, later continuing the family innovation in Tewa ceramic arts.
known for his collaborations with Maria. In the early 1900s, they began a decade of experimentation that led to their first matte hand-coiled pots and Julián applied the abstract symbolic and geometric painted designs. In his watercolors as well as his forms, especially birds and serpent figures, and he researched historical designs and reproduced them on the pottery, later geometric shapes and designs of their work harmonized with the art deco style of design of the 1930s and 1940s, and the couple
with a distinctive Southwest squash blossom necklace and turquoise earrings, with likely beadwork hair ornaments, all painted powerful composition. The style is typical of Leighton, featuring distinctive, bold strokes and rich paint colors inspired by hues of American sitters. The work was likely executed in her studio in Los Angeles, often reported to be full of chanting, drums and Yakima, Arapaho, Navajo, Hopi, Pawnee, Osage, and more, as well as local Native American actors from Hollywood, and notable Porter, and numerous studies of family members and friends.
American portraits continue to be a legacy of a well-intentioned admiration and respectful desire to retain and share important privileged to meet.
American West, 1890-1945,” Los Angeles, CA: Autry Museum of Western Heritage, 1995. Artists of the American West,” Austin, TX: University of Texas Press, 1998.
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Kathryn Woodman Leighton (1875-1952)
“Julián Martinez Tewa Indian” Oil on canvas laid to Masonite
Signed lower right: Kathryn W. Leighton; titled in pencil, verso, and also in ink on an exhibition label affixed verso; additionally inscribed in pencil on the verso: “Husband of Maria finest pottery maker / in New Mexico, Julian does all the carving,” and with the name and address of previous owner Everett W. Leighton inscribed in various places, verso, and verso of the frame
29.5” H x 24.5” W
$4,000-6,000
Provenance: Everett W. Leighton (1904-1987), Los Angeles, CA
Private collection, Los Angeles, CA
Exhibited:
Springville, Utah, “Spring Salon,” Springville High School Art Association (later Springfield Museum of Art), date unknown (likely between 1922 -1935).
Notes: Celebrated Taos artist Nicolai Fechin is best known for his oil portraits of Native Americans, but he was also a woodworker and sculptor. Fechin’s father was a destitute craftsman in wood and metal in Russia. When Fechin was four, he became seriously ill and was expected to die, but was restored by the touch of the Ikon of Tischinskoya. His boyhood was spent in the Volga Forest region of Western Russia where he was exposed to the Tatars, a Turkic ethnic group.
When he was 13, Fechin received a scholarship to the Art School of Kazan, that had been founded by his grandfather. At 19, he began his studies at the Imperial Academy of Art in St. Petersburg, the pupil of Ilya Repin who had introduced contemporary Russian art to the West in 1893. Fechin graduated in 1909 and was awarded a traveling scholarship through Europe. He was called “the Tatar painter” and was an instant success in European and American exhibitions using a signature palette-knife technique. When the Bolshevik Revolution followed WWI, Fechin left Russia for America after six years of privation. He was immediately popular in New York and received many portrait commissions, including from celebrities, and won first prize for a portrait from the National Academy in 1924.
In 1927, Fechin moved permanently to Taos, where his work focused on the local Pueblo Indian peoples. The artist was known to paint by day and sculpt, both three-dimensional works as well as architectural elements of his house, at night. Fechin’s personality parallelled his artistic output. He was quick and direct, sparse in speech, and painted only from life, creating a sculptural quality to his portraiture by finishing figure’s faces by moving the paint with his thumb. A master of color, Fechin had technical deftness, but limited depictions of emotion to “rugged and sober” for Native American subjects and “exuberant and pleasing” for other sitters.
In about 1936, Fechin traveled on a sketching trip through Mexico. In 1938, he moved to Bali but was forced to return to the US at the onset of WWII. This time Fechin settled in Santa Monica where he continued to paint Southwestern subjects and sculpt as well as take portrait commissions.
The present work was cast in Los Angeles in 1951 and comes from the collection of Sergei Bongart. Fechin’s studio was immediately next door to Ukrainian emigre Sergei Bongart’s studio, and the two artists were friends and enjoyed speaking together in their native Russian. In the portrait bust, Fechin returned once again to a Southwestern Native warrior subject that focused on the unique personality of the figure’s face, and a prominent feather headdress.
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Clifford Fragua (b. 1955, Jemez Pueblo)
Woman with blanket, 1998
Patinated, cold-painted, and polished bronze on a wood base Edition: 3/30
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Charles Henry Humphriss (1867-1934)
“The Warrior,” 1904
Patinated bronze on a marble plinth
Signed and dated in the casting: C. Fragua / ‘98 / [cipher]; foundry mark: B [within a cartouche]
Bronze: 19.75” H x 5.25” W x 4.25” D; Overall: 21.5” H
$400-600
Signed and dated in the casting: Bronze: 16.375” H x 14” W x 4”
The Collection of Steven and Ursula De Christopher Palm Springs Art Museum, Palm Springs, CA, gift from the above
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.artists, Joe Beeler, Charlie Dye, John Hampton and George Phippen.
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Neil Boyle (1931-2006)
Native Americans on horseback Oil on canvas
Signed lower right: Boyle 48” H x 60” W
$4,000-6,000
Howard Rees (b. 1941)
“Vantage Point”
Watercolor on paper
Signed lower right: Howard Rees; titled, possibly in another hand, on a label affixed to the frame’s backing paper
Sight: 14.25” H x 19.25” W
$400-600
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Edward Curtis (1868-1952)
“The North American Indian,” Volume Fifteen, and Large Supplemental Plates, 1907-1930 Photogravures in brown on Japanese vellum First edition, published in 1926 74 (of 75) small plates, plus the accompanying title, list of illustrations, and other text pages on the same type of paper, all plates with their original protective coversheets tipped down along either the left or right sheet edges, as issued; this nearly complete volume is sold together with 33 (of 36) large supplemental plates for this volume, plus the list of supplemental plates page on the same paper; The Plimpton Press, Norwood, MA, prntr.; Edward S. Curtis, author, photographer, and publisher
One disbound, nearly complete volume, plus 34 large supplemental sheets Sheet of each in Volume: 12.25” H x 9.5” W (or opposite); Sheet of each Supplemental Plate: 21.75” H x 17.5” W (or opposite)
$6,000-8,000
Notes:
The Volume portion of this lot is lacking image page 12 “Basketry of the Mission Indians.” The Supplemental Large Plates portion of this lot is lacking plate 516 “A Home in the Mesquite - Chemehuevi,” plate 541 “Washo Baskets,” and plate 542 “Modern Designs in Washo Basketry.”
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Edward Curtis (1868-1952)
“The North American Indian,” Volume Thirteen, and Large Supplemental Plates, 1907-1930 Photogravures in brown on Japanese vellum
First edition, published in 1924
72 (of 75) small plates, plus the accompanying title, list of illustrations, and other text pages on the same type of paper, all plates with their original protective coversheets tipped down along either the left or right sheet edges, as issued; this slightly incomplete volume is sold together with 29 (of 36) large supplemental plates for this volume, plus the list of supplemental plates page on the same paper; The Plimpton Press, Norwood, MA, prntr.; Edward S. Curtis, author, photographer, and publisher
One disbound, slightly incomplete volume, plus 30 large supplemental sheets
Sheet of each in Volume: 12.25” H x 9.5” W (or opposite); Sheet of each Supplemental Plate: 21.75” H x 17.5” W (or opposite)
$6,000-8,000
Notes:
The Volume portion of this lot is lacking image page 86 “The Mush-Basket,” image page 136 “Achomawi Mother and Child,” and image page 158 “Praying to the Spirits of Crater LakeKlamath.” Also note that there is a duplicate example of image page 156 “A Klamath Profile.”
The Supplemental Large Plates portion of this lot is lacking plate 439 “Hupa Trout-Trap,” plate 450 “Hupa Mother and Child,” plate 454 “Spearing Salmon,” plate 456 “Klamath Lake Marshes,” plate 467 “ Principal Female Shaman of the Hupa,” plate 470 “Chief - Klamath,” and plate 471 “Smoky Day at the Sugar Bowl - Hupa.”
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Joe Beeler (1931-2006)
Bust of a Navajo man
Patinated and cold-painted bronze on a rotating wood plinth
Editioned and signed in the casting: Joe Beeler CA / AP/40
Bronze: 15” H x 10.5” W x 10.125” D; Overall: 17.5” H
Bronze: 19.25” H x 18.5” W x 22.5” D; Plinth: 28” H x 19.5” W x 19.5” D
$3,000-5,000
Provenance: Steven De Christopher Sr. Palm Springs Art Museum, Palm Springs, CA, gift from the above
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Dave McGary (1958-2013)
“Battle of Two Hearts,” 2001
Patinated and cold-painted bronze on a rotating base Edition: 8/75
Signed, dated, and numbered in the casting: Dave McGary / 01; titled to base Bronze: 29” H x 19” W x 6.5” D; With base: 35.75” H x 19” W x 10” D
$2,500-3,500
Provenance: Palm Springs Art Museum, Palm Springs, CA
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Julian Martinez (1879-1943, Tewa)
Koshare clown with skunk
Gouache and ink on off-white paper
Signed lower right: Julian Martinez
Sight: 9.375” H x 10.375” W
$700-900
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Julián Martinez
(1879-1943, Tewa)
Fowl and skunk
Mixed media on light-tan paper
Signed lower right: Julian Martinez
Sight: 9.5” H x 11.75” W
$300-500
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A Gustav Stickley bookcase, no. 716
Circa 1900-1910; Eastwood, NY
With Stickley shop mark to upper right interior: Als ik kan / [joiner’s compass] / Gustav Stickley; with illegible period tag verso
The fumed quarter-sawn oak bookcase of mortise and tenon construction, with upper gallery above two hinged doors, each with locking mechanism revealing three shelves 56” H x 43.5” W x 13.25” D
$2,000-3,000
Literature: Stephen Gray, “Collected Works of Gustav Stickley” (New York, NY: Turn of the Century Editions, 1981), p. 92, fig. 78
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A pair of leather club chairs
Late 20th/early 21st century
Each unmarked
The leather over wood casket armchairs, each with brass tacking to front and curved crest rail, raised on modified bun feet
2 pieces
Each: 36” H x 44” W x 40.5” D
$600-800
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A Rookwood pottery table lamp and daffodil shade
1941
Marked for Rookwood; further marked: XLI / 6045
The converted celadon porcelain vase fitted with patinated metal components for a twolight lamp, surmounted by a daffodil pattern leaded glass shade from Paul Crist Studio, electrified
Overall: 22” H x 16” Dia.; Shade: 6.5” H x 16” Dia.; Lamp: 21.75” H x 6.25” Dia.
$1,500-2,000
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A Turchin Co. hammered copper and brass vase
Circa 1910; New York
Appears unmarked
The footed vase with flared rim, banded accent at waist, and opposed handles
17” H x 9.875” W x 6.375” D
$200-400
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Theodore Ullmann (1903-1996)
Cowboy on horseback lamp
Patinated bronze on marble base with linen and leather shade, electrified
Signed and inscribed in the casting: TH. ULLMANN / AR [conjoined in a cartouche] / Austria
Bronze: 20” H x 11” W x 6.5” D; Without shade: 29.75” H x 10.5” W x 8.5” D; Shade: 10” H x 16.5” Dia.
$3,000-5,000
Mehl Lawson (b. 1942)
Cowboy on horseback, 1998
Verdigris patinated bronze Edition: 1/10
Signed, numbered, and dated in the casting: Mehl Lawson / 98; further marked: CA
Bronze: 15.5” H x 14.5” W x 6” D; Overall: 17.375” H x 14.25” W x 7.25” D
$1,000-2,000
Marjorie
Reed
(1915-1996)
American artist Marjorie Reed’s vivid colors and images of the real and imagined American West. apart is her fascination with the iconic image of
Born in Illinois in 1915 to a family of artists and Walter Stephen Reed, was a commercial artist, and commercial work as well. The Reed family moved artists, she took a job at the Walt Disney Studios. animation department, but left soon after, disliking
Reed’s artistic direction would change once she tutelage of Jack Wilkinson Smith, Reed was encouraged passionately enamored with the great outdoors denied work in those fields, she became determined even state that Reed would walk eighteen miles
Reed befriended Captain William Banning, who stagecoach, set out in a Model T, retracing the route for paintings to be completed later. From these soaring across the plains of the Southwest.
Reed completed her first series of Butterfield Stage the same year. Reed would continue this research stagecoach and Western art would continue through would compel her to move over eighty times, spending collected by luminaries such as James S. Copley, private collectors. Marjorie Reed passed away in
expressive strokes bring to life some of the most engaging and entertaining West. While Reed depicted scenes of cowboys and ranchers, what sets Reed’s work the West, the stagecoach.
art enthusiasts, Reed began dabbling in art at three years old. Reed’s father, and as Reed grew older and trained as an artist under him, she began to take on moved to Los Angeles when Marjorie was 14, and later, like many Southern California Studios. Having done some commercial work for Disney, Reed was taken into the disliking the regimentation and repetitiveness of animation work.
began taking art classes at Chouinard Art Institute in the mid-1930s. Under the encouraged to follow her passion for the outdoors and ranch life. Reed had become and life of cowboys and ranchers in the Southwest, and though she had been determined to capture the spirit of the West in her paintings. Some of her friends would miles a day, exploring the countryside around Los Angeles.
who had been a stagecoach driver. Reed was inspired by these tales of the route of the famed Butterfield Overland Mail Stage, and sketching out images sketches, Reed created colorful, exciting images of the Butterfield stagecoaches
Stage paintings in 1957, with a book, “The Colorful Overland Stage,” published research cycle, traveling, sketching, and painting, for the rest of her life. Other cycles of through the 1960s and 1970s. Her passion for the images and history of the West spending much of her time in Tombstone, Arizona. Her work became quite popular, Copley, the publisher of the San Diego Union and San Diego Tribune, and numerous in 1996, leaving behind a voluminous legacy of American art.
50
Marjorie Reed (1915-1996)
“Up the Grade” Oil on canvasboard
Signed lower right: Marjorie Reed; signed again and titled in black pen, verso 2.125” H x 3.125” W
$400-600
Marjorie Reed (1915-1996)
“The Butterfield Stage From San Francisco Arrives at the Pinery Station” Oil on canvasboard
Signed lower right: Marjorie Reed; signed and titled on an artist label affixed verso, further inscribed verso: For Bill and Barbara Sageman / with Love- / Marjorie 8” H x 10” W
$700-900
52
Marjorie Reed (1915-1996)
Stagecoach at night Oil on canvasboard
Signed lower right: Marjorie Reed 11” H x 14” W
$1,000-1,500
Marjorie Reed (1915-1996)
“Homeward Bound at Sunset” Oil on canvas
Signed lower right: Marjorie Reed; signed again and titled in pen ink on label affixed to the stretcher 20” H x 24” W
$1,000-1,500
54
Marjorie Reed (1915-1996)
“Midnight Change of Horses at Palm Springs” Oil on canvas
Signed lower right: Marjorie Reed; signed again and titled in ink on an artist label affixed to the stretcher
20” H x 24” W
$2,000-3,000
55
Marjorie Reed (1915-1996)
Stagecoaches passing in the night Oil on canvas
Signed lower right: Marjorie Reed 20” H x 24” W
$2,500-3,500
56
Marjorie Reed (1915-1996)
“Packing into the High Country” Oil on canvas
Signed lower right: Marjorie Reed; signed again and titled on an artist label affixed to the stretcher
22” H x 28” W
$2,000-3,000
57
Marjorie Reed (1915-1996)
“Heading for the Dragoon Pass” Oil on canvasboard
Signed lower left: Marjorie Reed; titled in black pen on an artist label affixed, verso 16” H x 20” W
Sold: Scottsdale Art Auction, Scottsdale, AZ, “Annual Auction,” April 4, 2006, Lot 16
Maynard Dixon (1875-1946)
Rider on horseback, 1933
Mixed media on paper
Initialed and dated in pencil lower left: MD / 1933
Image/Sheet: 2.875” H x 6.25” W
$6,000-8,000
Provenance:
Herald R. Clark, Provo, UT, until December 1960, when he gifted it to a friend he referred to as “Uncle” Charlie in an inscription of the verso of the frame’s backing paper, and in a handwritten letter, also attached verso, as part of the same gift
60
Signed lower right: Di
18” H x 24” W
$2,000-3,000
Antonio Di Donato (20th/21st century) Cowboys at dusk Oil on canvas
Donato
61
Antonio Di Donato
(20th/21st century)
Nocturnal cowboy and cattle
Oil on canvas laid to panel
Signed lower right: Di Donato
24” H x 18” W
$2,000-3,000
62
Antonio Di Donato (20th/21st century)
Cowboy and pack mule in the high country Oil on canvas
Signed lower right: Di Donato 20” H x 24” W
$2,000-3,000
Notes:
Italian-born artist Antonio Di Donato’s interest in the American Western started at a young age. He grew up watching westerns, including the “spaghetti westerns” filmed in Italy, and enjoyed reading Italian western comic books featuring hero and adventurer Tex Willer. As a child, intense games of “Cowboys and Indians” led to scars from homemade arrows and spears. Horses were also an interest from childhood and Di Donato longed dreamed of living and riding with true cowboys and Native peoples.
In addition to passion for the American West, from his childhood, Di Donato was a focused artist. Beginning with executing charcoals for family members, he was admitted to an art academy but was delayed with the untimely death of his father. When he finally enrolled at the Institute of Art at Il Castello in Milan, Italy, Di Donato took full advantage of instruction from major Milan artists. In 1991, Di Donato immigrated to the US where he has worked and exhibited throughout North American including in Utah, Wyoming, Washington State and Western Canada.
The present work depicts a quintessential Western high-country view of a mounted cowboy with his pack mule in a mountainous landscape. Details of tack, dress and scenery, as well as the horse and mule anatomy, demonstrate Di Donato’s facility with Western American subjects.
Provenance: George MontgomeryTrust Palm Springs Art Museum, Palm Springs, CA, gift from the above
While George Montgomery was primarily a Hollywood actor, he also worked as an artist, writer, furniture designer and architect. Inspired by the work of Frederic Remington, Montgomery produced 50 bronzes in his career, including the present and later works in this sale.
Attributed to Charles Marion Russell (1864-1926)
Boxers
Patinated bronze Edition: 13/16
Inscribed in the casting: Attributed to CM Russell / Authenticated by Joe DeYong 3/5/71
8” H x 6.5” W x 5.375” D
$1,000-1,500
Provenance: The Estate of Sergei Bongart
Adrien Alexandre Voisin (1890-1979)
“Logger,” 1939
Verdigris patinated bronze
Signed with conjoined initials, titled, and dated in the casting: AVoisin 1939
Bronze: 17.5” H x 7.75” W x 6.375” D: Overall: 19” H x 8.875” W x 8.125” D
$800-1,200
A Maynard “Second Model” percussion saddle ring carbine rifle 1863; Chicopee Falls, Massachusetts Serial number on lower metal stock tang: 49; further marked: Manufactured by Mass. Arms Co. / Chicopee Falls; left side of barrel marked with a sub-ordinance inspector mark: G.W.S. The U.S. Civil War era carbine, single-shot .50 caliber, with top break percussion lock and walnut stock, in original condition retaining percussion mechanism
36.875” L x 8.75” H x 1.875” W
$1,000-2,000
A Colt 1884; Matching
The single-action, wood Pistol:
$1,000-2,000
Colt “Frontier Six-Shooter” pistol
1884; Hartford, Connecticut
Matching serial numbers: 104257 single-action, .44-40 WCF (Winchester Centerfire) revolver pistol with wood handle and tooled leather holster
Pistol: 10.375” L x 5.5” H x 1.5” W; Holster: 9.875” L x 5.625” H x 2” W
$1,000-2,000
69
Colt Firearms poster
Early 20th century
“Tex and Patches”
Offset lithograph in colors on paper laid to board
From the edition of unknown size
Unsigned Sight: 31.5” H x 19.5” W
$500-700
70
Douglass Ewell Parshall (1899-1990)
“Grazing Horses, Santa Inez” Oil on canvas
Signed lower right: Douglass Parshall; titled on the stretcher 19.5” H x 29.5” W
$800-1,200
71
Sergei Bongart (1918-1985)
Herding cattle, 1970 Oil on canvas
Signed and dated lower right: Sergei Bongart 1970.; signed again and inscribed in ink on the frame’s backing board 36” H x 30” W
$700-900
Provenance: The Estate of Sergei Bongart
72
Sergei Bongart (1918-1985)
Cows grazing in a field
Oil on thin panel
Signed lower right: Sergei Bongart
26” H x 30” W
$600-800
Provenance: The Estate of Sergei Bongart
73
Sergei Bongart (1918-1985)
Study of cows
Charcoal and oil on board
Unsigned
30” H x 40” W
$300-500
Provenance: The Estate of Sergei Bongart
74
Sergei Bongart (1918-1985)
Autumn ranch, 1981
Oil on canvas
Unsigned; indistinctly inscribed and dated in ink on the stretcher: 1981
26” H x 30” W
$600-800
Provenance: The Estate of Sergei Bongart
75
Sergei Bongart (1918-1985)
“After the Harvest,” circa 1981
Oil on canvas
Signed lower left: Sergei Bongart; titled indistinctly and dated upper stretcher bar: 1981 20” H x 24” W
$600-800
Provenance: The Estate of Sergei Bongart
76
Sergei Bongart (1918-1985)
Lake with distant mountains, 1970
Oil on canvas
Signed and dated lower left: Sergei Bongart. 70. 26” H x 30” W
$600-800
Provenance: The Estate of Sergei Bongart
77
Sergei Bongart (1918-1985)
“Snow and Sun” Oil on canvas
Signed lower right: Sergei Bongart; titled on an exhibition label affixed to the frame’s backing board
36” H x 48” W
$600-800
Provenance: The Estate of Sergei Bongart
Exhibited:
The National Academy of Western Art, n.d.
78
Sergei Bongart (1918-1985)
Porch with red coat on railing Oil on Masonite
Unsigned 26” H x 24” W
$600-800
Provenance: The Estate of Sergei Bongart
79
Sergei Bongart’s studio easel
Early/mid-20th century
The wood frame with tilting action and an adjustable height upper bracket, raised on a box stretcher with metal casters
76.25” H x 32” W x 31.5” D
$600-800
Provenance: The Estate of Sergei Bongart
Sergei Bongart’s drafting table
Early/mid-20th century
Appears unmarked
The wood drafting surface with tilting action, raised on a grey enameled cast iron swiveling tripod base set on casters
Stored: 42.25” H x 26” W x 22.5” D
$300-500
Provenance: The Estate of Sergei Bongart
Lyman Byxbe (1886-1980)
“Bear Lake,” “Estes Park,” and “Thompson Canyon”
Each: Etching on cream wove paper
Three works:
Each from the edition of unknown size
Each signed and titled in pencil just below the image Plate of each: 4.625” H x 3” W (or opposite)
$300-500
82
20th Century American Regionalism School
View of the Grand Canyon Oil on Masonite Illegibly signed lower right Sight: 23.25” H x 17.5” W
$600-800
Frank Paul Sauerwein (1871-1910)
“The Washout,” 1908 Oil on board
Signed and dated lower left: F. P. Sauerwein / 1908; titled very faintly on the verso 9” H x 12” W
$1,500-2,000
Provenance:
Kanst Art Gallery, Los Angeles, CA
Jepp Ryan, Joshua Tree, CA, acquired from the above
The Estate of Lee Ryan, Coeur d’Alene, ID, acquired from the above by descent Private Collection, acquired from the above, 2011
84
Charles Graham (1852-1911)
Horse riders in a mountainous landscape
Watercolor on paper
Signed lower left: C. Graham
Sight: 7” H x 14” W
$800-1,200
Ralph Love (1907-1992)
Grand Tetons during the fall, 1977 Oil on canvas
Signed lower left: Love; signed again, dated, inscribed with artist’s address and numbered “Temecula, Calif. / 7/77 / #1572” on the upper portion of the stretcher 24” H x 30” W
$1,000-2,000
Provenance:
Private Collection, Fallbrook, CA
John Moran Auctioneers, Pasadena, CA, “California and American Paintings,” October 21, 2008, Lot 191
George Montgomery Trust Palm Springs Art Museum, Palm Springs, CA, gift from the above
88
George Montgomery (1916-2000)
“Win-Place-Show,” 1983
Patinated bronze
Signed, dated, and titled in the casting: By Geo. Montgomery / 8-29-83
12.5” H x 30” W x 10.5” D
$1,000-2,000
Provenance:
George Montgomery Trust
Palm Springs Art Museum, Palm Springs, CA, gift from the above
“Passing Storm” Oil on canvas
Signed lower right: Curt Walters; signed again, titled, and inscribed on the stretcher: Taos, N.M.
20” H x 30” W
$1,200-1,800
Curt Walters (b. 1950)
90
Signed lower left: Curt Walters; titled on the stretcher 12” H x 16” W
$800-1,200
Curt Walters (b. 1950)
“La Plata Meadows” Oil on canvas
91
“The
Signed lower right: G. Niblett; titled in ink on the stretcher 8” H x 10” W
$400-600
92
Signed, titled, and dated lower
28” H x 32” W
$400-600
Gary Niblett (b. 1943)
Old North Shack” Oil on canvas
Robert Wassell (b. 1951)
“Upper Matilija,” 1991 Oil on canvas
lower right: Wassell / 5-91
93
A Guy Gooding leather cutting saddle on iron stand
Early 20th century
Marked to seat: Guy Gooding / Maker / San Bernadino Cal; stand marked: Fontanini
The ranch-style tooled leather saddle with foliate and acorn motifs, featuring open stirrups, tie-on straps to front and rear with silvered metal grommets, front and rear cinches, wool woven girth strap, and fleece lining, set on a black enameled wrought iron stand
Seat: 16”; Gullet width: 13”; Stand: 38” H x 37” W x 27” D
$600-800
Gerald Balciar (b. 1942)
“Canyon Princess” (small), 2003
Patinated bronze on a wood plinth Edition: 124/250
Award-winning Utah wildlife artist Luke Frazier Utah mountains. His interest in art was also fostered subjects. Frazier attended Utah State University in Illustration. Influenced by wildlife and nature by the artist’s knowledge and fidelity, in terms Frazier established himself as a respected wildlife prominent Western and Wildlife galleries nationally, Oklahoma City’s National Cowboy & Western exhibition at the Autry Museum in Los Angeles, New Century” and in the 2007 Jackson Hole Fall Carolina (both as the featured artist).
Frazier’s work has also been featured in publications “The Fine Art of Angling”, where his painting profiles have also appeared in magazines such “Field & Stream,” “Gray’s Sporting Journal,” “Sporting
As the title indicates, “Dark Water Beckons,” is waters. Despite the deep color palette, the animal’s beam of directed sunlight.
Frazier was immersed in nature from a young age, hunting and fishing in the Northern fostered in his youth and he obsessively sketched and sculpted wildlife-focused University where he received a Bachelors of Fine Arts in painting, and a Masters of Fine Arts nature artists including Carl Rungius, Bob Kuhn, Edgar Payne, Frazier’s work is hallmarked of anatomy, accurate naturalistic settings and behavior, of his subjects. wildlife artist relatively quickly, and for the past few decades has had representation in nationally, and has exhibited widely. Exhibition highlights include: annual participation in Heritage Museum’s “Prix De West” show, and the “Masters of the American West” Angeles, as well as in the National Museum of Wildlife Art’s 2000 exhibition “Wildlife for a Fall Arts Festival and the 2010 Southeastern Wildlife Exposition in Charlston, South publications including Don Hagerty’s 1997 book “Leading the West,” and the 2007 book “The Tillamook Creel” was featured on the cover. The artist’s work and biographical such as “Art of the West,” “Wildlife Art,” “Big Sky Journal,” and “Southwest Art,” “Sporting Classics,” and “Alaska”.
is an inky wildlife scene featuring a central bull moose in profile as he enters murky animal’s muscular anatomy is evident, and his resplendent antlers are highlighted in a
97
Luke Frazier (b. 1970)
“Dark Water Beckons,” 1996 Oil on Masonite
Signed faintly in the upper left corner: L. Frazier; signed again, and titled and dated, all verso: 8. 96
30” H x 40” W
$10,000-15,000
98
Luke Frazier (b. 1970)
“Soft Glow” Oil on Masonite
Signed lower left: Luke Frazier; signed again, titled, and inscribed on the artist’s label affixed verso 12” H x 12” W
$1,000-2,000
99
Elbridge Ayer (E.A.) Burbank (1858-1949)
Five works:
Untitled dog, 1933
Charcoal and graphite on paper
Signed and dated in pencil lower right: E.A. Burbank
Sheet: 13” H x 9.5” W
“Bob - Bull Dog,” 1927
Charcoal on paper
Signed in pencil lower right: E.A. Burbank; titled and dated in pencil upper right
Sheet: 9” H x 6” W
A bird and kitten
Charcoal on paper
Signed in pencil lower right: E.A. Burbank; inscribed in pencil verso Sheet: 4” H x 7.5” W
Scotty the dog
Charcoal, graphite, and colored pencils on paper
Signed in pencil lower right: E.A. Burbank; inscribed in ink verso Sheet: 4.5” H x 6.75” W
“Cedric - Dane,” 1928
Charcoal on paper
Signed in pencil lower right: E.A. Burbank; titled and dated in pencil upper left Sheet: 4” H x 7.375” W
$300-500
100
Luke Frazier (b. 1970)
“Picking Through the Rocks,” 2002
Oil on panel
Signed lower left: L. Frazier; signed again, titled, and dated verso; titled and dated again on a label affixed verso 12” H x 9” W
$1,000-2,000
Provenance: The Legacy Gallery, Scottsdale, AZ
Earle Erik Heikka (1910-1941)
Earl E. Heikka was born in 1910 in Belt, Montana, sculptures capturing Western themes—animals, emotion observed in nature. From a young age,
His varied work experiences as a taxidermist, ranch anatomy, which he incorporated into his sculptures. invited to set up a private studio. Heikka exhibited 1933 Century of Progress Exposition in Chicago.
His original sculptures, crafted from hand-painted tragic suicide in 1941 at age 31. Beginning in the legacy as a Western artist.
Montana, to Finnish parents and later lived in Great Falls. Heikka is renowned for his themes—animals, miners, Native Americans, and cowboys—reflecting a deep realism and age, he showed talent in wildlife illustration but never received formal art training.
ranch hand, and park guide enriched his understanding of nature and animal sculptures. In 1929, while working at actor Gary Cooper’s family ranch, Heikka was exhibited at notable venues, including the Stendahl Galleries in Los Angeles and the Chicago.
hand-painted Marblex clay over a wire armature, gained posthumous recognition after his the 1960s, collectors began producing bronze casts of his work, solidifying his
101
Earle Erik Heikka (1910-1941)
“Trophy Hunters” or “Bringing Home the Bacon,” 1936
Patinated bronze on a marble plinth
Signed and dated in the casting: Earle Heika / 36
Stamped in the casting: HEIKKA FOUNDRY / 1982 / 6/1000 15.125” H x 55.25” W x 6.25” D
$8,000-12,000
Literature:
Vivian A. Paladin, “E.E. Heikka, Sculptor of the American West”, Great Falls, Montana: Montana Art Investment Holding Company, Inc., 1990, pp. 72-73, another example illustrated
Provenance: Palm Springs Art Museum, Palm Springs, CA
103
Ellen B. Farr (1840-1907)
Still life of California poppies in a basket, 1893 Oil on canvas
Signed and dated lower left: Ellen B. Farr ‘93 22” H x 30” W
$1,000-1,500
104
Attributed to Beatrice Hess (1899-1981) Flowers in a vase Oil on canvas
Unsigned 21” H x 25” W
$700-900
105
An Enrique Arroyo Pomo feathered gift basket Mid-20th century; Central California
The Enrique Arroyo (b. 20th century) coiled basket adorned with feathers, featuring five strands of clam shell disc beads terminating in abalone pendants Body: 3.125” H x 7.75” Dia.; With quail feathers: 9.5” Dia.
$700-900
Notes: Of Mexican native heritage, Enrique Arroyo (b. 20th century) married into the family of Rose Henderson, who were celebrated Pomo weavers. Rose taught Enrique the techniques and locations for sourcing the materials used in traditional Pomo weaving. Today, Enrique’s weavings can be found on display at multiple museums and galleries.
106
A Pomo gift basket
Early/mid-20th century; Central California
The diminutive coiled basket adorned with feathers, the rim mounted with shell disc beads issuing strands terminating in abalone pendants 2” H x 4” Dia.
$500-700
107
Two small Pomo gift baskets
Early/ mid-20th century; Central California
The coiled vessels, comprising one oval basket adorned with feathers, and a round bowl similarly adorned with feathers and accented with strands of shell disc beads terminating in abalone pendants
2 pieces
Oval with feathers: 3”” H x 8.75” W x 6.75” D; Round with feathers: 3” H x 6” Dia.
$1,000-1,500
108
A Pomo gift basket
Early 20th century; Central California
The coiled low bowl with central geometric motif and clam shell trim to rim
1.5” H x 5.375” W x 3.625” D
$400-600
109
A Paiute pedestaled basket
Early/mid-20th century; Southern California
The coiled bowl with brown banded spiked triangle motifs, raised on a tulip pedestal
7.5” H x 9” Dia.
$700-900
110
A Paiute pictorial basket
Early 20th century; Central California
The coiled basket with brown alternating columns of figural elements
4.25” H x 11” Dia.
$800-1,200
111
A California Mission basket
Early 20th century; Southern California
The coiled basket with three concentric brown radiating six-point star motifs
3.75” H x 14.25” Dia.
$400-600
112
A California Mission polychrome basket
Early 20th century; Southern California
The coiled oval basket with scattered yellow and brown spiraling stepped motifs 3” H x 16.25” W x 12.875” D
$800-1,200
113
A California Mission polychrome basket
Early 20th century; Southern California
The coiled oval basket tray with alternating yellow and brown floral motifs
2” H x 11.75” W x 10.125” D
$800-1,200
114
A California Mission polychrome basket
Early 20th century; Southern California
The coiled basketry bowl with orange and red star motif to underside, with floating diamond motifs to body
4” H x 8.125” Dia.
$500-700
A California Mission polychrome basket
Early 20th century; Southern California
The coiled globular basketry vessel with flared rim, featuring a central floral motif and banded zig zag motif in red and brown
6.625” H x 9” W x 8.75” D
$500-700
116
A California Mission basketry bowl
Early 20th century; Southern California
The coiled bowl with banded stacked meandering motifs to center of body
6” H x 9.375” Dia.
$600-800
116
A California Mission basketry bowl
Early 20th century; Southern California
The coiled bowl with banded stacked meandering motifs to center of body 6” H x 9.375” Dia.
$600-800
118
A California Mission polychrome basket
Early 20th century; Southern California
The coiled oval basket with elevated rim, featuring brown geometric motifs to body and yellow alternating sawtooth motif to base
5.5” H x 10.75” W x 7.125” D
$700-900
A California Mission polychrome basket
Early 20th century; Southern California
The small coiled basketry bowl with three brown freeform arrow motifs
3.375” H x 5.75” Dia.
$300-500
120
A California Mission polychrome basket
Early 20th century; Southern California
The coiled basket with rim ticking above vertical yellow stacked cross motifs alternating with floating crosses, each in a brown outline
4.75” H x 8.75” Dia.
$400-600
A California Mission polychrome basket
Early 20th century; Southern California
The coiled basketry bowl with alternating brown and yellow foliate motifs
3.875” H x 7” Dia.
$300-500
A California Mission polychrome basket
Early 20th century; Southern California
The coiled basketry low bowl with central yellow star motif and yellow and banded brown sawtooth motifs at the rim
2” H x 10.875” Dia.
$400-600
A California Mission polychrome basketry tray
Early 20th century; Southern California
The wide coiled plaque with red central zig zag motif and yellow rim
2.375” H x 15.875” Dia.
$300-500
124
A California Mission polychrome basket
Early 20th century; Central California
The large coiled basketry bowl with banded geometric motifs woven in brown, with red accents
8.75” H x 17” Dia.
$1,000-1,500
A Yokuts polychrome basket
Early 20th century; Central California
The coiled basketry tray with gap stitched red and brown stepped bands
2.625” H x 17.5” Dia.
$800-1,200
A Yokuts polychrome basket
Early 20th century; Southern California
A coiled basketry bowl with brown and yellow rim ticking and red and brown banded worm and millipede motifs to body 7” H x 13.25” Dia.
$1,000-2,000
A Yokuts polychrome basketry bowl
Early 20th century; Southern California
The coiled flared bowl with two bands of brown and red butterfly motifs and rim ticking
3.125” H x 9.375” Dia.
$600-900
128
A Yokuts polychrome bottleneck basket
Early 20th century; Central California
The coiled vessel with spiraled red stepped motifs in a brown outline
7.125” H x 9.5” Dia.
$1,000-1,500
A Yokuts polychrome rattlesnake basket
Early 20th century; Southern California
A coiled basketry bowl with rim ticking above two bands of red and brown rattlesnake pattern motifs
5” H x 10.25” Dia.
$1,000-1,500
130
A Yokuts polychrome basket
Early 20th century; Southern California
A large coiled oval bowl with brown and red spiraled sawtooth motifs
6.875” H x 14” W x 13.25” D
$800-1,200
A Yokuts basketry olla
Early 20th century; Central California
The coiled basketry vessel with two banded brown rattle snake motifs
7.375” H x 9” Dia.
$500-700
132
A Yokuts basketry bowl
Early 20th century; Southern California
The coiled bowl with brown frog hand motifs to body below a thicker rim rod
3.5” H x 7.75” Dia.
$700-900
A Yokuts polychrome basket
Early 20th century; Southern California
A coiled basketry bowl with red spiraling stepped motifs outlined in brown 3.875” H x 6.75” Dia.
$200-400
A Panamint pictorial basket
Early 20th century; Central California
The coiled basketry bowl depicting four brown squirrel figures with yellow tail accents
3.625” H x 5.125” Dia.
$400-600
A Panamint polychrome basket
Early 20th century; Central California
The coiled basket with rim ticking above a stylized snakeskin pattern centering red and brown linear expressions radiating from a circle 3.5” H x 12.25” Dia.
$1,000-1,500
A Panamint polychrome pictorial basket
Early 20th century; Central California
The small coiled basket with rim ticking and yellow and brown figural butterflies alternating with floating diamond motifs
3.375” H x 5.5” Dia.
$300-500
A Hupa/Yurok/Karuk polychrome basketry hat
Early 20th century
Signed to interior: I.Natt
The twined hat with imbricated dark brown banded stripe and geometric motifs
3.625” H x 6.875” Dia.
$400-600
Notes: Collector’s notes indicate the signature is attributed to Irene Natt.
A Hupa/Yurok/Karuk polychrome basketry hat
Early 20th century; Northern California
The twined hat with imbricated banded stripe and figural geometric motifs
3.25” H x 7.25” Dia.
$300-500
A Hupa/Yurok/Karuk polychrome basketry bowl
Early 20th century; Northern California
The twined bowl with brown and red imbricated banded rim and stepped motifs to body
5.25” H x 7.75” Dia.
$600-800
A Hupa/Yurok/Karuk polychrome basketry bowl
Early 20th century; Northern California
The twined bowl with light and dark brown imbricated banded rim and stepped zig zag motifs to body
4.5” H x 6.875” Dia.
$400-600
A large Hupa/Yurok basket
Early 20th century; Northern California
The twined basket with imbricated orange conjoined serrated diamond motifs below a row of open twisted warp and thick rim rod
9.25” H x 13.25” Dia.
$700-900
142
A Hupa polychrome basketry bowl
Early/mid-20th century; Northwest California
The twined bowl with imbricated red, dark brown, and light brown banded stripes
4.75” H x 7.375” Dia.
$400-600
A Hupa/Yurok/Karuk basketry bowl
Early 20th century; Northern California
The twined bowl with imbricated brown and yellow geometric and striped motifs
2.75” H x 4.875” Dia.
$300-500
144
A Hupa/Yurok/Karuk polychrome basketry bowl
Early 20th century; Northern California
The twined bowl with imbricated brown banded stripe and friendship motif below a row of open warp and thick rod rim with ticking 4.25” H x 7.5” Dia.
$400-600
145
A Hupa/Yurok/Karuk basketry
Early 20th century; Northern
The polychrome cradle woven open warps and banded stacked
5.375” H x 16.5” W x 8.75”
$600-800
basketry cradle
Northern California woven in natural, brown, and red, featuring alternating
stacked triangle motifs
D
146
A Hupa carved elk antler purse
Late 19th/early 20th century
The coin purse with carved designs and sgraffito geometric motifs, the top removable, revealing two carved shell coins
6.375” L
$400-600
147
George Blake (b. 1944, Hupa/Yurok)
A group of carved elk antler spoons, late 20th century
Each unmarked
Each depicting a unique geometric design to handle 10 pieces
Largest: 8” L; Smallest: 6.125” L
$800-1,200
148
George Blake (b. 1944, Hupa/Yurok)
A group of carved elk antler spoons, late 20th century
Each unmarked
Each depicting a unique geometric design to handle 11 pieces
Largest: 7.375” L; Smallest: 5.25” L
$800-1,200
149
An Achomawi basketry bowl
Late 19th century; Northern California
The twined bowl with brown quail top knot motifs
6.5” H x 7” Dia.
$300-500
150
A Modoc/Klamath polychrome basket
Late 19th/early 20th century; Northern California
The twined basket with square bottom, featuring banded red and brown geometric motifs
6.5” H x 10.25” Dia.
$200-400
151
A Thompson River burden basket
Early 20th century; Pacific Northwest
The tall coiled basket with imbricated stepped triangle motifs throughout and two hide handles fastened to one side
13.75” H x 14.75” W
$400-600
152
Three Thompson River basketry vessels
Early 20th century, Salish; Pacific Northwest
Comprising two twined polychrome basketry trays, each with opposed handles and imbricated central motif, one with an openwork piecrust rim, and a coiled berry basket with imbricated denticulated motif
3 pieces
Larger tray: 3”
$600-800
A Thompson River polychrome basket
Mid-20th century; Pacific Northwest
The small coiled basket with openwork rim and brown and yellow imbricated geometric motifs
4.5” H x 4.625” Dia.
$200-400
154
A Southwest pictorial basketry tray
Early 20th century
The flat coiled tray with brown figural eagle centering a brown rim, featuring a small handle at top 9.5” Dia.
$200-400
An Akimel O’odham/Pima basket
Early 20th century, Akimel O’odham; Southwest United States
The coiled wide basketry bowl with brown central optical radiating star motif
6” H x 15.75” Dia.
$800-1,200
156
An Akimel O’odham/Pima basket
Early 20th century, Akimel O’odham; Southwest United States
The coiled flared basket with swirling hooked motifs
7.5” H x 16.5” Dia.
$400-600
An Akimel O’odham/Pima basket
Early 20th century, Akimel O’odham; Southwest United States
The coiled basket with geometric motif throughout and braided rim
3.625” H x 12.5” Dia.
$300-500
158
An Apache pictorial basket
Early 20th century; Southwest United States
The coiled basketry bowl with four figures and cows alternating within geometric motifs
3.875” H x 13.375” Dia.
$800-1,200
159
An Apache pictorial basket
Early 20th century; Southwest United States
The coiled wide tray with rim ticking above brown checkered and figural animal motifs centering a star motif
4.5” H x 15.75” Dia.
$800-1,200
160
An Apache basketry bowl
Early/mid-20th century; Southwest United States
The coiled basket with a brown central star motif
5.75” H x 11.875” Dia.
$500-700
An Apache pictorial basket
Early 20th century; Southwest United States
The coiled flared basket with an upper register of standing figures above banded vertical zig zag motifs
6.125” H x 8” Dia.
$500-700
162
An Apache pictorial basket
Early 20th century; Southwest United States
The coiled basket with brown stepped and spiral motifs alternating with figural motifs
8.125” H x 10.5” Dia.
$300-500
164
A San Carlos Apache polychrome berry basket
Early 20th century; Arizona
The twined berry/burden basket with banded red and brown accents
9.75” H x 9.5” W x 9” D
$300-500
163
An Apache polychrome burden basket
Late 19th/ early 20th century; Southwest United States
The tall coiled basket with red and blue banded accents, featuring hide strapping to rim and handles, with cloth and hide reinforcement to underside 11” H x 11” Dia.
$400-600
An Apache basketry olla
Early 20th century; Southwest United States
The coiled miniature olla with geometric arrow motifs
4.25” H x 3.5” Dia.
$300-500
An Apache pine pitch water jar
Late 19th/early 20th century; Southwest United States
The coiled jar sealed with pine resin pitch, with two handles to one side 16.25” H x 14.5” W x 13.5” D
$300-500
Two Apache basketry trays
Mid-20th century; Southwest United States
The coiled trays, comprising one larger with brown sawtooth motifs to rim and a smaller with banded diamond motifs to body 2 pieces
Larger: 2.375” H x 8.3745” Dia.; Smaller: 0.875” H x 5” Dia.
$400-600
Two Hopi polychrome pictorial baskets
Early 20th century; Southwest United States
Comprising a coiled basket featuring brown and pale orange Shalako Mana figures with imbricated facial details above stepped motifs, and a thickly coiled basket depicting animal figures in the stitching with imbricated details
2 pieces
Larger: 9.25” H x 10.25” Dia.; Smaller: 5.75” H x 7.75” Dia.
$200-400
169
A group of Southwest basketry vessels
Early/mid-20th century; Southwest United States
Comprising a coiled handled basket with checkered motif (5.25” H x 6.375” Dia.), a coiled polychrome oval basket with stepped motif (3.75” H x 12.25” W x 9.875” D), a coiled polychrome plaque depicting a bird (15.25” Dia. x 1.875”D), and two twined polychrome wicker plaques (larger: 13.25” Dia.)
5 pieces
$500-700
170
Two Southwest snake dance sticks
Early/mid-20th century
Comprising two carved wood snake sticks, one polished wood, and one with pigmented alternating purple and red stripes
2 pieces
Polished: 4.75” H x 34.25” L x 8.5” W; Pigmented: 2.25” H x 33” L x 5.5” W
$200-400
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
172
A Navajo textile loom
Mid-20th century, Diné
The loom on natural wood standards with trestle a partially woven Chinle-style textile, together with photographs of a Navajo weaver in front of the loom 3 pieces
Bronze: 11” H x 11.75” W x 9.5” D; Plinth: 3” H x 14” W x 7” D
$300-500
Provenance: Mrs. Robert C. Rishell
Palm Springs Art Museum, Palm Springs, CA, gift from the above
supports, with with two framed loom
173
A Navajo Second Phase wearing blanket Late 19th/early 20th century, Diné Woven in brown, cream, and red wool, with striped motifs
56.5” H x 56.5” W
$2,000-4,000
174
A Navajo Second Phase wearing blanket
Late 19th century, Diné
Woven in red, brown, cream, and grey wool, depicting striped and checkered motifs
69” H x 48” W
$2,000-4,000
175
A Navajo Third Phase variant wearing blanket
Late 19th/ early 20th century, Diné
Woven in red, brown, cream, and blue wool, with alternating bands of stripes intersecting with conjoined stepped diamonds
74” H x 49” W
$2,000-4,000
176
A Navajo Third Phase Revival wearing blanket
Early 20th century, Diné
Woven in red, purple, black, and cream wool, depicting spider woman motifs within serrated diamond motifs on a striped ground
52” H x 49.5” W
$800-1,200
177
A Navajo Crystal J.B. Moore rug
Early 20th century, Diné
Woven in red, cream, grey, and black wool, depicting a storm pattern centering a spider woman motif border, plate XXVIII variation 84.5” H x 69” W
$1,000-2,000
178
A Navajo regional rug Mid-20th century, Diné Woven in cream, black, tan, ochre, and natural grey/brown wool, depicting floating sawtooth radiating diamonds within an elaborate geometric border
42.5” H x 35” W
$500-700
179
A Navajo Teec Nos Pos rug
Mid/late 20th century, Diné
Woven in multicolor wool with a central waterbug motif and elaborate waterbugs on either side, within an elaborate double border
65” H x 49.5” W
$400-600
180
A Navajo transitional blanket
Late 19th/early 20th century, Diné
Woven in vibrant multicolor wools, depicting two central serrated diamonds and elaborated serrated borders
97” H x 67.5” W
$1,000-2,000
181
A large Navajo regional rug
Mid-20th century, Diné
Woven in red, black, cream, and natural grey/brown wool, depicting a central column of stacked stepped diamonds centering geometric elements within a sawtooth border
108” H x 75” W
$1,000-1,500
182
A Navajo Two Grey Hills rug
Early 20th century, Diné
Woven in dark brown, light brown, ochre, grey, and cream, depicting a central denticulated diamond issuing zig zag motifs within a stepped border
74.5” H x 47.5” W
$600-800
183
A Navajo regional rug
Late 20th/early 21st century, Diné Woven in ochre, mauve, dark blue, light blue, periwinkle, grey, and natural white, depicting an elaborate storm pattern
71” H x 49.5” W
$600-800
184
A Navajo Storm Pattern rug
Mid-20th century, Diné
Woven in brown, blue, lavender, deep red, orange, and cream wool, depicting an elaborate storm pattern and feather motifs
40” H x 29.75” W
$300-500
185
A Navajo regional rug
20th century, Diné
Woven in dark brown, ochre, red, and cream wool, depicting serrated conjoined diamond motifs in a striped border
84” H x 53.5” W
$500-700
186
A Navajo double saddle blanket
Late 19th century, Diné
Woven in multicolor wool depicting an eyedazzler pattern of stacked serrated diamonds on a red ground, one end with fringe 50” H x 33” W
$800-1,200
187
A Navajo regional rug
Mid-20th century, Diné
Woven in tan, cream, grey, and black, depicting three columns of conjoined serrated diamonds in a stepped border at two edges
87.5” H x 47” W
$800-1,200
188
A Navajo regional rug
Early 20th century, Diné
Woven in red, cream, grey, and brown wool, depicting three conjoined serrated diamonds at center and floating cross motifs
73” H x 47.75” W
$600-800
189
A Navajo regional rug Mid-20th century, Diné Woven in cream, grey, beige, and brown wool, depicting interwoven denticulated diamond motifs in a stepped border
79” H x 42” W
$500-700
190
A Navajo pictorial runner Mid-20th century, Diné Woven in dark brown, cream, tan, light brown, and natural grey/brown wool, depicting a central corn stalk with stepped border at two long edges 67” H x 31” W
$500-700
191
A Navajo regional rug
Late 20th century, Diné
Woven in red, cream, black, and grey wool, depicting a central radiating serrated diamond motif in an elaborate geometric border
73” H x 41.5” W
$500-700
192
A Navajo Ganado rug
Mid-20th century, Diné
Woven in red, grey, cream, and black wool, depicting a central elaborate diamond motif with stepped motif corners
47” H x 30.75” W
$300-500
193
A Navajo regional rug
Mid-20th century, Diné
Woven in dark brown, tan, cream, and grey/brown wool, depicting a simplified eyedazzler with two central radiating sawtooth diamonds
72.5” H x 44” W
$500-700
194
A Navajo double saddle blanket
Early/mid-20th century, Diné
Woven in cream, black, and red wool, depicting a central serrated diamond motif and serrated motifs at corners
51.5” H x 39” W
$200-400
195
A Navajo regional weaving
Mid-20th century, Diné
Woven in red, cream, grey, brown, and black wool, featuring a central eyedazzler serrated motif
36” H x 26” W
$200-400
Two Navajo regional rugs
Mid-20th century, Diné
The diamond textile with tag: Genuine Navajo Rug
Comprising an eyedazzler textile woven in cream, black, tan, brown, ochre, and light brown wool, and a textile depicting two conjoined serrated and stepped diamonds, woven in red, ochre, cream, dark brown, and natural grey/brown 2 pieces
Diamonds: 39.5” H x 29.25” W; Eyedazzler: 38” H x 26” W
$200-400
197
A Navajo regional rug
Mid-20th century, Diné
Woven in cream, grey, and brown wool with black and grey, depicting a Two Grey Hills central intricate diamond motif within an elaborate stepped border
52.5” H x 38” W
$400-600
198
A Navajo regional rug
Mid-20th century, Diné Woven in black, grey, and cream wool depicting five serrated diamonds within an elaborate border
70” H x 42” W
$500-700
199
A Navajo regional rug
Mid-20th century, Diné Woven in red, orange, blue, black, grey, and cream wool, depicting three columns of serrated diamonds within a stepped border
92.5” H x 49.5” W
$500-700
200
A Navajo regional rug Mid-20th century, Diné Woven in black, cream, and natural grey/brown wool, depicting a geometric optical interwoven diamond pattern
51” H x 28.5” W
$300-500
201
A Navajo regional rug
Mid/late 20th century, Diné
Woven in multicolor wool, depicting an eyedazzler pattern of stacked and radiating serrated diamonds
62.25” H x 42.25” W
$400-600
202
A Navajo eyedazzler weaving
Mid-20th century, Diné
Woven in multicolor wool, featuring an eyedazzler motif within a black and grey border
33” H x 22.5” W
$300-500
203
A Navajo sampler runner
Mid/late 20th century, Diné
Woven in multicolor wool, depicting a central Third Phase-style chief’s blanket pattern within a stylized storm pattern at center, flanked by opposed geometric floating elements
60.25” H x 17.5” W
$300-500
204
A Navajo regional rug
Circa 1920s, Diné
Woven in red, cream, dark brown, and natural grey/brown wool, depicting crosses and serrated geometric designs within a diamond pattern
59” H x 30.5” W
$200-400
205
A Navajo saddle blanket
Early/mid-20th century, Diné
Woven in red, orange, dark brown, tan, cream, and natural brown wool, depicting alternating banded geometric motifs and stripes
48” H x 29” W
$400-600
206
A Navajo regional rug
Late 20th century, Diné
Woven in multicolor wool, depicting alternating banded motifs of stacked serrated diamonds and stripes
48.5” H x 33.5” W
$200-400
207
A Navajo regional rug
Mid-20th century, Diné
Woven in natural vegetal colors of dark brown, cream, tan, and grey with an elongated central diamond motif, figural corn cob and feathers, and a hooked/stepped border
79” H x 59” W
$600-900
208
A Navajo Yei Bi Chei weaving Mid-20th century, Diné Woven in multicolor wool on a cream ground, depicting two rows of Yei Bi Chei spirit figures stacked head to head, with animal figures at corners 37.5” H x 64.5” W
$400-600
A Navajo Yei textile Mid-20th century, Diné
Woven in multicolor wool, depicting eight Yei figures, a corn stalk, and a rainbow guardian on a cream ground
81.5” H x 48” W
$400-600
210
A Navajo Yei Bi Chei weaving
Mid-20th century, Diné
Woven in black, yellow, orange, red, green, grey, tan, and white wool on a pale yellow ground, depicting four Yei Bi Chei spirit figures centering a corn stalk 30” H x 58.25” W
$300-500
211
Three Navajo Yei Bi Chei weavings
Mid-20th century, Diné
Each woven in multicolor wool, two depicting four Yei Bi Chei spirit figures centering a corn stalk, and one smaller depicting a single corn maiden centering two stalks
3 pieces
Largest: 20” H x 39.5” W; Smallest: 18” H x 17.5” W
$500-700
212
A group of Western toys
Early/mid-20th century Cowboy marked to belly: Yone [in a diamond cartouche] / 2090 / Made in Japan; train marked in the casting and to box: Japan
Comprising a tin lithograph wind-up toy cowboy riding a horse, a tin lithograph Lone Ranger pin, and a six-piece enameled cast metal “Early Western Smallest Miniature Train Set” toy housed in original cardboard box 3 pieces
Wind-up: 5.125” H x 4.375” W x 2.25” D; Pin: 1.875” H x 1.375” W; Train box: 6.75” L
$200-300
213
After Frederick Remington (1861-1909)
“Mountain Man,” cast 1978
Patinated bronze on a marble plinth
Signed in the casting: copyright by / Frederick Remington; marked: Heikka Mint / 78
Overall: 29” H x 18” W x 9.75” D
$800-1,200
Remington; further
214
After Frederick Remington (1861-1909)
“Rattlesnake,” modeled 1905, cast 1979
Patinated bronze on a marble plinth
Signed in the casting: Frederick Remington / copyright; further marked: Heikka Foundry 79 / 21
Overall: 23” H x 17.5” W x 12” D
$800-1,200
215
Two Southwest textiles
Tree of Life with attribution tag: Genuine Navajo Rug; Wide Ruins with attribution tag
Comprising a Tree of Life pictorial textile by Annie Sampson woven in multicolor wool, depicting bird figures surrounding a tree, and a Wide Ruins textile by Winnie Shirley woven in mauve, magenta, lavender, dark grey, and light grey wool, depicting stacked serrated diamonds and alternating stripes
2 pieces
Tree of Life: 27.5” H x 18.75” W; Wide Ruins: 24” H x 19” W
$200-400 216
Late 20th/early
Unmarked
A rustic driftwood
The mirror Framed: 38.5”
$600-800
driftwood mirror
20th/early 21st century
mirror housed in a custom natural wood frame joined by butterfly joints
38.5” H x 77.25” W
217
A pair of wrought metal framed mirror panels
Early 20th century with later elements
Each unmarked
The contemporary mirror set in a repurposed astragal wrought metal frame
2 pieces
Each: 92” H x 47” W x 2.25” D
$1,500-2,000
218
Three Restoration Hardware leather bar chairs
Early 21st century
Two with Restoration Hardware tag to underside
The wood armless bar chairs, each with curved crest rail and brown leather upholstery above a box stretcher
3 pieces
Each: 45.25” H x 20.5” W x 24” D
$400-600
219
A Queen Anne-style blanket chest
Late 19th century
The large solid wood construction chest with dovetail joints, featuring a hinged top with locking mechanism above two small locking drawers with brass pulls, raised on shaped bracket feet
28” H x 51.5” W x 22” D
$600-800
220
A Restoration
Late 20th/early 21st With Restoration
The low and deep raised on bun feet, 3 pieces
35.5” H x 90” W
$600-800
Hardware “Lancaster” leather sofa
21st century
Restoration Hardware tag under seat cushions
deep three-seater sofa with leather upholstery over a wood casket, feet, together with two matching leather pillows
W x 48.5” D
221
A Restoration Hardware “Lancaster” armchair and ottoman
Late 20th/early 21st century
Armchair with Restoration Hardware tag under seat cushion
The low and deep armchair with leather upholstery over a wood casket, raised on bun feet, matched with conforming ottoman 2 pieces
Chair: 37” H x 42” W x 43” D; Ottoman: 18.5” H x 34” W x 30” D
$400-600
222
A Restoration Hardware “Lancaster” armchair and ottoman
Late 20th/early 21st century
Armchair with Restoration Hardware tag under seat cushion
The low and deep armchair with leather upholstery over a wood casket, raised on bun feet, matched with conforming ottoman 2 pieces
Chair: 37” H x 42” W x 43” D; Ottoman: 18.5” H x 34” W x 30” D
$400-600
223
A Contemporary rustic coffee table
Late 20th/early 21st century
Unmarked
The custom table constructed from reclaimed wood components, set on a brown enameled metal box frame
16.625” H x 55.25” W x 37” D
$300-500
224
A Modern leather upholstered bench
Early 21st century
Unmarked
The wood bench with tufted leather upholstery, raised on six squared legs
18.5” H x 54.25” W x 28” D
$300-500
226
A set of Restoration Hardware
Early 21st century
Each unmarked
The wood high wingback armchairs leather upholstery, and metal 6 pieces
Each: 49.25” H x 29” W x 31.5”
$1,000-1,500
225
A pair of Restoration Hardware “Churchill” leather armchairs
Late 20th/early 21st century
Each with Restoration Hardware tag under seat cushion
The wood armchairs with tufted leather upholstery and brass tacking along bottom edge and verso, raised on bun feet
2 pieces
Each: 38” H x 38.5” W x 46” D
$700-900
Hardware “Belfort” leather armchairs
armchairs with low slung arms, brown metal tacking over a box stretcher
31.5” D
227
A Spanish-style wood and iron console table
Late 20th/early 21st century
The table with live edge wood tabletop and undershelf supported on a black enameled wrought iron frame with scrolled feet
29.75” H x 60” W x 21.25” D
$500-700
228
A Southwest-style side table
Late 20th/early 21st century
Unmarked
The natural wood table with turquoise and resin inlaid accents to one side above a modified H-stretcher
24.25” H x 24.5” W x 19” D
$300-500
229
Four tractor seat barstools
Late 20th/early 21st century
Each unmarked
The custom painted metal barstools with swiveling repurposed tractor seats set on a columnar pedestal issuing a footrest above four scrolled feet, each with circular suede seat cushion, 4 pieces
Each: 31.5” H x 19” W x 14.5” D approximately
$500-700
230
A Chimayo textile 20th century; New Mexico
Woven in red, black, and cream wool, depicting floating stepped motifs in an X pattern flanked by stripes 90.5” H x 53.5” W
$300-500
231
A framed Navajo red velvet child’s shirt
20th century, Diné
A small traditional red velvet pullover shirt with a collar and four small concho buttons with set turquoise, professionally mounted and framed in a custom acrylic case
20.5” H x 23.5” W (as mounted); 14.5” W (at sleeves)
$200-300
232
A Hopi polychrome dance sash
Late 19th century; Hopi-Tewa
Woven in two segments in red, green, pale blue, and black Germantown wool yarn on natural cotton, with banded elaborate sawtooth and diamond motifs and fringe edges 2 pieces
Each with fringe: 43” L x 9.5” W
$600-800
234
A Woodlands beaded hide cradle board
Early 20th century
The wood board wrapped in fibrous cloth with metal tacking to sides, featuring a beaded hide panel adorned with beads depicting floral motifs with outer trim
37.5” H x 16.5” W x 2.5” D
$500-700
233
A Plateau beaded hide cradle board
Early 20th century
The plywood board clad in hide with felt accents, decorated in multicolored beads depicting a floral motif centering banded cross and checkered motifs
39” L x 16” W x 2.75” D
$2,000-3,000
235
A Plains cradle board
Early 20th century, Great Plains
The wood board adorned with metal tacking at the lower terminus, the hide with wool yarn embellishments and trade fabric trim
40” H x 9” W x 5” D
$500-700
Three polychrome beaded hide bags
Early/ mid- 20th century
Comprising a cloth-lined hide sack with beaded stepped motif to front and fringe to bottom, a flap-front sack with beaded floral motifs to front, beaded tassels terminating in tin cones, and fringe to bottom, and a small flap-front purse with geometric beaded motifs to front 3 pieces
Largest: 12” H x 9.5” W; Smallest: 3.5” H x 5.25” W
$500-700
A Native American beaded hide strike-a-lite bag
Late 19th/early 20th century
The possibly Kiowa stiff hide flap-front bag for carrying fire-starting flint and an awl, adorned with beads depicting a floral motif and tin cone fringes
Without fringe: 4” H x 3.125” W x 0.5” D
$800-1,200
A Native American beaded hide awl cast Early 20th century
The possibly Kiowa stiff hide awl sheath, adorned with beads depicting geometric banded motifs and tin cone fringe Without fringe: 5” L
$800-1,200
A Native American beaded hide strike-a-lite bag
Late 19th/early 20th century
The hide flap-front bag for carrying fire-starting flint, adorned with beads depicting a floral motif and featuring tin cone fringes, two terminating in metals bells
Without fringe: 5.75” H x 4.25” W x 1.25” D
$400-600
A group of Native American beaded hide bags
Early/mid-20th century
Comprising a trade cloth-lined bag with hide handles, adorned with beads to front depicting three tulips, a possibly Inuit handled bag with beaded floral motifs and lower fringe, a possibly Apache flap-front handled bag with beaded whirling log motif and lower fringe with tin cones, and a Plateau sack with drawstring and beaded front panel depicting poppies
4 pieces
Largest: 11.25” H x 9.875” W; Smallest: 8” H x 6.25” W
$600-800
241
A pair of Plains beaded hide child’s moccasins and satchel 20th century; Great Plains
Comprising a pair of possibly Sioux moccasins with beaded accents, and a hide pouch depicting central stepped diamond motifs to each side, beaded trim, and beaded fringe
3 pieces
Each moccasin: 3.375” H x 6.25” W x 2.625” D approx.; Satchel: 5.875” H x 4” W
$500-700
242
A pair of Iroquois child’s beaded hide moccasins Early 20th century
The hide moccasins with multicolor beaded designed to top and applied red and black fabric trim 2 pieces
Each: 2.5” H x 4.75” W x 2.25” D approximately
$200-400
244
A pair of Native American beaded deer hide gloves
Mid-20th century
The gloves with flared cuffs, each lined with trade cloth to interior and adorned with beads depicting floral motifs to one side and hide fringe
2 pieces
Each: 12” L x 7.5” W
$200-400
243
A pair of Cheyenne beaded hide moccasins
Early 20th century
The hide moccasins with all-over multicolor geometric beaded designs and a bullseye to the tops
2 pieces
Each: 4.5” H x 9.5” W x 4” D approximately
$400-600
245
A Nez Perce double-sided cornhusk bag
Early 20th century; Columbia River Plateau
The hemp fiber twined flat bag with a wool yarn drawstring, one side featuring imbricated alternating floating stepped motifs, the other depicting imbricated alternating rows of triangles and floating diamonds
24.5” H x 18.25” W
$300-500
Two Nez Perce corn husk bags
Late 19th/early 20th century
The double-sided flat twined bags, comprising one with imbricated stripes to one side and elaborate crosses and diamonds to the other, and another with imbricated chevrons flanking floating serrated diamonds to one side, and stepped and arrow feather motifs to the other 2 pieces
Larger: 10.875” H x 9.5” W; Smaller: 10.125” H x 8.75” W
$400-600
247
A Native American bow and arrow set
Early/mid-20th century
Comprising a polychrome wood bow with sinew reinforcement and a braided cellulosic fiber string, and seven arrows with feather tails, some with carved obsidian tips 8 pieces
Bow: 40.5” L x 2.375” W x 4” D; Each arrow: 34” L approximately
$500-700
248
A Santo Domingo Pueblo polychrome pottery dough bowl
Late 19th/early 20th century
Unmarked
The three-color bowl with black and white banded foliate motif above a terracotta wash
8” H x 13” Dia.
$1,000-2,000
249
Margaret Tafoya (1904-2001, Santa Clara Pueblo)
A polychrome pottery jar, mid-20th century Incised to underside: Margaret Tafoya / Santa Clara
The four-color tall jar with banded avanyu motif to shoulder 10.875” H x 8” Dia.
$2,000-4,000
250
Antoinette Silas Honie (b. 20th century, Hopi-Tewa)
A polychrome pottery vessel, early 21st century
Signed to underside: Antoinette Honie / [bird cipher] / Hopi Tewa
The three-color pot with wide shoulder bearing bird feather, kiva step, and rain cloud motifs on a buff slip glaze
A polychrome pottery seed pot, late 20th/early 21st century
Signed to underside: Fawn [hoof cipher]
The three-color pot with wave, whirlwind, and bird feather motifs to shoulder 3.125” H x 5.375” Dia.
$200-400
252
Jeanette Sahu (active 20th century, Hopi-Tewa)
A polychrome pottery jar, mid-20th century
Signed to underside: Jeanette Sahu
The three-color jar with squared lip above banded kiva step and eagle feather motifs to body 4.5” H x 7.5” Dia.
$200-400
Joy Navasie, Second Frog Woman (1919-2012, Hopi-Tewa)
A yellowware polychrome pottery bowl, mid-20th century
Signed to underside with artist’s frog cipher
The three-color bowl with banded geometric motifs to body
4.25” H x 6.375” Dia.
$200-400
254
Karen Kahe Charley (b. 1951, Hopi-Tewa)
A polychrome yellowware jar, late 20th century
Signed to underside: [artist’s cipher] / K K C
The three-color vessel with broad shoulder and pronounced rim, featuring stepped, bird, and geometric motifs to shoulder 3” H x 7” Dia.
$300-500
A Southwest redware pottery vessel 16th century or later
Possibly Hohokam or Nayarit, the three-color vessel with flared rim, featuring polychrome painted bands above a puki indentation to underside 6.5” H x 11.625” Dia.
$500-700
256
Claudina Lomakema (b. circa 1940, Hopi-Tewa)
A polychrome pottery jar, circa 1970s
Signed to underside: Claudina Lomakema
The three-color jar with banded stepped, whirlwind, and geometric motifs to broad shoulder and upper body
4.975” H x 7.875” Dia.
$100-200
Margaret Garcia (b. 20th century, Santa Clara Pueblo)
A blackware seed pot, 1988
Incised to underside: Margaret Garcia / Santa Clara / N. Mex. / “88”
The rounded pot with black eagle feather medallion centering a banded stepped motif on a black buff glaze 2.875” H x 3.125” Dia.
$400-600
258
Severa Tafoya (1890-1973, Santa Clara Pueblo)
A blackware pottery avanyu plate, mid-20th century
Incised to underside: Severa
The plate with deeply carved avanyu figure in relief, set on a felt-padded acrylic stand Plate: 2” H x 10.5” Dia.; Stand: 7.25” H x 10.5” W x 4.5” D
$400-600
Carmelita Dunlap (1925-1999, San Ildefonso Pueblo)
A blackware pottery bowl, 1982
Incised signature and date to underside: Carmelita Dunlap / San Ildefonso Pueblo
The black on black bowl with geometric and eagle feather motifs to body 5.625” H x 10.75” Dia.
$500-700
Stella Chavarria (b. 1939, Santa Clara Pueblo)
A blackware pottery olla, late 20th century
Signed to underside: Stella Chavarria / Santa Clara
The deeply incised vessel bearing an avanyu motif
4.75” H x 4.625” Dia.
$500-700
261
Crucita (Blue Corn) Calabaza (1921-1999, San Ildefonso Pueblo)
A polychrome pottery jar, mid-20th century
Incised to underside: Blue Corn / San Ildefonso Pueblo
The three-color jar with eagle feather and banded motifs to rim on a grey/white slip glaze, featuring a micaceous interior
4.625” H x 6.875” Dia.
$500-700
Notes: Included with the lot is a business card from the artist, contemporary with the object’s construction.
Randall (Randy) Chitto
(b. 1962, Choctaw)
Turtle storyteller figure wearing a bear hide
Blackware ceramic
Incised with artist’s cipher to underside 10.75” H x 6.875” W x 8” D
$800-1,200
Notes: Randy Chitto, born in 1962 in Philadelphia, Mississippi, is a ceramic artist based in New Mexico and Mississippi, most known for his turtle storyteller figures. As a Choctaw Indian sculptor, Randy’s work is deeply rooted in his heritage.
He began his artistic journey in the 1980s while studying at the Institute of American Indian Arts. The turtle is one of the three sacred animals in Choctaw culture, alongside the bear and raccoon, which influences his creative focus.
Randall (Randy) Chitto
(b. 1962, Choctaw)
Turtle Koshare storyteller
Painted engobe ceramic, hide, and grass
Incised with artist’s cipher to underside
22” H x 17” W x 14.75” D
$800-1,200
A Southwest Zuni-style spiny oyster tobacco flask
Mid-20th century
Unmarked
A canteen formed of two spiny oyster shells, with a stamped silver top, spout and side edges, and overlaid turquoise and shell motifs including Sunface and clouds, with an associated chain
3 5/8” H x 2 5/8” W
78.5 grams gross
$400-600
Three Zuni carved bone frog fetish figures
Late 20th century
Each unmarked
Attributed to Shockey Sanchez, each figure depicted with an insect in its mouth 3 pieces
Largest: 1.375” H x 3.75” W x 3.25” D
$200-400
266
A Southwest silver and set stone large plaque belt buckle
Late 20th century Stamped: JK [conjoined; within large star]
An extra-large shadow-box plaque buckle with three silver eagles and multiple clusters of feather, floral, and scrollwork overlay designs, with set turquoise and coral 4” H x 12 1/8” W 502.3 grams gross
$700-900
267
A Floyd Becenti, Jr. Navajo Floyd Becenti, Jr (b. 1960, Late 20th/21st century
A three-piece silver storyteller Kokopelli, as well as pueblos, leather belt
2 1/2” H x 15 1/2” total width; approximately 454.7 grams gross
$400-600
sterling silver storyteller belt buckle 1960, Diné)
storyteller buckle depicting multiple katsina dancers and pueblos, landscapes, and clouds, with an associated black width; center: 3” W; sides: 6 1/8” W; belt: 50” L x 1 1/4” H
Navajo
268
A Navajo First-Phase-style silver concho belt
Mid-20th century
Unmarked
A heavy belt featuring a rectangular stamped and chased sterling silver buckle with eight large stamped sterling silver oval conchos mounted with a narrow brown leather strap to a wider shaped brown leather strap
Buckle: 2 3/4” H x 3 3/8” W; each concho: 3 1/8” H x 3 3/4” W; belt: 43 1/4” L x 2 7/8 “ H
588.6 grams gross
$800-1,200
269
A Southwest sterling silver belt buckle and horsehair belt
Late 20th century
Stamped: J. Wright [possibly Jerome Wright, Navajo/Diné] / Sterling; belt marked: 40
A Hopi-style silver shadowbox bear claw buckle with set blue hardstone, mounted to a woven horsehair belt with tooled black leather accents
Buckle: 2 1/4” H x 3” W; belt: 45 3/4” L x 1 1/2” H
Buckle: 75.8 grams gross
$400-600
270
A Southwest Zuni-style sterling silver needlepoint concho belt
Late 20th century
Stamped to buckle: LH / Sterling
Comprising a large oval buckle with set needlepoint block turquoise and curled silver accents, together with nine matching conchos, all mounted to a wide black leather strap
Buckle and each concho: 2 1/4” H x 2 7/8” W; strap: 41.5” L x 2” H
409.5 grams gross
$800-1,200
271
A Southwest Zuni-style sterling silver needlepoint cuff bracelet
Late 20th century
Stamped: LH / Sterling
A three wire cuff featuring a large oval plaque with set needlepoint block turquoise
6 1/2” inner C x 2 7/8” H
48.9 grams gross
$400-600
272
A Southwest sterling silver and turquoise cuff bracelet
Late 20th/21st century
Stamped: JP / Sterling
A chunky storyteller cuff with three large set turquoise stones, geometric edging accents, and elaborate incised landscape motifs to each terminal and to inside face
7” inner C x 2” H
153.2 grams gross
$1,000-2,000
273
A Southwest silver and cluster set turquoise cuff bracelet Mid-20th century Etched: HIC [likely; conjoined]
A three-wire cuff with a large circular cluster-set petit point turquoise plaque and flanking cluster-set shoulders
6 1/2” inner C x 2 1/2” H, with a 1 1/8” gap
63.5 grams gross
$400-600
274
A Southwest silver and turquoise cuff bracelet
Mid-20th century
Unmarked
A three-wire cuff with large cluster-set turquoise oval plaque and two flanking plaques to shoulders
6 1/2” inner C x 2 5/8” H, with a 1 3/8” gap
68.3 grams gross
$500-700
275
A Southwest silver and turquoise cuff bracelet
Mid-20th century
Unmarked
A two-wire cuff with cluster-set and petit point turquoise plaques and flanking shoulders
6 3/8” inner C x 1 5/8” H, with a 7/8” gap
35.5 grams gross
$300-500
276
A Southwest sterling silver and turquoise cuff bracelet
Mid/late 20th century
Unmarked
A small cuff with shadowbox set oval turquoise and stamped accents
6 1/8” inner C x 2 1/8” H, with a 1” gap 56.0 grams gross
$300-500
277
A Southwest sterling silver and turquoise cuff bracelet
Mid/late 20th century
Unmarked
A chunky cuff with seven domed shadowbox columns each with row-set turquoise and silver ball accents
6 3/4” inner C x 1 3/4” H, with a 1 1/4” gap
110.8 grams gross
$400-600
278
A Southwest silver and turquoise cuff bracelet
Mid/late 20th century
Unmarked
A delicate four-wire cuff featuring a large set slab turquoise with a snake and feather overlay motifs
6 3/4” inner C x 2 7/8” H, with a 1 3/8” gap
56.5 grams gross
$300-500
279
A Southwest silver and turquoise cuff bracelet
Late 20th century
Stamped with unknown cipher
A chunky sterling silver cuff with elaborate stampwork surrounding a central set turquoise stone
6 3/4” inner C x 1 7/16” H, with a 7/8” gap
90.2 grams gross
$200-400
280
A set of Southwest sterling silver and coral jewelry
Mid/late 20th century
Stamped: BM [possibly Billy & Marie Yellowhair, Navajo/Diné]
Comprising a chunky sterling silver and row-set coral cuff bracelet, with a matching rectangular row-set coral ring, 2 pieces
Cuff: 6 1/4” inner C x 2 5/16” H; ring size: 7 1/4
184.4 grams gross
$600-800
281
A group of Zuni carved stone bear fetish figures
Mid/late 20th century
One marked and attributed to Tony Chapito
Comprising nine bear figures, some with turquoise inlaid eyes, two with carved shell salmon in their mouths
9 pieces
Largest: 3.25” H x 5.25” W x 2” D
$200-400
282
A group of Zuni carved stone bear fetish figures
Mid/late 20th century
Each unmarked
Comprising eight bear figures, each with turquoise inlaid eyes and mounted with offerings
8 pieces
Largest: 2.125” H x 4.875” W x 2” D
$200-400
283
Two Southwest silver and turquoise cuff bracelets
Late 20th century
Smaller stamped: E / Sterling [possibly Ella Cowboy, Navajo/Diné]
Comprising a three-wire cuff with a large central set turquoise and feather overlay accents, as well as a five-wire sterling silver cuff with three oval set turquoise stones and stampwork accents, 2 pieces
Larger: 6.5” inner C x 2” H; smaller: 6” inner C x 5/8” H
139.4 grams gross
$400-600
284
Two Southwest silver and turquoise cuff bracelets
Mid/late 20th century
Unmarked
Comprising a three-wire cuff with five narrow graduated set turquoise stones, together with a single band narrow cuff with incised terminals and five set turquoise stones in various shapes and colors, 2 pieces
Larger: 6.5 “ inner C x 1 7/8” H; smaller: 6.5 “ inner C x 5/8” H 115.4 grams gross
$300-500
285
Two Southwest sandcast silver cuff bracelets
Mid/late 20th century
Each unmarked
Comprising a large openwork sandcast cuff with central set turquoise, and a smaller cast cuff with starburst design, 2 pieces
Larger: 6 3/8” inner C x 2” H; smaller: 6 1/8” inner C x 1 1/8” H
87.5 grams gross
$200-400
A group of Navajo sterling silver and stone set cuff bracelets
Late 20th century
Three works:
Wilson Begay (b. 20th century, Diné)
Stamped: WB [below hat pictogram]
Comprising two narrow silver cuffs, each with central set orange or purple spiny oyster, with incised and overlay accents
Each: 6 1/8” inner C x 7/8” H
Richard Wylie (b. 20th century, Diné)
Stamped: R Wylie [likely Richard Edward Wylie] / Sterling
A chunky cuff with elaborate incised and stamped designs, with central set spiny oyster and cluster set turquoise 6 5/8” inner C x 1 1/5” H
3 pieces total 125.8 grams gross
$400-600
287
Three Fred Harvey-style Southwest silver and turquoise cuff bracelets
Early/mid-20th century
One marked: HL [or] TH [conjoined]
Comprising three narrow ornate silver and set turquoise cuffs in various styles, and with elaborate stampwork designs and motifs including arrows, 3 pieces
Largest: 6 1/4” inner C x 7/8 “ H; smallest: 6 1/8” inner C x 5/8” H
95.8 grams gross
$200-400
288
A group of Southwest silver and stone set cuff bracelets
Mid/late 20th century
Two marked: Sterling
Four narrow silver cuffs with various single and row-set stones including turquoise, sugilite, and spiny oyster, 4 pieces
Largest: 6 1/4” inner C x 3/4” H; smallest: 6” inner C x 3/4” H
83.2 grams gross
$300-500
289
A group of Fred Harvey-style Southwest silver and turquoise cuff bracelets Mid-20th century
One marked for Bell Trading Post and for sterling
Four narrow ornate silver and set turquoise cuffs, in various styles and sizes, with motifs including stampwork, thunderbirds, and crossed arrows, 4 pieces
Largest: 6 1/4” inner C x 1 1/4” H; smallest: 6” inner C x 3/8” H
63.4 grams gross
$200-400
290
A group of Southwest silver and stone set cuff bracelets
Mid/late 20th century
One marked with arrowhead for unknown maker
Comprising five three-wire cuffs, including two with a set brown “Montana” agate cabochon, and three with set petrified wood cabochons, most with further stampwork and overlay motifs, 5 pieces
Largest: 7” inner C x 1 1/4” H; smallest: 6” inner C x 1” H
163.8 grams gross
$400-600
291
A group of Zuni carved shell bird fetish figures
Mid/late 20th century
Some variously signed by the artist
Comprising nine bird figures from various makers, some with turquoise inlaid eyes, including a duck, a pelican, a sandpiper, and other seafaring birds
9 pieces
Largest: 2.25” H x 2.25” Dia.
$200-400
292
A group of Zuni carved bone bird fetish figures
Mid/late 20th century
Some variously signed by the artist
Comprising ten owls, eight eagles, a turkey, and five other birds, each with turquoise or coral inlay eyes
24 pieces
Largest: 3.375” H x 1.5” W x 1.25” D
$200-400
293
Three Southwest silver cuffs
Late 20th/21st century
Three works:
Jeanette Dale (b. 1949, Diné)
Stamped: JDale [conjoined] / Sterling
A narrow Navajo ridged sterling silver cuff with set lapis lazuli cabochons and elaborate stampwork, with flared terminals
6 1/2” inner C x 5/8” H, with a 1 1/4” gap
Two sterling silver cuffs
Each unmarked
Each narrow ridged cuff with elaborate stampwork
Larger: 7” inner C x 3/8” H; smaller: 6 1/2” inner C x 5/16” H
3 pieces total 149.4 grams gross
$200-400
294
Two Southwest silver and stone set bracelets
Late 20th/21st century
Two works:
Danny Romero (1954-2018, Yaqui/Spanish)
Stamped: D R.MER. / FINE / [pictograph]
A chunky modernist sterling silver cuff with inset and inlaid sugalite and mother of pearl
6” inner C x 3/4” H, with a 1” gap
George and Nusie Henry (b. 20th century, Navajo/Diné)
Stamped: G.N.H. / Sterling
A slim sterling silver cuff with a central tufa-cast band and set turquoise and lapis lazuli
6 1/4” inner C x 1/2” H, with a 1” gap
2 pieces
91.2 grams gross
$500-700
295
A group of Southwest silver and turquoise bracelets
Mid/late 20th century
Three marked: Sterling; one further marked: HB
Comprising four silver and set turquoise narrow cuffs in various designs, as well as a narrow silver cuff with a scrollwork motif, 5 pieces
Largest: 6.5” inner C x 3/8” H; smallest: 6 1/8” inner C x 1/2” H
150.9 grams gross
$300-500
296
A group of Southwest silver and turquoise cuff bracelets
Mid/late 20th century
Three marked: Sterling; one marked: H Jim; one for Wheeler Manufacturing Co.
Comprising two narrow row-set cuffs, one by Harrison Jim (Navajo/Diné), and a three-wire cuff with large set slab turquoise, as well as a sterling silver two-wire cuff with elaborate feather and floral silver overlay designs, and three Fred Harvey-style cuffs, each with set turquoise and stampwork motifs, 7 pieces
Largest: 6 1/4” inner C x 2 1/4” H; smallest: 6” inner C x 5/16” H 166.4 grams gross
$500-700
297
A group of Zuni carved stone fetish animal figures
Some variously signed to underside
Each with incised details, some with turquoise mounted accents, comprising two buffalo, four bovine, four horses, three burro, and a bighorn sheep
14 pieces
Largest: 2.125” H x 3.25” W x 1.625” D; Smallest: 1.25” H x 1.875” W x 0.5” D
$100-200
298
A group of Zuni carved fetish animal figures
Some variously signed to underside
Comprising a carved stone mole, a beaver, three bears, a pig, a frog with applied turquoise spots, an eagle, a moose with shell antlers, a carved bone corn maiden with turquoise accents, an eagle, and a small wolf
12 pieces
Largest: 3” H x 4.625” W x 3” D; Smallest: 0.875” H x 1.625” W x 0.625” D
$100-200
299
A Navajo silver and turquoise squash blossom necklace
Mid-20th century
Etched to naja: AZEJM
Featuring a sterling silver two-wire naja with set turquoise and rope wire accents, with twenty box-bow turquoise squash blossoms, all suspended from a double strand of silver beads
26 1/4” L x 2 5/8” H
135.1 grams gross
$800-1,200
300
A Southwest silver and turquoise squash blossom necklace
Mid/late 20th century
Unmarked
A chunky sterling silver necklace with large central set turquoise naja and ten blossoms, each stone with rope twist and stampwork edging, all suspended from a double strand of silver beads
25” L x 2 3/8” H
166.0 grams gross
$700-900
301
A Jerry & Wilma Begay Navajo squash blossom jewelry set Jerry & Wilma Begay (b. 20th century, Diné)
Stamped: JW [conjoined]
Featuring a silver necklace with a central naja and ten blossoms with cluster-set turquoise, malachite, lapis, and sugalite, as well as a pair of matching blossom earrings, 3 pieces Necklace: 27” L x 2 3/4” H; earrings: 1 7/8” H
127.1 grams gross
$500-700
302
A Navajo silver and turquoise squash blossom necklace
Early/mid-20th century
Unmarked
Featuring a cluster-set turquoise naja with stamped edge accents, and with fourteen cluster-set blossoms suspended from a double strand of silver beads 28” L x 3 3/8” H 234.5 grams gross
$500-700
303
A Southwest silver and turquoise squash blossom necklace
Mid/late 20th century
Unmarked
Featuring a chunky sterling silver and set turquoise naja with rope wire and silver ball accents with ten matching blossoms, all suspended from a double strand of silver beads
25” L x 3 1/4” H
175.8 grams gross
$600-800
304
A Southwest silver and turquoise squash blossom necklace
Mid/late 20th century
Unmarked
A heavy necklace with a central cast sterling silver naja with shadowbox set turquoise, with twelve matching blossoms suspended from a double strand of silver beads
25” L x 2 3/8 “H
208.1 grams gross
$600-800
305
A Navajo sterling silver wedding basket “squash blossom” necklace
Late 20th century
Stamped: M / Sterling
A squash blossom-style necklace with a wedding basket pendant of mixed metal overlay and set turquoise, suspended by a double strand of silver beads and with ten basket “blossoms,” together with a pair of matching earrings, 3 pieces
Necklace: 26.5” L x 2 7/8” H; earrings: 1 1/2” H
107.2 grams gross
$600-800
306
A Southwest silver and turquoise squash blossom necklace
Mid-20th century
Unmarked
Featuring a delicate two-wire sterling silver naja with set turquoise and silver feather and flower overlay, with ten matching blossoms, all suspended from silver beads and with an additional bead spacer, 2 pieces
24” L x 2 3/4” H; spacer: 4 1/2” L
96.1 grams gross
$400-600
307
A group of Zuni carved stone frog fetish figures
Mid/late 20th century
Most variously signed by the artist
Comprising twenty-one frog figures from various makers such as Tyler Quam, Daisey Leonard, and Alfred Pancho, some with turquoise inlaid eyes, one mounted with offerings 21 pieces
Largest: 1.375” H x 2.5” W x 2” D
$200-400
A group of Zuni carved stone frog fetish figures
Mid/late 20th century
Most variously signed by the artist
Comprising seven carved red jasper frog figures from various makers such as Herbert Halate, Louise Singer, and Emery Boone, each with turquoise inlay and incised details
7 pieces
Largest: 1.125” H x 2.75” W x 2.5” D
$200-400
309
Two Southwest sterling silver and set stone necklaces
Late 20th century
Each stamped: Sterling; smaller partially marked: Casuse [script; possibly Fritz Casuse, b. 1968; Navajo/Diné]
Comprising a silver link necklace with cluster-set turquoise and a large central teardrop pendant, together with a set turquoise and coral silver link necklace with applied silver and scrolled designs, 2 pieces
Larger: 22 1/2” L x 2 1/2” H; smaller: 17” L x 1 3/8 “H 123.2 grams gross
$500-700
310
A Southwest Zuni-style silver and turquoise necklace
Mid-20th century
Unmarked
A silver link necklace with three row-set and needlepoint turquoise plaques suspended from a paper-clip chain
26” L x 1” H
89.0 grams gross
$300-500
311
A Juan Martinez Zuni sterling silver and inlaid stone bolo tie Juan Martinez (b. 20th century, Zuni Pueblo)
Marked : JM / Sterling
A katsina portrait bolo with multicolored shell, onyx, turquoise, and coral cobblestone inlay, on a braided leather cord with silver cone tips Bolo: 4” H x 2 1/8” W; cord: 38” L 65.1 grams gross
$300-500
312
A Southwest Navajo sandcast silver pendant necklace Mid-20th century
Unmarked
Featuring a sandcast sterling silver naja-style pendant suspended from a single strand of silver beads
25 3/4” L x 2 3/4” H
73.0 grams
$200-400
313
A group of Zuni carved stone wolf and bear fetish figures
Mid/late 20th century
Each unmarked
Two attributed to Abby Quam, comprising eleven bear and wolf figures, some with turquoise inlaid eyes, six with heartline inlay, and one mounted with offerings 11 pieces
Largest: 2.125” H x 1.25” W x 0.5” D
$200-400
A group of Zuni carved stone bear fetish figures
Mid/late 20th century
Most variously signed by the artist or marked: Zuni
Comprising eighteen bear figures from various makers such as Tom Ahiyite and Lee Chavez, some with turquoise inlaid eyes, four mounted with offerings
18 pieces
Largest: 1.75” H x 3” W x 5.75” D
$200-400
315
A Southwest Pueblo coral and silver necklace
Mid/late 20th century
An eight-strand necklace of tubular coral beads with a single turquoise tab accent, separated by silver bead spacers and with a traditional wrapped neck cord 32” L
146.5 grams gross
$400-600
Notes: This lot accompanied by a retail purchase receipt dated April 1992.
316
A Southwest Pueblo coral and melon shell necklace
Late 20th century
A three-strand necklace with stylized carved coral birds with melon shell heishi spacers and silver cone clasp 30 3/4” L 105.5 grams gross
$400-600
317
A Zuni Pueblo-style multistrand “grandmother” coral necklace
Late 20th century
Unmarked
A five-strand necklace with chunky graduated branch coral beads and a central carved jet standing bear, interspersed with a variety of found materials including tab turquoise, trade beads, carved stone fetish animals, and silver charm accents, all on olive shell heishi 22” L
223.2 grams gross
$400-600
318
Two Southwest Pueblo-style necklaces
Mid/late 20th century
Comprising a double-strand red glass bead and turquoise tab necklace suspending a double turquoise and clam shell jacla, together with a green glass bead necklace with red branch coral with a central white stone nugget, 3 pieces
Larger: 29” L x 4” H; smaller: 27 1/2” L
250.0 grams gross
$500-700
319
Two Southwest silver and coral necklaces
Mid/late 20th century
Comprising a multistrand liquid silver necklace with tubular coral bead spacers, and a graduated chunky coral bead necklace with silver bead spacers, 2 pieces
Larger: 27” L; smaller: 25 1/2” L 157.6 grams gross
$500-700
320
A Southwest Pueblo carved pink coral fetish necklace
Late 20th century
A delicate three-strand sugilite bead necklace with graduated carved pale pink coral animals including birds, turtles, and bears, and with 14k gold spacers
27 1/2” L
68.4 grams gross
$200-400
Notes: This lot accompanied by a copy of a retail purchase receipt dated October 1990, indicating the beads as 14k gold.
321
A Southwest Pueblo turquoise tab and coral necklace
Early/mid-20th century
With graduated tabs and coral bead spacers suspending a large turquoise slab pendant, with a wrapped neck cord
31” L x 2” H
120 grams gross
$500-700
322
A Southwest Pueblo multistrand coral and turquoise necklace
Mid/late 20th century
A delicate five-strand necklace with half turquoise nuggets and half branch coral beads, with fine heishi spacers and silver cone clasp
33 1/2” L
124.3 grams gross
$400-600
323
A group of Southwest coral and spiney oyster necklaces
Historic and later
Comprising a ten-strand coral necklace with a string neck cord, a three-strand coral necklace with wrapped neck cord, a double-strand coral necklace with heishi, turquoise and silver bead spacers, as well as five single-strand chunky coral necklaces with various beads including turquoise and silver, 8 pieces
Comprising a delicate six-strand barrel coral necklace with leather wrapped neck cord, a chunky six-strand coral and glass bead necklace with graduated turquoise and other stones, together with a double strand coral necklace with silver beads and a small carved coral bear fetish, a single strand of coral beads, as well as a single strand of red glass beads in two shapes, and a chunky graduated jasper strand necklace with bear fetish pendant, 6 pieces
Largest: 30” L; smallest: 18” L x 1” H
382.9 grams gross
$500-700
A group of Southwest coral and silver necklaces
Mid/late 20th century
Bear strand stamped: Carlton Jamon / Sterling
Nine works comprising a Carlton Jamon Zuni (b. 1962) coral bead necklace with sterling silver fetish bear figures, a three-strand collar necklace with delicate branch coral, a chunky coral and silver bead long necklace, as well as five further single strands of coral, with various beads including silver, and heishi shell, and a single strand silver bead necklace, 9 pieces
Largest: 32 1/2” L; smallest: 20 1/2” L
382.5 grams gross
$200-400
326
A group of Zuni carved stone frog fetish figures
Mid/late 20th century
Two variously signed by the artist
Comprising nine frog figures from various makers such as Annette Tsikewa and Tyler Quam, some with turquoise inlaid eyes, seven mounted with offerings
9 pieces
Largest: 1” H x 3.5” W x 1.875” D
$200-400
327
A group of Zuni carved stone wolf fetish figures
Mid/late 20th century
Each unmarked
Comprising eleven wolf figures, some attributed to various makers such as Emery Boone, Rozella
Lunasee, and Eugene Mahooty, some with turquoise inlaid eyes, two with inlaid heartline, and three mounted with offerings 11 pieces
Largest: 2.5” H x 2.625” W x 1.125” D
$100-200
A group of Southwest Heishi shell necklaces
Mid/late 20th century
Five multistrand heishi shell necklaces with beads of varying sizes, including melon heishi, clam, and olive shell heishi, two with traditional leather neck cords and one with a wrapped neck cord, 5 pieces
Largest: 30” L; smallest: 26 1/2” L
240.0 grams gross
$1,000-1,500
A Louise Singer Zuni carved stone “horny toad” fetish necklace
Late 20th century
With seven chunky carved stone horned toads, each with bound offer bundles, on a coral and turquoise heishi strand, with a silver cone clasp
24 1/4” L x 2 1/4” H
132.4 grams gross
$200-400
Notes: This lot accompanied by a purchase receipt dated December 1990, indicating Louise Singer as artist.
330
A Zuni Pueblo-style multistrand bear fetish necklace
Late 20th century
A triple-strand necklace featuring carved serpentine stone bears with nugget turquoise and heishi spacers
30 - 36” L
93.8 grams gross
$200-300
A Zuni Pueblo-style turquoise and carved bear fetish necklace
Late 20th century
A double-strand necklace with multiple carved antler bears suspended on fine turquoise heishi beads
30” - 26” L
102.6 grams gross
$200-400
332
A group of Zuni carved stone pig fetish figures
Mid/late 20th century
Most variously signed by the artist
Comprising eighteen pig figures from various makers such as Bernie Yamutewa and Stanton Hannaweeke, some with turquoise inlaid eyes, two mounted with offerings, and five together as a set with a sow and four piglets
18 pieces
Largest: 1.5” H x 3.25” W x 1.75” D
$200-400
A Zuni Pueblo-style carved multistone and jet stacked fetish necklace
Late 20th century
Featuring an elaborate single strand necklace of graduated stacked carved animal fetish figures, including a large central carved jet standing bear, flanked by smaller bears and carved shell mountain lions, with various animals such as birds, foxes, turtles, and wolves, in stones including malachite, sugilite, pipestone, shell, and turquoise, and with heishi beads and a traditional wrapped neck cord
32” L x 2.5” H
192.0 grams gross
$200-400
334
A A Zuni Pueblo-style carved multistone fetish necklace
Late 20th century
A chunky necklace with a central large carved jet standing bear, flanked by stacked graduated multistone animals, with fine heishi beads and a silver cone clasp
29 1/4” L x 1 3/4” H 105.7 grams gross
$200-400
335
Charles Reussner (1886-1961)
Eagle perched
Patinated bronze and carved stone
Signed in the casting to figure’s tail feather: Reussner; with sticker to underside: Made in Switzerland; additional sticker: Tecolote Book Shop
Overall: 9.375” H x 4.5” W x 5.75” D
$200-400
Two Zuni Pueblo turquoise encrusted fetish pots
Mid/late 20th century
Each unmarked
Comprising one larger pottery vessel with applied carved bone figural fox fetishes bound with offerings, and one smaller pot with applied feathers and carved jasper bear figure fetishes bound with offerings 2 pieces
Larger with fetishes: 4.75” H x 8.5” Dia.; Smaller with fetishes: 3.25” H x 6.625” Dia.
$200-400
337
A large Southwest Pueblo turquoise tab necklace
Mid/late 20th century
A single strand necklace of graduated chunky turquoise tabs separated by turquoise nugget spacers and with a silver bead clasp
26.5 “ L
334 grams gross
$300-500
338
A Zuni Pueblo-style carved stone fetish necklace
Late 20th century
A chunky stacked carved multistone and shell fetish necklace featuring a large turquoise standing bear, as well as further bears, heartline bears, and multiple smaller wolves, bears and other animals, with a traditional wrapped neck cord
33” L x 2” H
176.7 grams gross
$200-400
339
A Johnny Sheeka Zuni multistrand carved fetish necklace
Johnny Sheeka [or Shika] (b. 20th century, Zuni Pueblo)
Late 20th century
Unmarked
A three-strand carved multistone and shell fetish necklace with various animal figures including buffalo, bighorn sheep, whales, frogs, dolphins, fish, and woodpecker, with heishi spacers and silver cone clasps 27” L
99.0 grams gross
$200-400
Notes: Original paper retail label indicates Johnny Sheeka, Zuni, as artist.
Three strands of Russian/Eastern European trade beads
Late 19th century and later
Comprising two strands in cobalt blue frosted glass beads, one strand with spherical beads (12mm) and raffia neck cord, and one with faceted rectangular beads (11mm), as well as a necklace of spherical blue glass beads (12mm) with two silver bead accents, 3 pieces
Largest: 29” L; smallest: 23” L
387.1 grams gross
$400-600
A group of trade beads and necklaces
Late 19th century and later
Comprising three strands of striped, millefiori, and other patterned multicolored glass and ceramic beads in greens, yellows, blues, and reds, each on a raffia cord, as well as a strand of blue glass trade beads, and three single strand necklaces, one with blue stone beads, and two with various beads in green stone, glass, and silver, 7 pieces
Largest: 36” L; smallest: 23 1/2” L
546.9 grams gross
$200-400
A group of trade beads and necklaces
Late 19th century and later
Comprising four strands of brown, grey, blue, red, and white multicolored trade beads, each on a raffia cord, as well as four strands of red and white glass “white heart” beads of various sizes, each on string, together with three necklaces, each formed of various multicolored glass, millefiori and other style beads, including a chunky red glass bead and green millefiori glass bead necklace, as well as two further necklaces in blues and reds, each with a silver hook clasp, 11 pieces
Largest: 32.5” L; smallest: 21” L
555.6 grams gross
$200-400
343
An Audie Yazzie Navajo award-winning turquoise necklace
Audie Yazzie (b. 20th century, Diné)
Late 20th century
Marked to hangtag: Audie Yazzie
A four-strand necklace with turquoise, silver, and clam shell beads and a silver cone clasp
32” - 39” L
166.3 grams gross
$400-600
Exhibited: The Original American Indian & Western Relic Show, Pasadena, CA, 1995.
Notes: This lot accompanied by a First Place ribbon from the Original American Indian & Western Relic Show, Pasadena, CA, 1995.
344
A set of Southwest Pueblo turquoise and shell jewelry
Mid/late 20th century
Comprising a delicate ten-strand necklace with fine turquoise nuggets, fine heishi shell spacers, and a silver cone clasp, together with a pair of matching double-strand earrings, 3 pieces 26 1/2” L; earrings: 3 1/2” L 119.5 grams gross
$400-600
345
A group of Zuni carved stone bear fetish figures
Mid/late 20th century
Most variously signed by the artist
Comprising twenty-nine bear figures from various makers such as Herbert Halate, Abby Quam, and Melissa Quam, some with turquoise inlaid eyes, nine with inlaid heartline, and fifteen mounted with offerings
29 pieces
Largest: 2.125” H x 5.375” W x 0.75” D
$200-400
A Johnny Sheeka Zuni stacked turquoise fetish necklace
Johnny Sheeka [Shika] (b. 20th century, Zuni Pueblo)
Late 20th century
Unmarked
Featuring an elaborate single strand necklace of graduated stacked carved animal fetish figures, including a large central standing turquoise bear, flanked by smaller bears and hares, with various animals such as birds, foxes, turtles, and wolves and with a turquoise bead and silver cone clasp
32 1/2” L x 2 1/4” H
165.8 grams gross
$200-400
Notes: This lot accompanied by a purchase receipt dated August 1990, indicating maker as Johnny Sheeka, Zuni.
347
Two Southwest stone necklaces
Late 20th century
Comprising a carved jet and turquoise heishi fetish necklace with a central stylized bird, flanked by carved jet bears, bison, fish, birds, and frogs, together with a chunky black stone disc bead necklace with turquoise spacers and silver cone clasp, 2 pieces 28” L and 26” L
230.3 grams gross
$200-400
348
A Zuni Pueblo-style carved bone fetish necklace
Late 20th century
A chunky necklace with a central standing bear flanked by stacked carved bone animals including birds, turtles, squirrels, bison, rabbits, frogs , and bighorn sheep, with a traditional wrapped neck cord
28” L
76.6 grams gross
$200-400
A Southwest Pueblo turquoise and shell tab necklace Mid-20th century
A chunky single strand necklace with graduated tabs of turquoise and shell with white shell bead spacers and a wrapped neck cord
28” L
179.7 grams gross
$600-800
350
A Southwest Pueblo turquoise tab necklace
Mid-20th century
A double strand necklace with graduated turquoise tabs and white shell spacers, with a traditional wrapped neck cord
29” L
229.9 grams gross
$500-700
351
Two Southwest Pueblo turquoise tab necklaces
Mid-20th century
Each with graduated turquoise tabs and heishi shell bead spacers, with traditional wrapped neck cords
25 1/2” L and 25” L 126.3 grams gross
$600-800
352
A group of Southwest carved stone fetish jewelry
Late 20th century
Three works:
Ron Upshaw (b. 20th century, Diné)
A Navajo carved fetish necklace
Stamped to hangtag: R.U.
With carved multistone animals with fetish feather bundles on turquoise heishi 32” L
A group of Zuni-style carved stone fetish horse jewelry
Unmarked
Featuring a single strand of carved multistone horses with heishi and turquoise spacers, as well as a pair of matching earrings, 3 pieces
Necklace: 29” L; earrings: 1 1/2” H
4 pieces total 181.5 grams gross
$200-400
Notes: Larger necklace accompanied by a Certificate of Authenticity indicating Ron Upshaw as artist. Horse pieces accompanied by a purchase receipt dated: July 1995.
Three Southwest Pueblo turquoise necklaces Mid-20th century
Comprising a small single strand jacla necklace with coral and shell accents, a chunky double jacla collar necklace with coral and shell accents, and a turquoise tab necklace with heishi shell spacers, each with a wrapped neck cord with a hook clasp, 3 pieces
18 1/2” L; 15 1/2” L; 13” L
116.7 grams gross
$500-700
354
A group of Zuni carved stone bear fetish figures
Mid/late 20th century
Most variously signed by the artist or marked: Zuni
Comprising twenty-one bear figures from various makers such as Carl Estate, Louise Singer, and Alex Tsethlikai, some with turquoise inlaid eyes, eleven mounted with offerings
21 pieces
Largest: 1.125” H x 3.125” W x 3.375” D
$200-400
355
A group of Zuni carved stone bird fetish figures
Mid/late 20th century
Most variously signed by the artist or marked: Zuni
Comprising sixteen bird figures from various makers such as Tracy Estate and Jessie LeBeouf, some with turquoise inlaid eyes, three mounted with offerings, and one set on a carved bone stand
16 pieces
Largest: 3.375” H x 3.75” W x 2.875” D
$300-500
356
A group of Southwest silver jewelry
Late 20th century
Four works:
Anthony (Tony) Aguilar (1919-2002; Kewa)
Stamped: AT [conjoined] / Sterling
A chunky Santo Domingo Pueblo sterling silver cuff with row-set rectangular turquoise and multiple stamped bands
7 3/8” inner C x 1 5/8” H
A group of Native American jewelry
Each marked for maker/shop; two marked for sterling
Three works comprising a three-wire cuff with central set onyx and applied silver feather motifs, a pair of Michael Nez Navajo/Diné earrings with set blue stone cabochons, and a pair of Nakai (shop) set onyx earrings with silver dangles, 5 pieces
Cuff: 6” inner C x 2” H; earrings: 2 7/8” H and 2” H
6 pieces total 186.5 grams gross
$500-700
357
A group of Southwest turquoise, stone and jet necklaces
Mid/late 20th century
Comprising beaded strands in various styles and sizes, with various beads such as turquoise, malachite, jet, shell, and silver, 9 pieces
Largest: 32” L; smallest: 22” L 415.5 grams gross
$400-600
A group of Southwest turquoise and carved stone jewelry
Mid/late 20th century
Five works comprising two double-strand necklaces with small turquoise nuggets and heishi spacers, as well as a chunky nugget turquoise necklace with silver bead spacers, and a carved stone horse fetish necklace with turquoise heishi and a pair of matching earrings, 6 pieces
Comprising four multistrand necklaces in shades of purple and brown with various beads including spiny oyster, dentalium, jasper, sugilite, and other stones, as well as a single strand necklace with charoite tabs and olive shell heishi, 5 pieces
Largest: 30” L; smallest: 24 1/4” L
321.1 grams gross
$400-600
A group of Colorado turquoise necklaces
Mid/late 20th century
Comprising a five-strand necklace with turquoise and micro-heishi spacers, a ten-strand necklace with diminutive turquoise beads, as well as two three-strand necklaces, and three single strands, including one with chunky turquoise beads, 7 pieces
Largest: 34 1/2” L; smallest: 24” L
380.6 grams gross
$400-600
361
A group of Southwest necklaces
Late 20th century
Four works comprising a carved shell fetish necklace with hummingbird figures and white shell spacers, as well as a multistrand graduated shell fragment necklace with shell and clam bead spacers, and a multistrand white glass bead necklace with a pair of matching earrings, 5 pieces
Notes: This lot accompanied by a photo of Eva Joe, Gallup, New Mexico.
362
A group of Southwest turquoise necklaces
Mid/late 20th century
Comprising a ten-strand necklace with diminutive turquoise nuggets, together with three further turquoise necklaces with various spacer beads including silver and heishi shell, 4 pieces
Largest: 35” L; smallest: 25” L
367.1 grams gross
$400-600
A group of Southwest silver and turquoise necklaces
Mid/late 20th century
Comprising a multistrand hand rolled barrel turquoise necklace, a silver bead necklace with large turquoise nugget pendant, a smaller turquoise bead choker, as well as a multistrand liquid silver necklace, a silver bead necklace with shell spacers and a long silver bead necklace, 6 pieces
Largest: 36” L; smallest: 18 1/2” L
326.7 grams gross
$300-500
Three Zuni Pueblo-style carved fetish necklaces
Late 20th century
Four works comprising a Daisy Leonard Zuni carved bone polar bear fetish necklace with jet and coral beads, as well as a carved jet and bone skunk fetish necklace with heishi and turquoise beads, and a carved jet standing bear fetish necklace with jet and turquoise beads, with a pair of carved jet matching earrings, 5 pieces
Notes: One piece of this lot accompanied by a Certificate of Authenticity indicating Daisy Leonard as artist.
A large group of Southwest silver and set stone jewelry
Mid/late 20th century
Two marked for maker; one for sterling Twenty-one works comprising five narrow cuff bracelets in various styles with various stones such as turquoise, coral and mother-of-pearl, as well as eight rings, including a cast silver ring with set brown stone, and various Zuni-style diminutive stone inlay rings, three pairs of earrings including a pair of A.C. Kokopelli motif earrings, together with two small stone inlay pendants, one a thunderbird pendant, a set turquoise brooch, an eagle motif money clip, and an unmounted turquoise cabochon, 24 pieces
Cuffs: 6” inner C to 5” inner C; rings: sizes 9 1/2 to 1 3/4; earrings: 2 1/4” H to 1/4” Dia. 177.9 grams gross
$200-400
A group of Southwest jewelry
Mid/late 20th century
Many marked for sterling
Thirteen works comprising a Zuni-style narrow silver and petit point coral link bracelet, together with four pairs of earrings, each with carved stone fetish animals and turquoise and coral beads in different arrangements, plus a pair of sterling silver hummingbird earrings, a pair of chunky silver bead earrings and a pair of liquid silver earrings, and five further pairs of earrings designed with silver wire, beads, and crystals, 25 pieces
Bracelet: 7” L x 3/8” H; earrings: 3 1/8” H to 1 5/8” H
107.0 grams gross
$100-200
367
Two Southwest stone inlay eagle bolo ties
Mid/late 20th century
Larger stamped with unknown mark: )( 3
Comprising a large silver eagle bolo with red and blue chip inlay, on a braided leather cord, with silver tips, together with a thunderbird bolo with turquoise, coral and shell mosaic inlay, attached to an associated green stone bead necklace, 2 pieces
Larger bolo: 3 3/4” H x 2 3/4” W; smaller: 2 1/4” H x 1 7/8” W; cord: 38” L
116.1 grams gross
$200-400
368
A group of Navajo jewelry
Late 20th century
Six works:
Charlie Singer (1931-2018, Diné)
A Navajo sterling silver and stone inlay cuff
Stamped with arrowhead cipher for Charlie Singer
With chipped turquoise and coral inlay and stamped edges
7” total inner C x 7/8” H
A group of stone-set Navajo jewelry
Two marked for maker; one marked: 925
Comprising three silver bracelets including a B. Begay two wire cuff with central set turquoise, and a J. Perry three-wire cuff with large central turquoise and stamped applied leaves , as well as two turquoise and silver rings, 5 pieces
Largest cuff: 6 1/2” inner C x 2 1/4” H; smallest: 7” inner C x 1” H; Ring sizes: 7.5 and 4.5
6 pieces total 183.4 grams gross
$400-600
A large group of Southwest-style jewelry
Late 20th century
Variously marked for maker and for sterling; four marked for Mexico
Twelve works comprising a double strand carved stone fetish necklace, a silver and set turquoise necklace with paper clip chain, and a Mexican silver feathered serpent necklace with malachite stone inlay, a turquoise set watch cuff bracelet and a black stone link bracelet, as well as one single earring and six further pairs of silver and mixed metal earrings, including a pair of Kit Carson 1990 sterling silver tableau earrings with leaping hares, and a signed sterling silver stylized Kokopelli brooch, 18 pieces
Necklaces: 28” L to 18 1/4” L; bracelets: 8 3/8” L and 6 1/8” inner C ; earrings: 3” H to 1” H
351.8 grams gross
$400-600
Provenance: The Estate of Dr. Amy Conger
January 14, 2025
Price Realized: $9,240
Consignment and Auction Inquiries: info@johnmoran.com Consign Today
SINCE 1969
A Clarence Lee Sterling Silver Story Teller Necklace
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Condition Reports
1
Visual: Overall good condition. A few occasional specks of grime near the upper edge, at left.
Blacklight: No evidence of restoration.
Frame: 17.5” H x 23.5” W x 3” D
2
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 17.5” H x 23.5” W x 2.5” D
3
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 16.5” H x 22.5” W x 3.25” D
4
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 20.25” H x 25.25” W x 2.5” D
5
Visual: Overall good condition. Areas of grime scattered in the left half of the work, mostly in the mountain formation.
Blacklight: No evidence of restoration.
Frame: 29.5” H x 41.5” W x 2.5” D
6
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 50.5” H x 70.5” W x 4” D
7
Visual: Overall good condition. A thin 1.5” diagonal stray black pigment, possibly in the hand of the artist, in the yellow background of the upper left quadrant.
Blacklight: No evidence of restoration.
Frame: 17.75” H x 14.75” W x 2” D
8
Overall good condition. The work is sealed in the mat.
Framed under Plexiglas: 33.5” H x 39.25” W x 1.5” D
9
Overall good condition with scattered minor scuffs and darkening/oxidation to bronze commensurate with age. With inherent flaw in the cold-painting behind figure’s head, two spots of errant paint.
10
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Two rice-sized loss to paint at figure’s right shoulder proper, and another at left elbow proper. Felt applied to underside.
11
Overall good condition with scattered minor scuffs and darkening/oxidation to bronze commensurate with age.
12
Overall good condition with scattered minor scuffs and darkening/oxidation to bronze commensurate with age.
13
Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age.
14
Overall good condition. The full sheet with deckled edges. The colors good. The sheet is loose, not matted.
Unframed
15
Overall good condition. Presumably the full sheet with deckled left and right edges. The colors good. The sheet is loose, not matted.
Unframed
16
Overall good condition. Full margins with deckled edges, however, the upper portion of the extreme right margin edge looks uneven to the rest of the edge, most likely a part of the paper manufacturer. The colors good. The sheet is loose, not matted.
Unframed
17
Overall good condition. Full margins with deckled edges. The sheet is loose, not matted.
Unframed
18
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 32” H x 26” W x 2” D
19
Visual: Overall good condition. Dust accumulation and grime commensurate with age. An approximately 1” H x 0.25” W area of pigment loss near the upper portion of the left edge. Two pinhead-sized or smaller areas of pigment loss in the extreme upper and right edges, both near the center. A very faint and unobtrusive surface scuff near the lower portion of the left edge.
Blacklight: No evidence of restoration.
Frame: 21.5” H x 24” W x 1.25” D
With scattered scuffs, scratches, small chipped losses, soiling, and rubbed wear to the polychrome commensurate with age. The upper portion of tabletta with a glued repair, with scattered touchups to the polychrome. Shrinkage cracks throughout.
21
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 22.75” H x 21” W x 1.5” D
22
Visual: Overall good condition. Slight surface grime and occasional minor craquelure. A minute and unobtrusive rice-size pigment loss in figure’s left cheekbone.
Blacklight: Occasional small touch-ups in the figure’s forehead and right brow, the largest scattered area approximately 1” H x 2” W. A pea-sized touch-up in the drapery covering the figure’s right elbow. Some of the background paint used in the upper right quadrant and in the upper left corner fluoresce, however, these appear to be in the hand of the artist.
Frame: 35” H x 30” W x 1.75” D
23
With scattered scuffs and darkening/oxidation to bronze commensurate with age. Interior is filled with plaster. Exterior with two 0.5” areas of yellow paint to upper right side and to verso.
24
Overall good condition with scattered minor scuffs and darkening/oxidation to bronze commensurate with age. Felt applied to underside.
25
Overall good condition with scattered minor scuffs and darkening/oxidation to bronze commensurate with age.
26
Overall good condition with scattered minor scuffs, dust accumulation, and darkening/oxidation to bronze commensurate with age.
27
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 54.5” H x 66.5” W x 2” D
28
Overall good condition. Not examined out of the frame.
The Volume portion of this lot is in overall good condition, although lacking one of its original image pages, as well as its original binding, and therefore an incomplete set. The volume sheets all with full margins, loose, and with the original stitch holes along one of the long edges on each sheet. The title page with a 1”H x 0.5” W minor U-shaped surface abrasion in the blank paper at upper left. All of the sheets with typical pale time staining and very minor surface soiling in places along the outer edges. Occasional pale foxmarks on some of the sheets, and a few of the sheet corners, including those of the protective coversheets, slightly lightly dog-eared. Note that the Volume lacks image page 12 (“Basketry of the Mission Indians”).
The Supplemental Large Plates, and list of large plates sheet included with this lot are in overall good condition, although lacking three plates, and therefore an incomplete set. Each of the Large Plate sheets with full margins and deckled edge. Each sheet with typical pale time staining and very minor surface soiling in places along the outer edges. The tips of the margin corners on a few of these sheets are slightly dog-eared. Note that the missing Supplemental Large Plates are numbers 516 (“A Home in the Mesquite - Chemehuevi”), 541 (“Washo Baskets”), and 542 (“Modern Designs in Washo Basketry”).
30 Condition
Framed under glass: 24.75” H x 29.75” W x 1.5” D 29 Condition
The Volume portion of this lot is in overall good condition, although lacking three of its original image pages, as well as its original binding, and therefore an incomplete set. The volume sheets all with full margins, loose, and with the original stitch holes along one of the long edges on each sheet. All of the sheets with typical pale time staining and very minor surface soiling in places along the outer edges. Occasional pale foxmarks on some of the sheets, and a few of the sheet corners, including those of the protective coversheets, slightly lightly dog-eared. Note that the Volume lacks image pages 86 (“The Mush-Basket”), 136 (“Achomawi Mother and Child”), and 158 (“Praying to the Spirits of Crater Lake - Klamath”). Also note that image page 162 (“Day Dreams - Crater Lake”) has hand-coloring. There is a duplicate example of image page 156 (“A Klamath Profile”).
The Supplemental Large Plates, and list of large plates sheet included with this lot are in overall good condition, although lacking seven plates, and therefore an incomplete set. Each of the Large Plate sheets with full margins and deckled edge. Each sheet with typical pale time staining and very minor surface soiling in places along the outer edges. The tips of the margin corners on a few of these sheets are slightly dog-eared. Note that the missing Supplemental Large Plates are numbers 439 (“Hupa TroutTrap”), 450 (“Hupa Mother and Child”), 454 (“Spearing Salmon”), 456 (“Klamath Lake Marshes”), 467 (“Principal Female Shaman of the Hupa”), 470 (“Chief - Klamath”), and 471 (“Smoky Day at the Sugar Bowl - Hupa”)
31
Overall good condition with scattered minor scuffs and darkening/oxidation to bronze commensurate with age.
Overall good condition with scattered minor scuffs and darkening/oxidation to bronze commensurate with age. Scattered scratches to upper surface of wood plinth.
33
Overall good condition with scattered minor scuffs and darkening/oxidation to bronze commensurate with age. Felt applied to underside.
34
Overall good condition. A 0.25” band of time staining along the upper and right edges of the sheet, and not visible under framing.
Framed under glass: 15.5” H x 13.5” W x 1.5” D
35
Overall good condition. A pale 0.25” W band of time staining along each extreme sheet edge, not visible under framing. A pinhead-sized stray mark near the upper portion of the left edge.
Framed under glass: 18.5” H x 15.5” W x 1.75” D
36
Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. With a 2” x 1” imperfection to top of middle sister’s head.
37
Visual: Overall good condition. Specks of grime and white residue primarily concentrated in the left half of the work. Minor abrasion along the extreme edges.
Blacklight: No evidence of restoration.
Unframed
38
Visual: Overall good condition. Abrasion and minor uneven trimming along the extreme lower edge, mostly at right. Specks of residue in the upper right corner.
Blacklight: No evidence of restoration.
Unframed
39 Visual: Overall good condition.
Blacklight: No evidence of restoration.
Unframed
40
Overall good condition with scuffs, dust accumulation, and darkening/oxidation to bronze commensurate with age. Plinth with scattered nicks, scratches, and scuffs.
41
Overall good condition with very minor scuffs, dust accumulation, and darkening/oxidation to bronze commensurate with age. Some feathers possibly slightly bent from original orientation.
42
Overall good condition. A few very pale and unobtrusive pinhead-sized foxmarks or stains in the blank, primarily near the outer edges. Not examined out of the frame.
Framed under glass: 15.75” H x 16.75” W x 0.75” D
43
Overall generally good condition. The upper left corner of the sheet torn and reattached, not affecting the image. Not examined out of the frame.
Framed under glass: 15.75” H x 18” W x 0.75” D
44
Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. With a 2” long repair to left side cabinet door on hinge edge, with attendant 6” long repaired crack. A 3” x 2.5” area and 1.5” x 2” area of cracks in the wood panels verso, with flecks of white scattered verso. Oxidation to hardware. Lacking key.
45
Each overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Leather in good condition with scratches and minor creasing throughout.
46
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The porcelain with hole drilled to underside and felt padding glued to upper rim for lamp conversion. The shade in good condition with no chips or cracks in the glass, but with some minor soiling. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.
47
With shelf wear, indentations, scuffs, scratches, and oxidation commensurate with age and use. Soiling and heavy wear to interior. Handles with heavy verdigris. A vertical crack to the body measuring 9” long. The base is weighted and has been repaired.
48
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Minor soiling to shade. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.
49
Overall good condition with scattered minor scuffs and darkening/oxidation to bronze commensurate with age.
50
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Unframed
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 15.5” H x 17.5” W x 2” D
52
Visual: Overall good condition. A few faint pinhead-sized sports of stray red pigment near the upper edge, at center.
Blacklight: No evidence of restoration.
Frame: 15.75” H x 18.75” W x 2” D
53
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Unframed
54
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Unframed
55
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 26.25” H x 30.25” W x 2” D
56
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 30” H x 36” W x 2” D
57
Visual: Overall good condition. A pinhead-sized area of pigment loss in-between the two clouds near the center of the upper edge.
Blacklight: No evidence of restoration.
Frame: 24.5” H x 28.5” W x 2.5” D
58
Visual: Overall good condition. A pinhead-sized area of old darkened varnish near the lower edge, at center.
Blacklight: No evidence of restoration.
Frame: 29” H x 35” W x 3.25” D
59
Overall good condition. There is an unobtrusive, rice-sized, pale brown stain in the upper sheet edge, at left. Framed floating, tipped down to the back mat. Not examined out of the frame.
Framed under glass: 13.75” H x 10.75” W x 0.75” D
60
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 23.25” H x 29.25” W x 3.25” D
61
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 30’ H x 24” W x 2” D
62
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 24.25” h x 28.25” W x 2” D
63
Overall good condition with scattered minor scuffs, dust accumulation, and darkening/oxidation to bronze commensurate with age.
64
Overall good condition with scuffs, dust accumulation, and darkening/oxidation to bronze commensurate with age.
65
Overall good condition with scattered minor scuffs, dust accumulation, and darkening/oxidation to bronze commensurate with age.
66
Overall good condition with scattered minor scuffs and darkening/oxidation to bronze commensurate with age.
67
Overall good original condition, with light brown oxidation to barrel and receiver. Original oak stock has minor losses to right side but does not appear to have been refinished. Mechanically sound and tight action.
68
With scuffs, scratches, and oxidation commensurate with age and use. Ejector rod not functional, with rust and losses. Holster with soiling, rubbed wear, and stiffening to the leather. Sold as-is: these are ornamental and nonfunctioning items.
69
Toning throughout. Paper losses, abrasion, and wear to the poster throughout, primarily along the outer edges and areas around and on the figure. Lines of horizontal creasing throughout. Surface soiling, grime, and occasional foxing. Including other minor defects. As mentioned, the sheet is laid to board.
Frame: 33.75” H x 21.75” W x 1.25” D
Visual: Overall good condition.
Blacklight: Occasional areas of touch-up primarily in the sky, the largest measuring 0.5” H x 2.25” W in the upper left corner.
Frame: 27” H x 37” W x 2.75” D
71
Visual: Overall generally good condition. Dust accumulation commensurate with age. A 0.75” H x 1” W tear in the canvas near the right edge, at center, and another approximately 0.5” H x 0.75” W tear in the canvas near the left edge, at center.
Blacklight: No evidence of restoration.
Frame: 39.75” H x 33.75” W x 4” D
72
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 35” H x 39” W x 2.5” D
73
Overall good condition. A few unobtrusive surface scuffs or small nicks showing primarily at the outer edges. The corners of the board slightly dog-eared.
Unframed
74
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Unframed
75
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 27.5” H x 31.5” W x 2.5” D
76
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Unframed
77
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 44.5” H x 56.5” W x 3.5” D
78
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 32.5” H x 30.5” W x 1.25” D
79
With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Soiling and paint residue throughout from use.
80
Overall good condition with scattered scuffs, scratches, nicks, and indentation commensurate with age and use. The iron with oxidation and soiling. Drafting surface on a slight tilt.
81
Each in overall good condition. With wide margins. Sealed in the mat along the upper margin.
Each unframed
82
Visual: Overall good condition. Dust accumulation and occasional specks of grime.
Blacklight: No evidence of restoration.
Frame: 32.5” H x 26.5” W x 3” D
83
Visual: Overall good condition. Dust accumulation, dirt, and specks of occasional grime, all commensurate with age. Very fine paint shrinkage primarily scattered in the rock formation in the lower right quadrant. Old, fine, and unobtrusive craquelure scattered throughout, mostly visible in raking light. Minor frame abrasion along the extreme upper edge.
Blacklight: Scattered areas of 0.25” W or thinner bands of touch-up along the extreme edges, primarily in the upper extreme edge. Possible crack-fill or old craquelure appearing under blacklight.
Frame: 15.5” H x 18.5” W x 3” D
84
Overall good condition. Pale light staining throughout and the colors in the sky slightly attenuated. A very pale and unobtrusive speck of foxing above the mountains and near the left edge, at center. Not examined out of the frame.
Framed under glass: 15” H x 21” W x 1.5” D
85
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 34.5” H x 40.5” W x 3.5” D
86
Overall good condition with scuffs, dust accumulation, and darkening/oxidation to bronze commensurate with age.
87
Overall good condition with scuffs, dust accumulation, and darkening/oxidation to bronze commensurate with age.
Scattered rubbed wear to the patina.
88
Overall good condition with scuffs, dust accumulation, and darkening/oxidation to bronze commensurate with age.
89
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 26” H x 36” W x 2.5” D
90
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 20.5” H x 24.5” W x 2” D
91
Visual: Overall good condition. A pinhead-sized spot of stray black pigment in the upper right corner.
Blacklight: No evidence of restoration.
Frame: 16.25” H x 18” W x 2” D
92
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 30” H x 33.75” W x 2” D
93
Overall good condition with dust accumulation, scattered minor scuffs, scratches, and normal wear commensurate with age and use. The leather with some darkening, creasing, and stiffness. Oxidation and enamel loss to metal frame.
94
Overall good condition with scattered minor scuffs and darkening/oxidation to bronze commensurate with age. Felt pads applied to underside.
95
Overall good condition with, dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
96
Overall good condition with scattered minor scuffs and darkening/oxidation to bronze commensurate with age.
97
Visual: Overall good condition.
Blacklight: No evidence of restoration. Uneven varnish application.
Framed: 40” H x 49” W x 3” D
98
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 19” H x 19” W x 2” D
99
Each overall good condition. Minor handling creases scattered throughout, primarily in the outer edges and corners. The untitled dog work with light staining throughout, primarily concentrated in the center sheet, pinhead-sized or smaller areas of foxing in the upper and lower sheet edges, and scattered on the verso sheet. “Bob - Bull Dog,” the bird and kitten, and Scotty the dog, all with presumably the original thin protective overlaying sheet, with the sheet glued to one of the verso edges of each sheet. The bird and kitten with uneven pale staining on the verso sheet, and the thin protective overlaying sheet with handling creases and folds throughout. “Cedric - Dane” with occasional specks of foxing scattered in the outer edges and corners.
Each unframed
100
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 20.25” H x 17.25” W x 2” D
101
Overall good condition with scattered minor scuffs and darkening/oxidation to bronze commensurate with age. One reign’s element with oxidation/rust. Mild rubbed wear to the patina to upper areas.
102
Overall good condition with minor scuffs, dust accumulation, and darkening/oxidation to bronze commensurate with age.
103
Visual: Overall good condition. Dust accumulation and grime are commensurate with age. Very fine and stable craquelure scattered primarily in the darker brown pigment in the background and outer edges. A soft stretcher bar crease along the right edge.
Blacklight: A few rice-sized or smaller areas of touch-up scattered in the poppies.
Frame: 26.25” H x 34.5” W x 2.75” D
104
Visual: Overall generally good condition. Occasioanl lines of soft, stable craquelure. A small reverse pressure mark with attendant pinhead-sized spots of pigment loss in the upper left quadrant. A 0.5” area of surface loss at the middle of the extreme upper edge. Many short strands of hair dried into the pigment in the lower left corner, possibly in the hands of the artist.
Blacklight: No evidence of restoration.
Frame: 28” H x 24” W x 2.5” D
105
Overall good condition with dust accumulation and shelf wear commensurate with age. Minor wear to the feathering, possibly with scattered losses.
106
Overall good condition with dust accumulation and light wear commensurate with age and use. Mild fraying to a few of the mounted feathers.
107
Each overall good condition with dust accumulation and shelf wear commensurate with age. Minor wear to the feathering, possibly with scattered losses.
108
Overall good condition with dust accumulation and wear commensurate with age and use.
109
Overall good condition with dust accumulation and light wear commensurate with age and use. Minor fading to motifs. The rim with one stitch break.
110
Overall good condition with dust accumulation and light wear commensurate with age and use. The rim with a single stitch loss and an area 0.5” long of stitch loss and one attendant loose stitch. Fading to polychrome throughout.
111
Overall good condition with dust accumulation and light wear commensurate with age and use. Fading to interior, with soiling. The exterior with scattered stitch losses in segments, a few measuring 1”-1.5” long.
112
Overall good condition with dust accumulation and light wear commensurate with age and use. The rim with three 0.25” long segments of stitch loss. The underside edge with stitch losses from shelf wear, the largest segment measuring 1.25” long. Fading to interior.
113
Overall good condition with dust accumulation and light wear commensurate with age and use. Slight fading to interior. A few stitch losses at underside.
114
Overall good condition with dust accumulation and light wear commensurate with age and use. Fading and minor soiling throughout. One stitch loss to rim and a few scattered stitch breaks to body.
115
Overall good condition with dust accumulation and light wear commensurate with age and use. Darkening throughout. Scattered stitch losses and breaks, a few at the rim, a few to interior near flare of rim, and a few to exterior body at middle.
116
Overall good condition with dust accumulation and wear commensurate with age and use. Six stitch loss/break to rim, and one stitch break to body. Soiling and darkening to area around rim and interior.
117
Overall good condition with dust accumulation and shelf wear commensurate with age and use. Fading to the polychrome, concentrated to outside.
118
Overall good condition with dust accumulation and light wear commensurate with age and use. With stitch losses at rim and shoulder, the longest of rim measuring 1.5” long, the longest on shoulder measuring 0.875” long. Darkening throughout. Minor soiling to interior.
119
Overall good condition with dust accumulation and light wear commensurate with age and use. Bowl is slightly out of round. Rim with two stitch losses. Fading to exterior, with a few scattered stitch breaks.
120
Overall good condition with dust accumulation and light wear commensurate with age and use. The rim with three segments of stitch loss, the largest measuring 0.625” long. Soiling to exterior.
121
Overall good condition with dust accumulation and light wear commensurate with age and use. Stitch losses to rim in segments, the largest measuring 0.625” long. A few scattered stitch losses to underside. Fading to polychrome.
122
Overall good condition with dust accumulation and light wear commensurate with age and use. Scattered stitch breaks and losses to rim, the longest area measuring 0.5” long. A few scattered stitch losses to interior and exterior body at middle.
123
Overall good condition with dust accumulation and light wear commensurate with age and use. A line of black scuffing measuring 12” long in a U shape to underside. A few scattered stitch breaks to rim, interior, and exterior. Fading to polychrome throughout.
124
Overall good condition with dust accumulation and light wear commensurate with age and use. The rim with three stitch losses and a few scattered stitch breaks. A few stitch breaks to exterior of body as well.
125
Overall good condition with dust accumulation and light wear commensurate with age and use. soiling to interior near base. Fading to the polychrome. Stitch losses along edge of base underside from shelf wear.
126
Overall good condition with dust accumulation and light wear commensurate with age and use. One stitch loss to rim.
127
Overall good condition with dust accumulation and light shelf wear commensurate with age and use. With previous dealer’s sticker applied to underside.
Overall good condition with dust accumulation and light wear commensurate with age and use. A few stitch losses at edge of shoulder and a few scattered small stitch losses to exterior. Soiling to interior.
129
Overall good condition with dust accumulation and light wear commensurate with age and use. A few stitch losses to rim. Scattered areas of stitch loss to interior of base and underside. Fading to motifs.
130
Overall good condition with dust accumulation and light wear commensurate with age and use. Fading to polychrome throughout. As well, a few scattered stitch breaks and single stitch losses throughout.
131
Overall good condition with dust accumulation and light wear commensurate with age and use. The rim with a loss to rod and stitches at upper terminus of coils. Also with scattered stitch losses, including a segment measuring 1.125” long. Darkening throughout, excluding the underside.
132
Overall good condition with dust accumulation and light wear commensurate with age and use. Very slight fading to interior.
133
Overall good condition with dust accumulation and light wear commensurate with age and use. Minor soiling to interior. One stitch loss to exterior of body.
134
Overall good condition with dust accumulation and light wear commensurate with age and use.
135
Overall good condition with dust accumulation and light wear commensurate with age and use. Some soiling to bottom of interior, with a 4” x 2.5” darkening stain, visible from underside.
136
Overall good condition with dust accumulation and light wear commensurate with age and use. A few scattered minor stitch breaks.
137
Overall good condition with dust accumulation and wear commensurate with age and use. The rim with a 3.5” long stitch loss.
138
Overall good condition with dust accumulation and wear commensurate with age and use. Three areas of stitch loss at rim, two measuring 1.5” long. Darkening/staining to interior.
139
Overall good condition with dust accumulation, very minor shelf wear, and general wear commensurate with age and use.
140
Overall good condition with dust accumulation, very minor shelf wear, and general wear commensurate with age and use.
141
Overall good condition with dust accumulation and shelf wear commensurate with age and use. Minor soiling to interior. Scattered loose, broken, or losses to rim rod stitching.
142
Overall good condition with dust accumulation and shelf wear commensurate with age and use. A 0.75” long single row of stitch loss to rim. As well, another 1.25” long area of stitch breaks and small losses to first row of rim.
143
Overall good condition with dust accumulation and light wear commensurate with age and use.
144
Overall good condition with dust accumulation and shelf wear commensurate with age and use. Minor soiling to interior. A few loose stitches of rim ticking.
145
With a 3” long vertical glued repair to one side. Dust accumulation and wear commensurate with age and use. Fading to upper areas.
146
Overall good condition with scattered scuffs, scratches, soiling, and inherent flaws commensurate with age and use.
147
Each overall good condition with scattered scuffs, scratches, and soiling commensurate with age
148
Each overall good condition with scattered scuffs, scratches, and soiling commensurate with age
149
With dust accumulation and light wear commensurate with age and use. Heavy losses along rim. Soiling to interior.
150
Heavy losses to rim, with dust accumulation and light wear commensurate with age and use. String affixed to rim. A few stitch breaks to underside.
151
With dust accumulation and light wear commensurate with age and use. Heavy losses to imbricated designs. Rim with 0.5” break and losses to rods and stitches. Stich losses to underside from shelf wear.
152
Each with dust accumulation and shelf wear commensurate with age and use. The basket with holes meant for hid handles below the rim, losses to imbrication, stitch losses to underside, two areas of stitch loss to rim, the largest area measuring 3.5” long, and previous owner’s stickers applied to exterior and interior. One tray with a 1” long area of stitch loss to piecrust rim and two black paint spots verso, each about 1” long.
153
Overall good condition with dust accumulation and light wear commensurate with age and use.
154
Overall good condition with dust accumulation and light wear commensurate with age and use. A break in the middle of handle. Fading throughout.
155
Overall good condition with dust accumulation and light wear commensurate with age and use. The rim with a 1” long area of stitch loss. Scattered small stitch losses throughout. Minor soiling to interior.
156
Overall good condition with dust accumulation and light wear commensurate with age and use. Fading throughout. Multiple stitch losses to rim, the largest area measuring 2” long. A few other scattered small breaks and stitch losses to body.
157
Overall good condition with dust accumulation, fading, soiling, and wear commensurate with age and use.
158
Overall good condition with dust accumulation and light wear commensurate with age and use. Minor soiling to exterior. The rim with three small stitch losses.
159
Overall good condition with dust accumulation and light wear commensurate with age and use. Scattered stitch breaks and losses to rim. A few scattered stitch losses to interior and exterior body at middle.
160
Overall good condition with dust accumulation and light wear commensurate with age and use. Minor fading to motifs. A few scattered stitch breaks to body. A string fastened to body at middle.
161
Overall good condition with dust accumulation and light wear commensurate with age and use. Bottom edge with two areas of stitch loss, each measuring 1.75” long. One stitch loss to rim. Minor soiling to interior.
162
Overall good condition with dust accumulation and light wear commensurate with age and use. With a 1.875” long area of stitch loss to center of body, with a few scattered other losses and breaks, including one to the underside. The rim with scattered small stitch losses, one area measuring 0.5” long. Fading to motifs throughout.
163
Numerous breaks in the rim rods and stitching, with attendant losses. With dust accumulation and wear commensurate with age and heavy use. The underside with a dime-sized hole in the hide and cloth. Hide handles with brittleness. Fading to the polychrome throughout.
164
With dust accumulation and wear commensurate with age and heavy use. The rim with a 2.5” long loss to the rods and stitching. Scattered losses and breaks throughout. Fading and darkening to the polychrome throughout.
165
Overall good condition with dust accumulation and light wear commensurate with age and use. With soiling to lower half of exterior.
166
With shelf wear, dust accumulation, and general wear commensurate with age and much use. Heavy soiling to interior and exterior.
167
Overall good condition with dust accumulation and light wear commensurate with age and use. Each with minor soiling to exterior.
168
Each overall good condition with dust accumulation and light wear commensurate with age and use. The shalako with scattered stitch losses to the imbricated facial features of the figures. The pictorial exterior with remnants of red pigment throughout, as well as to rim interior, scattered stitch losses throughout, including imbricated details, the largest segment of rim measuring 1” long, and the largest segment to underside measuring 1.125” long.
169
Each overall good condition with dust accumulation and light wear commensurate with age and use. The two wicker plaques with slight fading and rubbed wear to interior, with a few minor stitch breaks. The largest plaque with a few scattered stitch breaks. Handled backset with stitch losses and subsequent separation to 1/3 of rods and one side of handle mounting loop.
170
Each overall good condition with minor shelf wear and scattered scuffs, scratches, and nicks commensurate with age. The polished with a 1.5” long crack through middle of end of tail. The painted with scattered shrinkage cracks and rubbed losses to the paint throughout.
171
Overall good condition with scuffs, dust accumulation, and darkening/oxidation to bronze commensurate with age. Mild rubbed wear to patina of brim of hat.
172
Loom frame shaken. Overall good condition with dust accumulation, scattered scuffs, scratches, nicks, indentations, and separation at joints commensurate with age.
Larger photo framed: 9.25” H x 7.25” W
173
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to both sides, scattered spotting and stains, concentrated to side B, and hanging fabric stitched to one edge of side B.
174
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to both sides, each side with scattered stains and spotting, scattered areas of loose stitching, revealing the warp, and hanging fabric stitched to one side of longer edge.
175
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to both sides, with more fading to side B, a few scattered minor small faint stains, and hanging fabric stitched to longer edge of side B.
176
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered small stains/spots throughout both sides, a 4” x 2” area of darkening to cream stripe of side A, and fading to both sides, particularly apparent in reds and purples.
177
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, scattered breaks in the selvage edges, one pea-sized area of moth grazing, and dye migration at borders, particularly at one long edge.
178
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few small spots of moth grazing and one longer edge with later added stitching to side B.
179
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered small moth grazing along inner border of one long end, concentrated to side A.
180
With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a 5” x 4” area of holes and attendant loose stitching at center, another area measuring 3” long, another two holes at center 1” and 1.5” long, other small scattered holes or area of loose weave throughout, scattered small spotted stains throughout, breaks to selvage cording, and ruckling throughout. Subsequently, the rug is out of square.
181
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: two 1.5” diameter stitched repairs, two holes at one long edge, one thumb-sized and one dime-sized, scattered minor pulled threads, and scattered spots/stains.
182
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a 7” long stitched repair, a dime-sized hole to center, side A with an 8” x 4” area of yellowing at one corner, side B showing a 12” x 19” area of the same yellowing at same corner, a few scattered small stains, and various breaks and repairs to selvage edges.
183
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: rubbed wear to the weft at edges, revealing scattered bits of the weft and side A with a 1” x 1.5” stain.
184
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 a quarter-sized stain and side B with a few very faint yellow spots.
185
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a 1.5” diameter stitched repair near one corner, one corner with a 6” x 3” area of stitch repair, other corners with various small repairs or losses, and scattered spotted stains, concentrated at side A.
186
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: repairs to selvage edges, fading to side A, losses to fringe edge, scattered pulled threads, and abrash throughout. Appears to be woven in two weights of wool, with change to wool handle in lower third section of weaving.
187
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: very minor fading to side A, a pea-sized hole near one short edge, and a few scattered pulled threads.
188
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: losses at corners, a 3.5” loss to one short end with attendant loose weave, scattered breaks in the selvage edges, a few spotted stains to side A, and a few pulled threads to side B.
189
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: stitch losses at corners, scattered breaks in the selvage cording at one edge, a few scattered stains and spots to each side, the largest measuring 1.5” x 1”.
190
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered moth grazing at long edges in border, two faint stains at center, the larger measuring 3” x 1”, side B with adhesive residue along upper short end, and scattered breaks or pulled threads in the selvage edges.
191
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 and a 2” x 2” area of staining and side B with a similarly sized area of spotted stains with a few other small scattered spots.
192
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use.
193
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a 16” x 8” area of grey staining affecting both sides, a 5” x 7” area of yellow staining affecting both sides, side A with scattered spotted stains, and scattered pulled threads to each side.
194
With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: heavy soiling throughout, losses at corners and scattered breaks to selvage cording, with scattered spotted stains, a few small holes, a few scattered pulled threads, dye migration, and one short end has been sewn over in a loop for wall hanging.
195
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered small yellow spotted stains, concentrated to side A, side B with some fraying to threads, and the rug slightly out of square.
196
Each overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: the eyedazzler with a 2” long loss to one selvage edge cording, with attendant fraying to threads, and each with a few minor pulled threads.
197
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: each side with scattered spotted faint stains and a few breaks in selvage edge cording.
198
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: breaks at selvage edges, including a 5” long loss to the cording and attendant loose stitching, each side with soiling and scattered stains, side B with more significant staining.
199
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a 4” loss to one portion of selvage edge, a quarter-sized stitched repair with loose thread at one edge, side A with a 2” x 1” stain, and other scattered small stains throughout each side, concentrated to side A.
200
With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered spots of moth grazing to each side, as well as scattered stains, a small loss at one corner, one short end with a few breaks in the cording, and one selvage edge with a 3” loss to cording and a 1” long tear.
201
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use.
202
With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: soiling, spotted stains, and moisture spots throughout, concentrated at side A, and ruckling throughout.
203
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use.
204
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: dye migration, a few small scattered areas of moth grazing and a couple pulled threads.
205
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: each side with scattered stains and a few small holes, with breaks in the selvage edge cording, losses at two corners.
206
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use.
207
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a 10” x 8” area of yellowing to the cream ground, a 5” x 6” area of spotted stains to side A, with scattered other small stains, and three breaks to one selvage edge cording.
208
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: side B with a few yellow spots at one corner, short end edges with a few small breaks in the cording with attendant fraying to threads, and red dye migration at corners
209
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few breaks in the selvage cording, heavy fading to side A with a 2” diameter stain, side B with two 2.5” diameter stains and a few smaller scattered stains, each side with soiled pilling at upper edge.
210
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 scattered small spots of moth grazing and scattered spotted stains, the largest measuring 3.5” x 1.5” large, and side B with a few pulled threads.
211
Each 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 minor pulled threads, the largest with two small spots of moth grazing to side A and a broken/pulled thread of warp at one short end, the middle sized with faint yellowing at center of side A, and the smallest with later added stitching at two corners.
212
Each overall good condition with scattered scuffs, scratches, and shelf wear commensurate with age and use. The wind-up cowboy with localized scratches near feet and saddle areas of both sides. Th toy winds up but does not strut properly. Moran’s does not guarantee the working condition of these items.
213
Overall good condition with scattered minor scuffs and darkening/oxidation to bronze commensurate with age.
214
Overall good condition with scattered minor scuffs and darkening/oxidation to bronze commensurate with age. Sticker ghost to horse’s rump. A 2” scuff to marble base at front.
215
Each overall good condition with dust accumulation and typical signs of wear commensurate with age and use.
216
Overall good condition with soiling, dust accumulation, and flaws inherent in the material. Mirror good condition with minimal scattered scratches.
217
Each overall good condition with heavy oxidation to metal and scattered small losses. The mirror with scattered minor scratches.
218
Each overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Leather in good condition with scratches and minor creasing throughout.
219
Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The top with a horizontal seam crack. A few scattered small chipped losses to the wood. Lacking key.
220
With scattered scuffs, scratches, nicks, and indentations commensurate with age. Leather with darkening, scattered scratches, and minor creasing throughout. Localized animal scratches to front.
221
With scattered scuffs, scratches, nicks, and indentations commensurate with age. Leather with scratches and minor creasing throughout. Localized animal scratches to front of chair and around bottom edges of ottoman. More extensive wear and darkening to ottoman leather.
222
With scattered scuffs, scratches, nicks, and indentations commensurate with age. Leather with scratches and minor creasing throughout. Localized animal scratches to front and sides of chair and around bottom edges of ottoman. More extensive wear and darkening to ottoman leather.
223
Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age and use. The tabletop with scattered moisture stains and minor soiling, concentrated at short edges. Oxidation to tabletop metal components.
224
Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Leather in good condition with scattered scratches and minor creasing throughout.
225
Each overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Concentrated deeper scratches from animal to fronts under armrests. Leather with minor soiling, scattered spots, darkening, scratches and scuffs, and creasing throughout. Wear to seat cushions.
226
Each overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Leather in good condition with scratches and minor creasing throughout.
227
Overall good condition with scattered minor scuffs, scratches, and nicks commensurate with age. The underside of tabletop with a 3” long loss to the wood where mounted with a screw, with a 9.5” long reinforcement. The undershelf with some losses to the live edge in an area measuring 8” long.
228
Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Some darkening to tabletop, with three quarter-sized stains.
229
Overall good condition with scattered scuffs, scratches, and oxidation commensurate with age. Scattered flaked losses to the paint, concentrated at pedestals.
230
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a 4” x 2” area of stitch repair at one corner and a few other small stitch repairs, side A with scattered spots/stains including an area measuring 3” x 3” at center, side B with scattered stains and a 5” x 2” area of darker streaks, and one short end seemingly manipulated for wall mounting with subsequent scalloping/rippling, cut fringes, and possible breaks in the warp.
231
Textile in overall good condition with dust accumulation, light creasing, and faint marks commensurate with use and display. Buttons with tarnishing to silver. Not examined out of frame.
232
Overall good condition with general wear and dust accumulation commensurate with age. Issues include but not limited to: light staining to natural cotton areas, scattered broken stitches concentrated verso, scattered breaks in selvage edges, and a few breaks and losses to fringe edges.
233
Overall good condition with soiling, dust accumulation, and general wear commensurate with age and possible use. Stiffening and creasing to hide. Scattered losses to felt and five rows of beaded loss. Wall-hanging hardware verso. Sticker firmly applied verso.
234
With scattered scuffs, scratches, soiling, dust accumulation, nicks, and indentations commensurate with age and use. Scattered losses to bead trim, the largest strand measuring 1.25” long. Metal wall-hanging bracket affixed verso.
235
With scattered scuffs, scratches, soiling, dust accumulation, nicks, and indentations commensurate with age and use. The hide with heavy staining and losses to ties and wool accents.
236
Each overall good condition with soiling, staining to hide, dust accumulation, and general wear commensurate with age and use. Possibly with some bead loss. The smallest with previous auction sticker to back side.
237
Overall good condition with soiling, dust accumulation, and rubbed wear commensurate with age.
238
Overall good condition with soiling, dust accumulation, and rubbed wear commensurate with age. A few losses to tin cone fringe.
239
Overall good condition with soiling, dust accumulation, and rubbed wear commensurate with age. Stiffness to the hide. Possible losses to metal beads verso.
240
Each with soiling and rubbed wear commensurate with age and use. The tulip with worn bottom corners. Stiffness to whirling log bag verso.
241
Each overall good condition with soiling, dust accumulation, and rubbed wear commensurate with age. Possibly with scattered losses to beadwork. The pouch with accession mark to interior and tag applied.
242
Each overall good condition with soiling, dust accumulation, and rubbed wear commensurate with age. The cloth fabric with tears and small losses. Stiffening to the hide.
243
Each overall good condition with soiling, dust accumulation, and rubbed wear commensurate with age and use. Losses to beadwork at areas with trim.
244
Each overall good condition with some even soiling commensurate with age and use.
245
With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered losses to imbrication, an 8” x 2” area of darkening/staining, affecting both sides, and scattered spotted stains.
246
Each overall good condition with light soiling commensurate with age and use. Each with scattered ricesized losses to imbrication.
247
Each overall good condition with scattered scuffs, scratches, and dust accumulation commensurate with age. The bowstring with fraying at one end. Losses to arrow feathers.
248
With shelf wear, scattered scuffs and scratches, soiling, and inherent firing flaws commensurate with age. Rubbed wear to the polychrome and soiling/scratches to interior from use. Some staining to bottom. The vessel makes a thud sound when tapped on.
249
Overall good condition with shelf wear, scattered minor scuffs and scratches, and inherent firing flaws commensurate with age. With crazing to the banded motif. Some staining to underside from mounting putty residue.
250
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
Frame: 23.25” H x 25.25” W x 2.125” D
251
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. A few scuffs to underside, partially affecting the signature.
252
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Three dots of spaulding to body.
253
Overall good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. With a few flecks of spaulding to near the rim. Rubbed wear and fading to the polychrome. Shelf wear obtrusive to cipher underside.
254
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. A few pin-sized spaulding losses to body. With rubbed wear, minor soiling, and fading to polychrome. Sticker applied to underside.
255
With shelf wear, older losses, scattered scuffs and scratches, and inherent firing flaws commensurate with age. A few cracks to underside and at shoulder. Subsequently, the vessel makes a thud sound when tapped on.
256
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Rubbed wear and fading to the polychrome, particularly the reds. With a pea-sized indentation to lower body. Small pencil marks to underside.
257
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
258
With shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Moisture damage and stains to the surface. Stand with soiling and some yellowing.
259
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. A few scattered more pronounced scuffs to body.
260
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
261
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Scattered splattered stains to rim. The body with a 3.5” x 1” area of raised inclusions. Sticker ghost to underside.
262
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
263
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Two scuffs to figure’s face. Black smudge to figure’s verso. Two mounted turtles with repaired mounting.
264
Overall good condition with tarnishing and scratches commensurate with age and use. Stones and shell with scattered abrasions.
265
Each overall good condition with wear, dust accumulation, and minor scuffs commensurate with age.
266
Overall good condition with tarnishing and scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures.
267
Each section in overall good condition with tarnishing and scratches commensurate with age and use. Wear to leather belt.
268
Overall good condition with light tarnishing and scratches commensurate with age and use. Light wear to leather. Tests for sterling.
269
Overall good condition with tarnishing and scratches commensurate with age and use. Stone with scattered abrasions. Light wear to belt.
270
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. Turquoise not tested for treatment. Light wear to leather.
271
Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. Turquoise not tested for treatment.
272
Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions.
273
Overall good condition with tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions.
274
Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions. One stone with minor horizontal fracture.
275
Overall good condition with tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions.
276
Overall good condition with light tarnishing and scratches commensurate with age and use. Stone with scattered light abrasions. Tests for sterling.
277
Each in overall good condition with light wear and scratches commensurate with age and use. Stones with scattered light abrasions. Tests for sterling.
278
Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions. Slight distortion to a few wires and to one bezel section.
279
Overall good condition with light wear and scratches commensurate with age and use. Stone with scattered light abrasions. Tests for sterling.
280
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions. Each tests for sterling.
281
Each overall good condition with wear, dust accumulation, and minor scuffs commensurate with age.
282
Each overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. One lacking fetish offerings. Largest with pea-sized chip to back foot. Most with previous dealer’s stickers applied to underside.
283
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures. Large stone with minor chip to one edge. Stones not tested for filler or stabilization.
284
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions and surface-reaching fractures. Larger cuff with a couple of minor chips to a couple of stones.
285
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stone with scattered abrasions. Each tests for sterling.
286
Each in overall good condition with light wear and scratches commensurate with age and use. Stones with scattered light abrasions.
287
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures.
288
Each in overall good condition with light wear and scratches commensurate with age and use. Stones with scattered light abrasions.
289
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures.
290
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. One cuff with minor distortion to cuff from wear.
291
Each overall good condition with wear, dust accumulation, and minor scuffs commensurate with age.
292
Each overall good condition with wear, dust accumulation, and minor scuffs commensurate with age.
293
Each in overall good condition with light wear and scratches commensurate with age and use. Stones with scattered light abrasions. Two cuffs test for sterling.
294
Each in overall good condition with wear and scratches commensurate with age and use. Stones with scattered light abrasions. Romero cuff with heavy wear and scratches to edges of silver.
295
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures. Seven-stone cuff accompanied by pawn ticket.
296
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures.
297
Each overall good condition with shelf wear, mild soiling, and minor scuffs commensurate with age. Most with mounting putty residue to underside. One horse missing mounted offerings.
298
Each overall good condition with shelf wear, mild soiling, and minor scuffs commensurate with age. Most with mounting putty residue to underside.
299
Overall good condition with tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface-reaching fractures. Tests for sterling.
300
Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface-reaching fractures. Tests for sterling.
301
Overall good condition with light tarnishing and scratches commensurate with age and use. Stone with scattered light abrasions and surface-reaching fractures.
302
Overall good condition with light tarnishing and scratches commensurate with age and use. Stone with scattered light abrasions and surface-reaching fractures.
303
Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface-reaching fractures. Tests for sterling.
304
Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures. Tests for sterling.
305
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface-reaching fractures.
306
Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface-reaching fractures. A few stones with faint hairline fractures. Tests for sterling.
307
Each overall good condition with wear, dust accumulation, and minor scuffs commensurate with age.
308
Each overall good condition with wear, dust accumulation, and minor scuffs commensurate with age.
309
Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface-reaching fractures.
310
Overall good condition with tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface-reaching fractures.
311
Overall good condition with tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions. Light wear to leather.
312
Overall good condition with tarnishing and scratches commensurate with age and use. Pendant tests for silver.
313
Each overall good condition with wear, dust accumulation, and minor scuffs commensurate with age.
314
Each overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. Most with previous dealer’s stickers applied to underside.
315
Overall good condition with light wear and scratches commensurate with age and use. Coral with scattered light abrasions. Light wear to wrapped cord.
316
Overall good condition with light wear, tarnishing, and scratches commensurate with age and use. Shell with scattered light abrasions.
317
Overall good condition with light wear and scratches commensurate with age and use. Stones and coral with scattered abrasions and surface reaching fractures.
318
Each overall good condition with light wear and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.
319
Each in overall good condition with tarnishing and scratches commensurate with age and use. Beads with scattered light abrasions.
320
Overall good condition with light wear and scratches commensurate with age and use. Stones with scattered light abrasions.
321
Overall good condition with light wear and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Light wear to cord.
322
Overall good condition with light tarnishing, wear and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.
323
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions.
324
Each in overall good condition with light wear and scratches commensurate with age and use. Stones with scattered light abrasions. Light wear to leather. Barrel coral necklace with pawn slip from Gallup NM.
325
Each in overall good condition with light wear, tarnishing, and scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures.
326
Each overall good condition with wear, dust accumulation, and minor scuffs commensurate with age.
327
Each overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. One with fleabite chip at left paw.
328
Each in overall good condition with light wear and tarnishing commensurate with age and use. Light wear and faint soiling to leather and cording. One end of cord slightly loose.
329
Overall good condition with light wear and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Largest toad with loss to tail tip.
330
Overall good condition with light wear and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.
331
Overall good condition with light wear and scratches commensurate with age and use. Bears with scattered light abrasions.
332
Each overall good condition with wear, dust accumulation, and minor scuffs commensurate with age.
333
Overall good condition with light wear and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Light wear to neck cording.
334
Overall good condition with light tarnishing, wear, and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.
335
Overall good condition with scattered minor scuffs and darkening/oxidation to bronze commensurate with age. Heavy oxidation and verdigris to figure’s right wing and shoulder, with a few spotted stains to opposite shoulder. Felt applied to underside.
336
Each overall good condition with shelf wear, scattered scuffs, and inherent firing flaws commensurate with age. Each with some losses to encrusted turquoise. The larger possibly lacking three fetish figures.
337
Overall good condition with light wear and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.
338
Overall good condition with light wear and scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures.
339
Overall good condition with light wear and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.
340
Each overall good condition with dust accumulation, faint scratches, and wear commensurate with age and use. Scattered minor chips to a few bead edges.
341
Each overall good condition with dust accumulation, faint scratches, and wear commensurate with age and use. Scattered minor chips to a few bead edges.
342
Each overall good condition with dust accumulation, faint scratches, and wear commensurate with age and use. Scattered minor chips to a few bead edges.
343
344
Each in overall good condition with light wear and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.
345
Each overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. One lacking offerings, another with loose offering, retained with the lot. Some with previous dealer’s stickers applied to underside.
346
Overall good condition with light wear and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Possible evidence of use of filler in some areas. Turquoise not tested for treatment or fillers.
347
Each in overall good condition with light wear and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.
348
Overall good condition with light wear and scratches commensurate with age and use. Bone with scattered abrasions. Light wear to cord.
349
Overall good condition with light wear and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.
350
Overall good condition with light wear and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.
351
Eachin overall good condition with light wear and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.
352
Each in overall good condition with light wear, tarnish, and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Light wear to feathers.
353
Each in overall good condition with light wear and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. A few scattered minor chips to some beads.
354
Each overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. Most with previous dealer’s stickers applied to underside.
355
Each overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. One with broken wing, retained with the lot. Most with previous dealer’s stickers applied to underside.
356
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures.
357
Each in overall good condition with light wear, tarnishing, and scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures.
358
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures.
359
Each in overall good condition with light wear, tarnishing, and scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures. Light wear to neck cord of one necklace.
360
Each in overall good condition with light wear, tarnishing, and scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures.
361
Each in overall good condition with light wear and scratches commensurate with age and use. Shells and beads with scattered abrasions and surface reaching fractures.
362
Each in overall good condition with light wear, tarnishing, and scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures.
363
Each in overall good condition with light wear, tarnishing, and scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures.
364
Overall good condition with light wear and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Jet bears with scattered marks and heavier scratches.
365
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions. Slight distortion to some cuff bands and some rings from repeated wear.
366
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions.
367
Each overall good condition with tarnishing, light wear, and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Light wear to leather cord. Smaller bolo with minor distortion to rings verso, from attachment to necklace.
368
Each in overall good condition with tarnishing, light wear, and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. Singer cuff tests for sterling. Singer cuff with personalized inscription to interior. Larger ring with two small sections of loss to bezel.
369
Each in overall fair to good condition with tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. A couple of necklaces with detached links and corresponding missing linkage rings.
John Moran Auctioneers, Inc
SPECIALISTS
President, Auctioneer
Head of Sale, Vice President, Silver, Western & American Indian Art
Director, Fine Art
Associate Specialist, Fine Art
Associate Specialist, Fine Art
Department Administrator, Fine Art
Cataloguer, Silver Jewelry & Decorative Arts
Cataloguer, Furniture & Decorative Arts
Cataloguer, Fine Art
Cataloguer, Fine Art
Senior Specialist, Furniture & Decorative Art
Post-War & Contemporary Design Specialist
Department Administrator, Furniture & Decorative Arts
Director, Jewelry & Watches
Specialist, Jewelry & Watches
TRUSTS & ESTATES
Senior Vice President, Director Trusts & Estates
Director, Appraisals
Associate Appraiser
Consignment Manager
CLIENT SERVICES
Office/HR Manager
Client Services
Finance Administrator
Client Services
OPERATIONS
Vice President, Business Director, Auctioneer
Controller
Consignment Coordinator
Warehouse Supervisor, Senior Art Handler
Transport Supervisor, Senior Art Handler
Art Handler
Art Handler
MARKETING
Director, Advertising & Marketing
PR Manager/Social Media
Graphic Designer
PHOTOGRAPHY
Jeffrey J. Moran
Maranda Moran
Katherine Halligan
Bobby Cullen
Ian Anderson
Lori Kassabian
Sally Andrew
Grant Stevens
Anne Spink
Madison Ari
Angela Past
Matthew Grayson
Alek Ellis
Tom Burstein
Kelly Sitek
Morgana Blackwelder, ISA AM
Mariam Whitten, ISA AM
Shannon Dailey
Jennifer Kurtz
Mario Esquivel
Ella Fountain
Jamie Holthauser
Bryan Ortega
Stephen Swan
Joseph Scott
Jean Rapagna
Richard Corral
Joe Miranda
Joseph Corcoran
Romero Corral
Nathan Martinez
Brenda Smith
Brian Olivas
Photographer Keith Berson
Photographer Madison Torres
Photographer
Photography Assistant
FOUNDERS
Matthew Mizerowski
Jacob Baer
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 27% on the first $1,000,000 of the hammer price, plus 21% on any amount between $1,000,001 - $5,000,000, and 15% on any amount above $5,000,000 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.
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These Terms and Conditions of Sale (“Terms“) set out the terms by which the sale or purchase of property at auction through John Moran Auctioneers, Inc. (“Moran”) will be governed. These Terms constitute a legal and binding agreement between You and Moran.
AUCTION HOUSE AS AGENT
Except as otherwise expressly stated in writing, Moran acts as an agent for the seller. Thus, any contract for the sale of property through Moran is made between the respective seller and buyer.
BEFORE THE AUCTION
(a) Public Preview. All property is available for inspection by public or private preview according to the auction information posted online and in the catalogue. In many cases, particular lots can be examined in advance by private appointment by contacting a customer service representative at info@johnmoran. com or by dialing 626-793-1833. 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 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 in Section 5 below. ALL PROPERTY IS SOLD “AS IS.” Condition reports are offered as a courtesy and are typically published in Moran’s catalogue, or online, or can be made available upon request. The absence of a condition report does not imply that an item is free from defects or restoration, nor does reference to particular defects imply the absence of others.
AT THE AUCTION
(a) Admission. Moran’s auction is open to the public, although Moran reserves the right to, in its sole discretion, refuse admission or participation to anyone at any time. The auction may be recorded (visually, aurally, or otherwise) and all participants or attendees at the auction consent to such recording.
(b) Buyer Registration. Prospective buyers must register with Moran before bidding. Moran may, in its sole discretion, require identification, financial references, or a deposit in advance of buyer eligibility. Registered bidders accept personal liability to pay the purchase price, including the Buyer’s Premium, as described in Section 4(a) below, plus all applicable charges, unless Moran agrees in advance that the bidder is acting as agent on behalf of an identified third party that Moran, in its sole discretion, deems acceptable. In such case, Moran will look to the third party for payment. Successful bidders may be required to further verify their identity before property is released.
(c) Bidding Guidelines. Bidding, whether in person or by agent, absentee bid, telephone, or internet, constitutes a bidder’s acceptance of these Terms. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer retains the absolute right to reject any bid; withdraw, pass, or divide any lots; combine multiple lots; advance the bidding at their absolute discretion; and—in the case of error or dispute, whether during or after the sale—determine the successful bidder; continue the bidding; cancel the sale; or re-offer and sell the lot in question. Under no circumstances are sellers, or agents acting on their behalf, permitted to bid on their own property. In the event of any dispute after the auction, Moran’s sale record shall be conclusive as to the successful bidder and the price of the successful bid.
(d) Absentee, Telephone, and Internet Bidding. Moran offers absentee, telephone, and internet bidding as a convenience to clients and does not accept liability for errors or failures to execute bids. Absentee and telephone bids must be recognized by Moran prior to auction day. When identical absentee bids are submitted that become the highest bids at the auction, the bid first received by Moran shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure.
(e) Reserves. Unless Moran expressly indicates 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 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 backward at their 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. The Buyer’s Premium will be calculated as follows: 27% on the first $1,000,000 of the hammer price, plus 21% on any amount between $1,000,001 and $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check, or wire transfer.
Successful bidders using Live Auctioneers or Invaluable platforms will be charged a Buyer’s Premium calculated as follows: 32% on the first $1,000,000 of the hammer price, plus 26% on any amount between $1,00,001 and $5,000,000, and 20% on any amount above $5,000,000 when paying by cash, check, or wire transfer.
Credit card payments made directly to Moran will be subject to an additional 3% acceptance fee. This fee is not more than the cost of accepting these cards. The name and address associated with the credit card must match the name and address of the successful bidder. 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 within five business days immediately following the auction. The buyer does not acquire title to and may not take possession of the lot until all amounts (including the hammer price, premium, and applicable taxes) due to Moran have been paid in full.
Unless alternate payment arrangements are made immediately following the auction, successful Live Auctioneers bidders will be automatically charged via Live Auctioneers’ LivePayments 24 hours after the auction. Payments made through Live Auctioneers LivePayments are subject to an additional processing fee and any applicable state sales tax.
(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 lots is undertaken by Moran solely as a convenience to customers. If a buyer opts to use this courtesy packing and handling service, Moran is not liable for damage to property, regardless of cause.
(c) Storage and Abandonment. Following the auction, uncollected lots shall be relocated to and stored in Moran’s warehouse. Moran 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 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. If a buyer fails to retrieve a purchased lot within thirty (30) days after the date of sale (the “Retrieval Period”), Moran may, without further notice, (a) continue to store the lot in Moran’s warehouse, or at the warehouse of a third-party, subject to the storage charge described above; (b) deliver the lot to the buyer at the buyer’s expense; or (c) sell the lot at auction without reserve at a place and time determined by Moran in its sole discretion.
(d) Consequences of Late Pick-Up/Abandoned Property. Notwithstanding the foregoing, Moran has no duty to store any lot indefinitely. Any purchased lot that remains in Moran’s possession sixty (60) days after the Retrieval Period (collectively, ninety (90) days) will be deemed abandoned (“Abandoned Property”) and title to it will pass to Moran. Moran may, in its sole discretion, discard or sell any Abandoned Property and may keep any proceeds from any such sale. Moran may not be held liable for any claims related to Abandoned Property. Moran is not responsible for damage or loss that occurs to Abandoned Property and Moran is not responsible for insuring Abandoned Property after the Retrieval Period.
(e) Shipping. As a courtesy to buyers, Moran provides a list of preferred shippers who are in the business of transporting antiques and works of art. Buyers are responsible for arranging their own shipping estimates and deliveries. Moran, in its sole discretion and as a courtesy to buyers, may arrange to have purchased lots packed, insured, and forwarded by a third-party shipper at the request, expense, and risk of the buyer. In circumstances where Moran arranges for such third-party services, Moran may apply an administration charge of 15% of that service fee. Moran assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers, even if recommended by Moran. Moran also assumes no responsibility for any damage to picture frames or to the glass therein.
(f) All Sales Final. Notwithstanding other terms mentioned herein, refunds may be given in Moran’s sole discretion. Refunds requested on the grounds of authenticity must be made within 180 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; or 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 foregoing 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 in the same condition as when sold. Moran 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 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 the seller nor Moran or its 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, invoice, any supplementary material, or statements by any Moran employee shall be deemed a warranty, representation or 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) Notices, Demands, and Refunds. Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be made (1) in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016 or (2) via email at info@johnmoran.com.
(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 for its auction is and will remain at all times the property of Moran. Moran 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 Terms, Moran 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 Moran deems necessary or appropriate. If Moran 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, in its sole discretion, deems appropriate. Moran shall have the benefit of all rights of a secured party under the Uniform Commercial Code as adopted in the State of California.
(c) Governing Law. The rights and obligations of the parties with respect to these Terms and the conduct of the auction shall be governed and interpreted by the laws of the State of California.
(d) Arbitration. Any dispute, claim, or controversy arising out of or relating to these Terms or the breach, termination, enforcement, interpretation, or validity thereof, including the determination of the scope or applicability of this agreement to arbitrate, shall be determined by private arbitration before an arbitrator. The arbitration shall be administered by JAMS pursuant to its Comprehensive Arbitration Rules and Procedures. Judgment on the award may be entered in any court having jurisdiction.
This clause does not preclude the parties from seeking provisional remedies in aid of arbitration from a court of appropriate jurisdiction. The parties shall maintain the confidential nature of the arbitration proceeding and the award, including the hearing, except as may be necessary to prepare for or conduct the arbitration hearing on the merits, or except as may be necessary in connection with a court application for a preliminary remedy, a judicial challenge to an award or its enforcement, or unless otherwise required by law or judicial decision.
In any arbitration arising out of or related to these Terms, the arbitrator shall award to the prevailing party, if any, the costs and attorneys’ fees reasonably incurred by the prevailing party in connection with the arbitration. If the arbitrator determines a Party to be the prevailing party under circumstances where the prevailing party won on some but not all of the claims and counterclaims, the arbitrator may award the prevailing party an appropriate percentage of the costs and attorneys’ fees reasonably incurred by the prevailing party in connection with the arbitration.
(e) Severability. Should any of these conditions be deemed unenforceable, invalid, or illegal in any court having jurisdiction, that part shall be severed from these Terms 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.
