Art of the American West — May 25, 2021 | John Moran Auctioneers by johnmoranauctioneers

Tuesday, May 25, 2021

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Joe De Yong

(1894-1975, Los Angeles, CA) “Sage Hen Dancer” Patinated bronze on wood base Signed and dated: Joe De Yong / 1919; Further marked: Paul Ruddick / 1973 / JHM Classic Bronze Edition: 13/50 6” H x 6.75” W x 4” D; Overall: 6.75” H x 7.125” W x 4.5” D $800-1,200 Provenance: John Cody Gallery, Los Olivos, CA Notes: This lot is accompanied by the gallery brochure.

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Bill Nebeker

(b. 1942, American) “I Will Tell of the Hunt,” 1994 Patinated bronze on wood base Signed and dated: Bill Nebeker / 1994; Further marked: CA [Cowboy Artists of America]; Titled to plaque Edition: 2/30 7” H x 6.5” W x 6” D; Overall: 8.75” H x 8.25” W x 7.25” D $800-1,200 Provenance: Private Collection Palm Springs, CA 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.

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(b. 1942, American) “The Medicine Shield,” 1989 Patinated bronze on wood base Signed and dated: Bill Nebeker / 1989; Further marked: CA [Cowboy Artists of America]; Titled to plaque Edition: 11/25 7.5” H x 10” W x 7.5” D; Overall: 9” H x 11.125” W x 7.25” D

(1930-2019, American)

Bill Nebeker

$800-1,200

“Many Coups” Patinated bronze on wood p Signed: Roy Anderson; Furth Edition: 14/50 8” H x 6.25” W x 5.75” D; O $500-700

Provenance: Sale: Trailside Galleries, Scottsdale, AZ, 28 October, 1989 Private Collection Palm Springs, CA

Provenance: Sale: O’Brien’s A 1996 Private Collection Palm Sprin

Notes: With Trailside Galleries label. This lot is accompanied by a bill of sale and appraisal paperwork from Trailside Galleries.

Notes: This lot is accompani Inc. and a photograph of the

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.

Roy H. Anderson

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The Cowboy Artists of Amer founded in 1965 by four pro John Hampton and George

plinth her marked: CA [Cowboy Artists of America]

Overall: 10.5” H

Art Emporium, Inc., Scottsdale, AZ, 29 April,

ngs, CA

ied by a bill of sale from O’Brien’s Art Emporium, e sculpture.

Joe Neil Beeler

(1931-2006, Prescott, AZ) “The Whiskey Guard” Cold painted bronze on rotating wood base Signed: Joe Beeler; Further marked: CA [Cowboy Artists of America] / Bronze Smith; Titled to plaque Edition: 13/45 9” H x 19” W x 9.5” D; Overall: 24” H $2,000-3,000 Provenance: Private Collection Palm Springs, CA 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.

rica is an exclusive organization of artists that was ominent western artists, Joe Beeler, Charlie Dye, Phippen.

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Joe Neil Beeler

(1931-2006, Prescott, AZ) “Speaker of the House” Cold painted bronze on wood base Signed: Joe Beeler; Further marked: CA [Cowboy Artists of America] / Bronze Smith; Titled to plaque Edition: 26/40 16.5” H x 9.25” W x 10” D: Overall: 19.5” H $4,000-6,000 Provenance: Private Collection Palm Springs, CA Exhibitions: Palm Springs, CA, Palm Springs Art Museum, “Treasures of the West,” 2007. 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.

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Joe Neil Beeler

(1931-2006, Prescott, AZ) “Medicine Man” Patinated bronze on wood base Signed: Joe Beeler; Further marked: Buffalo Bronze Edition: 9/15 11.5” H x 6” W x 6.5” D; Overall: 13” H x 6” W x 7” D $1,000-1,500 Provenance: Sale: Dan May & Associates, Scottsdale, AZ, 21 October, 1989 Private Collection Palm Springs, CA Notes: This lot is accompanied by a bill of sale from Dan May & Associates. 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.

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After Carl Kauba

(1865-1922, Austrian) Two works A Native American figure with a rifle and full feathered headdress Cold painted and patinated bronze on red marble base Stamped and numbered: GESCHUTZT/ 6254 / Kauba 12” H x 4.5” W x 4” D A Native American figure with pipe and tobacco bag Cold painted and patinated bronze on red marble base Stamped and numbered: GESCHUTZT / [2 or 7] 806/A 9” H x 3.75” W x 4.75” D $2,000-3,000 Provenance: The Alan Schneider Collection

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Earle E. Heikka (1910-1941, Montana)

Earl E. Heikka was born in Belt, Montana in 191 known for his sculptures depicting Western them capture the realism and emotion observed in na in illustrating wildlife. However, Heikka never re occupational experiences afforded him not only Great Falls Sporting Goods Company, was a ran Glacier National Park, and worked at actor Gary of animals, which he utilized in his sculptures. F he was greatly inspired by, and a number of He Great Falls.

During his tenure at the Cooper family ranch, H Hollywood actor would serve as a model for He numerous future patrons of his art, including W D. Ryan, the organizer of the Montana Power C Ambassador Hotel in 1931, at Chicago’s 1933 C Francisco.

Heikka’s original sculptures were hand-painted would have been further wrapped with fine wire of grief over the death of his brother and later e not until the 1960s, however, that collectors beg and posthumously earned Heikka his reputation

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10 to Finnish parents and subsequently lived and worked in Great Falls, Montana. Heikka is best mes, including animals, miners, Native Americans, and cowboys, that accurately and acutely ature. It was noted that, even as a small child, he had always demonstrated skill and interest eceived formal training in the fine arts nor attended art school. Nevertheless, Heikka’s various y the opportunity to study nature but also to replicate it. He worked as a taxidermist at the nch hand at the Skelton Brothers Ranch near the Highwood Mountains, was a park guide at y Cooper’s family ranch. His background in taxidermy allowed him to further develop his study Furthermore, Heikka shared Great Falls with prominent Western artist Charles M. Russell, whom eikka’s sculptures currently remain in the permanent collection of the C.M. Russell Museum in

Heikka was invited by Gary Cooper to set up a private studio on the property in 1929. The eikka’s 1937 sculpture, “Gambler’s Luck.” It was through Cooper that Heikka was introduced to illiam Andrews Clark, III, the grandson of mining mogul William A. Clark as well as John Company. Heikka would go on to exhibit works at the Stendahl Galleries in Los Angeles’ Century of Progress Exposition, and at the 1939 Golden Gate International Exposition in San

clay executed in Marblex, a water-based air-drying clay, modeled over a wire armature that e around the exterior in order to lend the pieces better adhesion for the clay. Following a period estrangement from his wife, Heikka committed suicide in 1941 at the age of thirty-one. It was gan producing editioned bronze casts of his clay sculptures, which became highly sought after n as a notable Western artist.

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Earle E. Heikka

(1910-1941, Montana) “Overland Stagecoach,” 1932 Patinated bronze on wood base Signed: E.E. Heikka; Further marked: S. Rose / 68 / JHM Classic Bronze Edition: 7/10 16.5” H x 48” W x 8” D; Overall: 17.5” H x 49.5” W x 9.5” D $20,000-30,000 Provenance: Sale: John D. Ryan, Phoenix, AZ, February 7, 1996 Private Collection Palm Springs, CA Exhibitions: Palm Springs, CA, Palm Springs Art Museum, “A Grand Adventure: American Art of the West,” 27 September, 2014 - 4 January, 2015 Notes: This lot is accompanied by a bill of sale from John D. Ryan and paperwork pertaining to the Palm Springs Art Museum exhibition.

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Fritz White

(1930-2010, American) “The Last Lucifer” Patinated bronze on wood base Signed: Fritz White; Further marked: CA [Cowboy Artists of America]; Titled to plaque Edition: 12/24 13.5” H x 16” W x 8” D; Overall: 16.25” H x 17.25” W x 11” D $800-1,200 Provenance: Dan May and Associates Ltd., Scottsdale, AZ Private Collection Palm Springs, CA, purchased from the above, October 22, 1988 Notes: A sales receipt from Dan May and Associates accompanies this lot. 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.

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Bill Nebeker

(b. 1942, American) “Family Ties,” 1986 Patinated bronze on wood base Signed and dated: Bill Nebeker / 1986; Further marked: CA [Cowboy Artists of America] / Thumb Butte Bronze Inc.; Titled to plaque Edition: 15/30 6” x 8.75” W x 5.125” D; Overall: 7.25” H x 10.25” W x 6.5” D $400-600 Provenance: Acquired from the artist by present owner Private Collection Palm Springs, CA Notes: This lot is accompanied by a certificate of authentication and a letter from the artist. 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.

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Tim Shinabarger

(b. 1966, Montana) “Always Alert” Patinated bronze Signed: Shinabarger Edition: 1/40 9.5” H x 14” W x 10” D $2,000-3,000

Provenance: Sale: The Legacy Gallery, Scottsd 22 November, 2003 Private Collection Palm Springs, CA

Notes: With a Legacy Gallery label to undersi This lot is accompanied by a bill of sale, galle photograph of the sculpture from The Legacy editorial on the artist from Southwest Art, dat

Joe De Yo

(1894-1975, “Rocky Mou Patinated br Signed and Edition: 17/5 6.125” H x 5 $800-1,200 18

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dale, AZ,

ide. ery catalogue, and y Gallery and an ted December 1999.

Dan Ostermiller

(b. 1956, American) Big horn sheep, 1984 Patinated bronze on wood base Signed and dated: Dan Ostermiller / 84 Edition: 3/100 5” H x 4” W x 3” D; Overall: 8.5” H x 4” W x 3.125” D $800-1,200 Provenance: Private Collection Palm Springs, CA

ong

, Los Angeles, CA) untain Bighorn Sheep” ronze on wood base dated: Joe De Yong / 1918; Further marked: Paul Ruddick / 1973 / JHM Classic Bronze 50 5.25” W x 3.75” D; Overall: 6.875” H x 5.25” W x 4.5” D

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Earle E. Heikka

(1910-1941, Montana) Bear overturning stone, 1938 Patinated bronze on wood base Signed and dated: E. Heikka / 1938 Edition: 35/100 5.5” H x 5.25” W x 4” D; Overall: 7.375” H x 6” W x 4.25” D $500-700 Provenance: Private Collection Palm Springs, CA

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Grant Speed

(1930-2011, American) “Callin’ Her Kid,” 1991 Patinated bronze on wood base Signed and dated: UG Speed / 1991; Further marked: CA [Cowboy Artists of America]; Titled to plaque Edition: 2/50 6.75” H x 9.25” W x 2.25” D; Overall: 7.625” H x 9.5” W x 2.875” D $500-700 Provenance: Private Collection Palm Springs, CA 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.

Robert L

(b. 1933, Victory Ea Patinated Signed an 38” H x 2

$1,200-1,

Provenan 22

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L. Refvem

American) agle d bronze on marble base nd editioned: Refvem / R.L. Refvem / 4/25 / 990 22.5” W x 17” D

,800

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Bill Owen

(1942-2013, Kirkland, AZ) “At Redlands,” 1984 Oil on canvas Signed and dated lower right: Bill Owen, with the conjoined CA for the Cowboy Artists of America, and with the copyright symbol, signed again and titled verso 9” H x 12” W $1,000-1,500 Provenance: Dan May and Associates Ltd., Scottsdale, AZ Private Collection Palm Springs, CA, purchased from the above, October 22, 1988 Notes: An inscription verso reads, “The brand is the W-Triangle. The cattle are Herefords, and the area known as Redlands lies South-Southwest of the Grand Canyon, where an oncoming rain storm is always appreciated.” A sales receipt from Dan May and Associates accompanies this lot. 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.

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Gary Carter

(b. 1939, Montana) Cowboy on horseback, 1992 Oil on canvas Signed and dated lower left: Gary Carter / 92, with the copyright symbol, and with the conjoined “CA” for Cowboy Artists of America, signed and dated again and inscribed verso, “All reproduction rights reserved by the artist” 8” H x 10” W $600-800 Provenance: Private Collection Palm Springs, CA 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.

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Chuck De Haan

(b. 1933, Texas) Spooked horse and rider, 1979 Oil on canvas board Signed and dated lower left: Chuck DeHaan / ‘79, with the artist’s device, and with the copyright symbol 16” H x 20” W $1,000-1,500

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Bob Kuhn

(1920-2007, American) Portrait of a man, 1944 Watercolor on board Signed, dated, and inscribed upper left: Bob Kuhn / 44 / “Sketched on the broad Atlantic for my friend - Steve.” 13.5” H x 10” W $2,000-3,000 Provenance: Private Collection San Mateo, CA

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Robert Pummill

(b. 1936, Kerrville, TX) “Coachman,” 1988 Oil on board Signed and dated lower right: Pummill / ‘88, and with the conjoined CA for the Cowboy Artists of America, titled on a reproduction rights label affixed to the backing board as well as on the frame verso. 12” H x 9” W $700-900 Notes: The Cowboy Artists of America is an exclusive organization of artists that was founded in 1965 by four prominent western artists, Joe Beeler, Charlie Dye, John Hampton and George Phippen.

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(b. 1930, American) Cowboy on horseback with stagecoach, 1979 Oil on masonite Signed lower right: William George / 79, and with the copyright symbol, signed and dated again verso, and with the artist’s reproduction rights stamp 16” H x 12” W

(1879-1969, Greenwich, “The Charge of the Bull” Oil on canvas Signed lower right: Robe 24” H x 36” W

William George

$700-900

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Robert Wesley Amick

$1,500-2,000 Provenance: Altermann

CT) ”

ert Wesley Amick, titled on a gallery label affixed to the backing board

& Morris Galleries, Dallas, TX

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William Lees Judson

(1842-1928, Los Angeles, CA) Nocturnal with horse and cowboy Oil on canvas laid to canvas Signed lower right: W L Judson 16” H x 32” W $1,000-2,000 Provenance: Private Collection, Los Angeles, CA K. Nathan Gallery, La Jolla, CA

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George Phippen

(1915-1966, Skull Valley, AZ) “Group of Riders” Graphite on paper under glass Signed and inscribed in pencil lower right: Geo. Phippen, “To Paul with Best Wishes from Geo. Phippen,” and with the artist’s device, titled on a gallery receipt Sight: 17.25” H x 23.5” W $300-500 Provenance: The May Gallery, Scottsdale AZ Private Collection Palm Springs, CA, purchased from the above, March 7, 1987 Notes: A sales receipt from May Galleries accompanies this lot. 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.

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Olaf Wieghorst

(1899-1988, El Cajon, CA) “Cavalry Trooper,” 1981 Watercolor and pen on card under glass Signed lower left: O. Wieghorst, and with the artist’s 2C device, signed again, dated and titled verso: Nov 5th / 81, with the artist’s 2C device, and with the copyright symbol Card: 15.75” H x 13” W; Sight: 12.25” H x 10.25” W $2,500-3,500 Provenance: Dan May & Associates, LTD, Scottsdale, AZ Private Collection Palm Springs, CA, purchased from the above, March 17, 1987 Notes: A sales receipt from Dan May & Associated accompanies this lot. Alternately titled on the receipt, “Fighting the Bit.”

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Bill Owen

(1942-2013, Kirkland, AZ) “First Saddle,” 1979 Graphite on paper under glass Signed and dated lower right: Bill Owen, with the conjoined CA for the Cowboy Artists of America, and with the copyright symbol, titled on a gallery receipt Sight: 18.75” H x 15” W $2,000-3,000 Provenance: The May Gallery, Scottsdale, AZ Private Collection Palm Springs, purchased from the above, March 7, 1987 Notes: An original sales receipt from The May Gallery accompanies this lot. 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.

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Nick Eggenhofer

(1887-1985, Cody, WY) “Sunday Morning,” 1975 Gouache on paper under glass Signed and dated lower right: N. Eggenhofer, and with the copyright symbol, titled on a gallery receipt Sight: 13.5” H x 21.5” W $800-1,200 Provenance: Texas Art Gallery, Dallas, TX Trailside Galleries, Jackson, WY Private Collection Palm Springs, CA, purchased from the above, September 17, 1991 Notes: A sales receipt from Trailside Galleries accompanies this lot.

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Edward Borein

(1872-1945, Santa Barbara, CA) “Arizona Cowpunchers” Etching and drypoint on paper under glass Signed in pencil lower right: Edward Borein, titled on a gallery label affixed to the backing paper Plate: 4.75” H x 9” W; Sight: 5.25” H x 9.25” W $700-900 Provenance: Arizona West Galleries, Scottsdale, AZ Private Collection Palm Springs, CA, purchased from the above March 13, 1991 Literature: Galvin, 40 Notes: A sales receipt from Arizona West Galleries accompanies this lot.

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Burt Procter

(1901-1980, Palm Springs, CA) Two riders in a desert landscape Oil on panel Signed lower left: Burt Procter 20” H x 24” W $1,000-2,000 Provenance: Sale: John Moran Auctioneers, Monrovia, CA, “Art of the American West,” September 9, 2019, Lot 279 Estate of Dewitt McCall III, Los Alamitos, CA

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L. Norton

(20th Century, American) Native American woman wrapped in blanket Oil on canvas laid to waxed canvas Signed lower left: L. Norton 30” H x 24” W $2,000-3,000 Provenance: Private Collection San Mateo, CA

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Ned Jacob

(b. 1938, Denver, CO) Portrait of a Native American man wearing a blanket Mixed media on paper under glass Signed lower right: Jacob Sight: 14” H x 10.5” W $800-1,200 Provenance: Private Collection Palm Springs, CA

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Astley David Middleton (A.D.M.) Cooper (1856-1924, San Jose, CA) Native American chief with pipe Oil on canvas laid to waxed canvas Signed lower left: A.D.M. Cooper 20” H x 16” W $2,000-3,000 Provenance: Private Collection San Mateo, CA

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Portrait of a Native American 1933 Oil on canvas Signed and dated upper right: Willmore / ‘33, inscribed verso: EMOYISIQKASIMI / HAIRY COAT 22” H x 20” W $600-800 Provenance: Private Collection San Mateo, CA

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Harold Weaver

(1889-1961, Los Angeles, CA) Native American Portrait Oil on canvas board With the artist’s device right center 18” H x 14” W $700-900 Provenance: Private Collection San Mateo, CA Notes: Presented in custom frame hand-carved by the artist.

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Joe Neil Beeler

(1931-2006, Prescott, AZ) “Chato (Apache)” Pastel on paper under glass Signed lower right: Joe Beeler, and with the conjoined CA for the Cowboy Artists of America, signed again and titled on a card affixed to the backing paper Sight: 17.5” H x 11.5” W $700-900 Provenance: Sale: Sun Valley Art Auction, June 30, 1990, Lot 31 Private Collection Palm Springs, CA, acquired 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.

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Walter Ufer

(1876-1936, Taos, NM) Pueblo scene with figure Oil on waxed lined canvas Signed verso: W. Ufer 20” H x 26” W $15,000-20,000 Provenance: Private Collection, Santa Barbara ,California Notes: Water Ufer is a celebrated draftsman and colorist best known for his honest depictions of Native Americans during a time when other artists romanticized their culture. Born in Germany but raised in Louisville, Kentucky, Ufer returned to Germany several times to study art in Hamburg, the Royal Academy in Dresden, and Munich. He returned to the U.S., settling in Chicago, where he worked as a commercial artist and portrait painter. The pull of the Southwest was so great that the artist eventually relocated to Taos and became an elected member of the Taos Society of Artists. The present work offers a rare insight into the artist’s painting process. He creates a level of depth within the work with his bold, confident paint strokes. His use of a monochromatic palette allows the viewer’s eye to wander throughout the scene to eventually land on the central figure, becoming a focal point using bright green, making a striking contrast against the deep earth tones used in the surroundings. Ufer is elongating the depth of field with his stacked adobes using the dark terracotta color that is synonymous with Taos.

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Oscar E. Berninghau (1874-1952, Taos, NM)

Born in Saint Louis Missouri in 1874, Oscar Berni employed his precocious talent for the medium b he was already working professionally, honing his Tiernan, the nations’ foremost printing company. classes at Washington University School of Fine A

Showing in his first solo exhibition at 25, Oscar g to draw and paint the Southwest, riding the train unplanned stop along the train route, spending a to become lifelong friends and founding membe a young man, [Berninghaus], has gained the repu the country.”1

In 1904 Berninghaus had two works selected to b notable artists. Joining the St. Louis Artists’ Guild The Director of the Saint Louis Art Museum com ignore in the future as in the past… [with] his gre continuity of meaning in his art from the past to t

For 25 years, beginning in 1900, the artist took le days at a time working on accurately portraying t sweeping, atmospheric landscape, capturing an of figures, a covered wagon, and a steer. In the b Pueblo Indians was a subject the artist spent yea these scenes and figures from memory: “As an a seem to blend harmoniously. Even the Indians ap

In 1925, he decided to move to Taos, remaining access to the native community, his deep respec Pueblo Indians and New Mexico landscape. “He

1 G.E. Sanders, Oscar Berninghaus, Taos, New Mexico, Master Painter 2 Ibid., p. IX. 3 Ibid., p. 10.

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inghaus was trained from childhood in his family’s lithography business. As a young boy, he by establishing his own business selling his works to tourists and local newspapers. By sixteen, s technical skills at a local print house. Three years later, Berninghaus joined Woodward & y. During this period, he also sought new technical skills and artistic training, enrolling in night Art.

garnered attention from the Rio Grande Railroad and McClures magazine. He was commissioned n through the region. Berninghaus was drawn to New Mexico’s landscape and made an a life-changing week in Taos. He met fellow artist Bert Geer Phillips and the pair would go on ers of the Taos Society of Artists. During this period, Harper’s Weekly would hail that “although utation as a painter of the American Indians. He ranks among the foremost of Indian painters in

be a part of the St. Louis World’s Fair. This exposure led him to become one of St. Louis’s most d, the Society of Western Artists, and the Salmagundi Club, his contributions were unmatched. mmented that “Berninghaus’ long-standing reputation and popularity will make him as hard to eat professionalism, dedication to art, sure skill and expertise with pen and brush… [and] the the present.”2

eave from his illustration job and family in St. Louis to travel to Taos every summer. He spent the color palette and texture of his beloved home-away-from-home. “A Street in Taos” offers a authentic portrayal of the modernizing daily life of the Taos Indians. The scene features a group background are adobe structures that are gently shadowed by full, white clouds. The daily life of ars observing and detailing in his sketches. Later in his life, Berninghaus would be able to paint artist, he was fascinated with the way the sun and sky along with the mountains and buildings ppeared to be made of the same pigments as their Pueblo, their horses, their field[s].”3

there with his family until his death in 1952. The pillars to his success would be his unfettered ct for their way of life, and his raw and nurtured talent that he applied to the lifelong study of the ere indeed was an almost unspoiled wilderness that stirred something deep inside his being.”

r of American Indians and the Frontier West, Taos Heritage Publishing Company, 1985, p. 14.

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Oscar E. Berninghaus

(1874-1952, Taos, NM) “A Street in Taos” Oil on canvas laid to canvas Signed and inscribed lower right: O.E. Berninghaus / “Taos”, titled on the stretcher remnant 22.5” H x 28” W $60,000-80,000 Provenance: Sale: Sotheby’s New York, May, 25, 1988, Lot 107 Private Collection, Santa Barbara, California

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(b. 1937, Santa Clara, CA) Indian encampment Oil on masonite Signed lower left: Heinie Hartwig 10.25” H x 15.25” W

(b. 1937, Santa Clara, CA) “Cheyenne Mt. Camp” Oil on masonite Signed lower left: Heinie Hartw 12” H x 24” W

Heinie Hartwig

$800-1,200

$1,500-2,000

Provenance: Private Collection San Mateo, CA

Provenance: Private Collection

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wig, titled verso

n San Mateo, CA

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Heinie Hartwig

(b. 1937, Santa Clara, CA) “Montana Lake” Oil on masonite Signed lower right: Heinie Hartwig, and with the copyright symbol, titled verso 9” H x 14” W $700-900 Provenance: Private Collection San Mateo, CA

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Heinie Hartwig

(b. 1937, Santa Clara, CA) “Elk Meadow - Wyoming” Oil on masonite Signed lower left: Heinie Hartwig, titled verso 9” H x 12” W $1,000-1,500 Provenance: Private Collection San Mateo, CA

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Heinie Hartwig (b. 1937, Santa Clara, CA) Two works

“Flat Head Camp” Oil on board Signed lower right: Heinie Hartwig, titled on a gum label affixed to the backing paper 6” H x 12” W Indian camp in a mountain meadow Oil on masonite Signed lower left: Heinie Hartwig 5” H x 7” W $600-800 Provenance: Private Collection San Mateo, CA

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(b. 1954, Utah) “Summer in the Foothills,” 1984 Gouache on paper under glass Signed and dated lower right: Ned Young, and with the copyright symbol, titled on a gallery receipt Sight: 9.75” H x 7.5” W

(1815-1873, American) Native American figures and teepees in a lands Pastel on card under glass 14” H x 31.5” W Signed lower left: Gibbs

Ned Young

$500-700 Provenance: The May Gallery, Jackson, WY Private Collection Palm Springs, CA, purchased from the above, September 16, 1986 Notes: A sales receipt from The May Gallery accompanies this lot.

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George Gibbs

$2,000-3,000

scape

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Filastro (Fil) Matthew Motolla (1915-2008, Laguna Niguel, CA) Two works

“Maria” Oil on masonite 12” H x 9” W Signed lower left: Mottola, signed again and titled on a piece of tape affixed verso “Young Dancer” Oil on canvas 12” H x 9” W Signed upper left: Mottola, signed again and titled on a piece of tape affixed to the stretcher $500-700

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Carol Theroux

(1930-2021, Los Angeles, CA)

Carol Theroux was an internationally recognized She spent many years studying, taking lessons, a human form. The colors are bright and alive in he the pastel medium. Carol was a charter member varied, sometimes in humorous characters of the German descent, is most known for her intimate,

Carol’s comments on her art: “I wanted to make all giving. I want all Americans to see and love In their old people for their wisdom, their veterans womanhood. It’s a respectful society…. The only and I receive acceptance because I give. The Ind of travel, Carol Theroux Studio collected many b impression of drama within each painting.

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artist working traditional soft pastel, acrylics, oils, watercolor, and charcoal figurative painting. and also teaching landscape and still life painting before finally trying her skill in painting the er finished paintings and are so seamless and smooth that it is hard to realize that it is done in of the Pastel Society of America, among numerous national artistic societies. Theroux’s subjects e old west or the “honky-tonk” girls in their dance hall costume. Yet Carol, of Cherokee and , emotionally charged depiction of Native American children and young adults.

the Indian West digestible to the Anglo West and what better way than with an innocent child, ndian culture and to recognize the universality of all human experience… Indian people honor for their service, their babies for their beauty, and their young girls for their arrival into y way to gain an understanding of Indian culture is to live it. I attend pow-wows for research, dians know that. The details in my work show my sincerity to them.” Over more than 50 years beautiful Indian artifacts from all over the country, used to ensure authenticity and to create that

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Carol Theroux

(1930-2021, Los Angeles, CA) “Quilled Hair-Wraps,” 1986 Pastel on paper under glass Signed, dated and inscribed lower right: Carol Theroux / 86 / PSWC (for the Pastel Society of the West Coast) and with the copyright symbol, titled on the certificate of authenticity that accompanies this lot 21” H x 18” W $800-1,200 Provenance: Estate of the artist Notes: A certificate of authenticity signed by the artist accompanies this lot.

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Carol Theroux

(1930-2021, Los Angeles, CA) “Child of Red Rock,” 1989 Pastel on paper under glass Signed, dated and inscribed lower right: Carol Theroux / 89 / PSWC (for the Pastel Society of the West Coast), and with the copyright symbol, titled on the certificate of authenticity that accompanies this lot 21.5” H x 13.5” W $800-1,200 Provenance: Estate of the artist Notes: A certificate of authenticity signed by the artist accompanies this lot.

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Carol Theroux

(1930-2021, Los Angeles, C “Facing the Challenge” Acrylic on canvas Signed lower right: Carol T Blood Blackfoot (Old Time 30” H x 15” W $1,000-1,500

Provenance: Estate of the a

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CA)

Theroux, titled on an artist’s label affixed to the frame verso, inscribed verso: er 1870-75)

artist

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Carol Theroux

(1930-2021, Los Angeles, CA) “Cheyenne Feathers,” 2005 Pastel on paper under glass Signed, dated, and inscribed lower right: Carol Theroux / 05 / PSA (for the Pastel Society of America), and with the copyright symbol, titled on the certificate of authenticity that accompanies this lot Sight: 22.5” H x 16.5” W $800-1,200 Provenance: Estate of the artist Notes: A certificate of authenticity signed by the artist accompanies this lot.

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Roy H. Andersen

(1930-2019, Kerrville, TX) “Land of the Eagle,” 1990 Oil on canvas Signed lower left: Roy Andersen, and with the conjoined CA for the Cowboy Artists of America, titled and dated on a gallery label affixed to the backing paper 24” H x 36” W $7,000-9,000 Provenance: O’Brien’s Art Emporium, Scottsdale, AZ Private Collection Palm Springs, CA, purchased from the above Notes: A sales receipt from O’Brien’s Art Emporium accompanies this lot. 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.

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Joe Neil Beeler

(1931-2006, Prescott, AZ) “In Old Wyoming” Oil on canvas Signed lower right: Joe Beeler, with the conjoined CA for the Cowboy Artists of America, and with the copyright symbol, titled on the stretcher 9” H x 12” W $1,000-1,500 Provenance: Trailside Galleries, Scottsdale, AZ Private Collection Palm Springs, CA, purchased from the above, September 16, 1986 Notes: A sales receipt from Trailside Galleries accompanies this lot. 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.

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Ned Jacob

(b. 1938, Denver, CO) “The Kiowas” Oil on canvas Signed lower left: Jacob, titled on a gallery receipt and the frame plaque 28” H x 44” W $2,000-3,000 Provenance: Trailside Galleries, Scottsdale, AZ Private Collection, Palm Springs, CA, purchased from the above September 13, 1988 Exhibitions: Palm Springs, CA, Palm Springs Art Museum, “Treasures of the West,” 2007. Notes: Alternately titled “War Party” on the stretcher. A sales receipt and insurance appraisal from Trailside Galleries as well as exhibition information from 2007 accompanies this lot.

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William Steve Seltzer

(b. 1955, American) Native American on horseback Oil on masonite Signed lower left: W. S. Seltzer 11.5” H x 12.5” W $1,000-1,500 Provenance: Buffalo Trail Fine Art Galleries, Jackson Hole, WY Private Collection Palm Springs, CA, purchased from the above, August 30, 1989

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Oscar E. Berninghaus

(1874-1952, Taos, NM) “Saddling Up” Oil on canvas board Signed lower left: O. E. Berninghaus, titled by gallery letter 9” H x 13” W $15,000-20,000 Provenance: Settlers West Galleries, Inc., Tucson, AZ Mr. James S. Fowler, acquired from the above, July 1, 1981 The May Gallery, Scottsdale, AZ Private Collection Palm Springs, CA, acquired from the above, October 25, 1986 Exhibitions: Palm Springs, CA, Palm Springs Art Museum, “Treasures of the West,” 2007 Palm Springs, CA, Palm Springs Art Museum, “A Grand Adventure: American Art of the West,” September 27, 2014 - January 4, 2015 Notes: A letter of provenance accompanies this lot from Settlers West Galleries, Inc., signed by Stuart Johnson, dated February 25, 1985, stating that he took the present work to be cleaned and the restorer removed part of the siganture. A sales receipt from The May Gallery accompanies this lot.

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Gaspard de Latoix

(1858-1918, English/American)

In 1880, Gaspard de Latoix, alongside his longtim taught draftsman would dedicate his life and care before the Taos Society of Artists would be found and Charles Craig before the establishment of th of Chicago and the Boston Art Club. Latoix would European subjects. Very little is known about the

In the present example warm, rich earth tones in featured. The stillness of the present scene is also of the central figures is remarkable and shows the Indians continued to be the inspiration and rema

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me partner, Isabell, ventured from England to America. Upon discovering the West, the selfeer to portraying New Mexico, the Plains Indians, and the like subject matter, many years ded. He would explore and paint alongside other notable artists such as Frank Sauerwein he Taos Society of Artists. His talent and acclaim would lead to showings at the Art Institute d move back to England and continue to paint and take commissions for more classic e artist’s later life as he adopted a nomadic lifestyle.

the horses and two dignified figures in extreme contrast to the cool, vivid, blue sky are o offset by the movement of the horse’s leg and the pair of small birds’ overhead. The detail e love the artist felt for the subject. Inspiring many artists throughout history, the Pueblo ain a staple within the Western art genre.

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Gaspard de Latoix

(1858-1918, English/American) “Two Indians on horseback,” 1890 Oil on canvas laid to waxed canvas Initialed and dated lower right: G.L. 1890, titled on a gallery label affixed to the stretcher 26” H x 35.5” W $15,000-20,000 Provenance: Kennedy Galleries, Inc., New York, NY The John F. Eulich Collection of American Western Art, Dallas, TX Sale: Sotheby’s New York, December 3, 1998, Lot 206 Private Collection, Santa Barbara, California Exhibitions: Los Angeles, CA, “Los Angeles County Museum of Art,” October 14-December 14, 1975

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Olaf Wieghorst

(1899-1988, El Cajon, CA) “Apache” portrait of a male Native American Ink on board under glass Signed center: O. Wieghorst, with the artist’s device, signed again and titled verso Sight: 10” H x 8” W; Sheet: 12.5” H x 9.5” W $700-900

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Ned Jacob

(b. 1938, Denver, CO) “Pueblo Indians,” 1961 Charcoal on paper under glass Signed and dated in pencil lower left: Ned Jacob, titled on a gallery label affixed to the backing board Sight: 16” H x 11.5” W $700-900 Provenance: Main Trail Galleries, Scottsdale, AZ Private Collection Palm Springs, CA

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Ned Jacob

(b. 1938, Denver, CO) “Blanket Clothes,” 1976 Graphite on paper under glass Signed upper right: Ned Jacob, titled and dated on the backing paper, and with the copyright symbol and the artist’s reproduction rights stamp Sight: 11.5” H x 8.5” W $200-300 Provenance: Sandra Wilson Galleries, Denver, CO Private Collection Palm Springs, CA

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Nick Eggenhofer

(1897-1985, Cody, WY) Native American on horseback Gouache on board under glass Signed lower left: N. Eggenhofer Sight: 14.5” H x 10” W $1,000-1,500 Provenance: Paul Masa Gallery, Kalispell, MT The May Gallery, Scottsdale, AZ Private Collection Palm Springs, CA, purchased from the above, October 25, 1986 Exhibitions: Colorado Springs, CO, City of Colorado Springs Pioneers’ Museum, Second annual “Artists of the West” Exhibition and Sale, March 1-31, 1986 Notes: A sales receipt from The May Gallery accompanies this lot.

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R.C. Gorman

(1932-2005, Taos, NM) “Abiquiu Rainstorm” Lithograph on paper under Plexiglas, Houston Fine Art Press, pub./prntr. Edition 131/200, signed and dated in pencil lower left, numbered in pencil lower right, and with the publisher’s blindstamp, and with the artist’s blindstamp lower center 30” H x 39” W $800-1,200 Provenance: Adagio Galleries, Palm Desert, CA, August 9, 1987 Notes: This lot is accompanied by a sales receipt from Adagio Galleries on August 9, 1987.

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Harrison (Haskay Yahne Yah) Begay (1914-2012, American/Navajo) Three works

Native woman on a horse Color silkscreen on paper 11.25” H x 13.75” W Signed in the screen lower right: Harrison Begay, and with the copyright symbol Two running deer Color silkscreen on paper 11” H x 12.75” W Signed in the screen lower right: Harrison Begay, wetstamped for Tewa Enterprises, Santa Fe, New Mexico Two standing deer Color silkscreen on paper 10.25” H x 12.5” W Signed in the screen lower right: Harrison Begay, and with the copyright symbol, wetstamped for Tewa Enterprises, Santa Fe, New Mexico $500-700 Notes: In 1951, an arts silk-screen printing business called Tewa Enterprises was started in Santa Fe by Charles Barrows, a silkscreen printer, and Harrison Begay, the well-known Navajo painter. Tewaís mission was to hand silk-screen reproductions of Navajo and Pueblo paintings and make them available to a wide audience at low prices.

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Laton Alton Huffman (1854-1931, Miles City, MT) Two works

“Cheyenne Chief Two Moon - Fort Keogh - 1878,” 1913 Black and White Photograph on paper under glass Sight: 9.75” H x 7.75” W Stamped lower right: L.A. Huffman, with the artist’s stamp containing the copyright symbol and the printing Horses and cattle in and near a stream Black and White Photograph on paper under glass Sight: 7.25” H x 9.75” W Stamped lower right: L.A. Huffman $500-700 Provenance: Private Collection Palm Springs, CA

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g date

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Henry Chapman For

(1828-1894, Santa Barbara, C

Henry Chapman Ford was an illustrator born in years later, he returned to the United States an drawings of military life throughout his service. where he became the city’s first great landscap Academy of Design. Desiring a warmer climate draw, and create etchings of each of the Califor the architectural structures and the surrounding said to have reinvigorated interest in the state’s in the period of their neglect...”1 Of special no earthquake, as well as the ruins of the old La Pu records.

1 E.S. Spaulding, Etchings of California by Henry Chapman Ford, Pa

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CA)

n Livonia, NY in 1859. Having saved enough money, Ford traveled to Paris to study art. Three nd enlisted in the Civil War, serving in the Union Army. The illustrated press published his Due to medical conditions, Ford was discharged and eventually settled in Chicago, Illinois pe painter. Ford also made a name for himself as a founder and president of the Chicago e, he ultimately made his way west to Santa Barbara. Ford embarked upon a project to paint, rnia Missions, traveling by horse and buggy to each of them. His most iconic works focus on g untamed landscapes of the West. The portfolio of 24 etchings by Studio Press, New York, is s Spanish origins and “rank among the best records that remain… of [the] mission buildings ote among the 24 etchings is the Santa Barbara Mission before its destruction in the 1925 urisima Mission, damaged by earthquake in 1812, and now only a remnant of what Ford

acific Coast Publishing Company, Santa Barbara, CA, 1961, foreword

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Henry Chapman Ford

(1828-1894, Santa Barbara, CA) Portfolio “Etchings of the Franciscan Missions of California,” 1883 24 matted drypoint etchings on Japan paper in a leather bound portfolio case with 28-page “Outlines of History, Description, etc.” on stitched Antique paper, The Studio Press, New York, 1883, pub. Each of the 24 etchings signed and named in the plate: H.C. Ford / 83, signed in pencil lower right, numbered in pencil lower left Each sheet: 14.25” H x 18” W; Each mat: 16” H x 22” W $20,000-30,000 Provenance: Private Collection, Santa Barbara, California Literature: Spalding, 1, 2, 4, 5, 6, 7, 8, 9, 12, 14, 16, 15, 17, 18, 19, 20, 24, 22, 21, 23, 26, 27, 25, 28, 19 (edition complete and in the order, numbered as found in the catalog raisonne) With a 4-page pamphlet featuring accolades from peers and listing the Missions within the Imperial Edition. w w w. j o h n m o r a n . c o m

Frederic Sackrider Remington N.A.

(1861-1909, New York, NY) “Buffalo Bow” Pen and ink on card under glass Signed, titled, numbered, and inscribed along the upper edge: Remington / No 105 / A Hiawatha, numbered verso: 5488A / IX 89 Sheet: 11” H x 8.75” W; Sight: 10.25” H x 7.5” W $1,000-1,500 Provenance: Kennedy Galleries, New York, NY Trailside Galleries, Scottsdale, AZ Private Collection Palm Springs, CA, purchased from the above, October 17, 1988 Notes: This is an original drawing for Henry Wadsworth Longfellow’s “Song of Hiawatha,” published by Houghton Mifflin & Co. in 1890. A sales receipt from Trailside Galleries accompanies this lot.

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Carl Rungius

(1869-1959, New York, NY) “The Stampede,” 1925 Etching and drypoint on paper under glass Signed in pencil lower right: C. Rungius, titled lower center under the mat Plate: 6” H x 8.25” W; Sight: 7.5” H x 9.75” W $1,000-2,000 Provenance: Sun Valley Art Auction, Las Vegas, NV Private Collection Palm Springs, CA, purchased from the above, June 30, 1990 Literature: Crouch, 8 Notes: A sales receipt from Sun Valley Art Auction accompanies this lot.

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Carl Rungius

(1869-1959, New York, NY) “The Stranger,” 1926 Etching and drypoint on Van Gelder Zonen paper under glass Signed in pencil lower right, titled and inscribed in pencil lower left under the matting: Ed 100 proof, and with the watermark for the papermaker Van Gelder Zonen, Holland, numbered in pencil lower right under the matting: OS 2002 32h Sheet: 12.5” H x 17.5” W; Sight: 10” H x 12.75” W $1,000-1,500 Provenance: Troy’s Gallery, Scottsdale, AZ Private Collection Palm Springs, purchased from the above, October 27, 1991

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George Elbert Burr (1859-1939, Phoenix, AZ)

Two works “Palm Canyon, California Etching on paper under glass Sight: 10.5” H x 8.5” W Signed in pencil lower left: George Elbert Burr, and with the artist’s device in the plate, titled on a gallery label affixed to the backing board “Coast at Monterey” Etching and Aquatint on paper under glass Sight: 10.5” H x 8.25” W Signed in pencil lower left: George Elbert Burr, titled in pencil lower right, and with the artist’s device in the plate $600-800 Provenance: The first: Arizona West Galleries, Scottsdale, AZ Private Collection Palm Springs, CA, purchased from the above March 13, 1991 The second: Owings-Dewey Fine Art, Santa Fe, NM Notes: A sales receipt from Arizona West Galleries accompanies this lot.

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Ned Jacob

(b. 1938, Denver, CO) “Smoking the War Pipe” Charcoal on paper under glass Signed right center: Ned Jacob, titled on a exhibition label affixed to the backing paper Sight: 18” H x 24.5” W $1,000-1,500 Provenance: Private Collection Palm Springs, CA

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John Bond Francisco

(1863-1931, Los Angeles, CA) Still life with canteen, spurs, and a six shooter Oil on canvas Signed lower right: J. Bond Francisco 34” H x 24” W $2,000-3,000 Provenance: Joseph Sartor Galleries, Dallas, TX Altermann & Morris Galleries, Dallas, TX Sale: Christie’s Los Angeles, October 28, 1999, Lot 16 Private Collection, Santa Barbara, California

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Frederick Schafer

(1839-1927, Oakland, CA) Native Americans on horseback in a mountain landscape Oil on canvas laid to canvas Signed lower left: F. Schafer 28.75” H x 40.25” W $7,000-9,000 Provenance: William Karges Fine Art, Carmel, CA Notes: Presented in a Richard Tobey frame.

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Franz A. Bischoff

(1864-1929, Pasadena, CA) “Arroyo” Oil on card Signed lower right: Franz A. Bischoff, titled on an exhibition label affixed to the backing board 11” H x 14” W $2,000-3,000 Exhibitions: Pasadena, CA, Pasadena Heritage Blinn House Exhibit, “Early California Impressionist & Post Impressionist Paintings,” November 1-2, 1996

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Ralph Davison Miller

(1858-1945, Los Angeles, CA) “Grand Canyon,” 1905 Oil on canvas laid to waxed canvas Signed and dated lower left: Ralph Davison Miller, titled and dated again on a gum label affixed to the backing board. 24.5” H x 40.25” W $1,500-2,500 Provenance: Estate of Dewitt McCall III, Los Alamitos, CA

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Eva van Rijn

(b. 1936, Woodstock, NY) “At The Edge,” 2005 Oil on canvas Signed lower right: Van Rijn, titled and dated on an artist’s label affixed to the frame verso 12” H x 16” W $500-700 Provenance: Private Collection Palm Springs, CA

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Scott Christensen

(b. 1962, American) “Hanging Canyon” Oil on canvas Signed lower left: Christensen, and with the copyright symbol, titled on a gum label affixed to the frame verso 20” H x 18” W $1,000-1,500 Provenance: Private Collection Palm Springs, CA

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Carol Swinney

(21st Century, Wyoming) “Palm Desert, CA,” 2001 Oil on canvas Signed lower right: Swinney, and with the copyright symbol, signed again verso, signed again, titled, and numbered on the stretcher: 00403 8” H x 16” W $500-700 Provenance: Private Collection Palm Springs, CA Notes: Signatures verso and on the stretcher include the initials OPA, for the Oil Painters of America for which the artist is a signature member.

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Herbert Sartelle

(1885-1955, Los Angeles, CA) Rolling hills landscape with trees Oil on canvas laid to board Signed lower right: H. Sartelle 6” H x 8” W $400-600

Steven Adams

(b. 1962, Utah) “Fenceline,” 2000 Oil on masonite Signed lower left: Steve Adams, signed again, titled and dated verso: 2000, 8-14 8” H x 14” W $400-600 Provenance: Kneeland Gallery, Sun Valley, ID Private Collection Palm Springs, CA, purchased from the above, September 9, 2000 Notes: A sales receipt from Kneeland Gallery accompanies this lot. 1 1 4 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, M ay 2 5 , 2 0 2 1

Sam Hyde Harris

(1889-1977, Alhambra, CA) “Sanctuary Guardian” Oil on canvas Estate signed lower right: Sam Hyde Harris, signed again, titled and numbered on the stretcher: #648, estate stamped and numbered verso: 000419 22” H x 28” W $1,500-2,000 Notes: With an authentication stamp signed by Maureen St. Gaudens verso.

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Frank J. Gavencky

(1888-1966, Ramona, CA) “Small blooming prickly pear” Oil on masonite Signed lower right: Frank J. Gavencky, titled verso 16” H x 20” W $600-900

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Meta Gehring Cressey

(1882-1964, Los Angeles, CA) Cactus landscape Oil on panel Signed lower left: Meta Cressey, signed again verso 19” H x 11.75” W $600-800 Provenance: Michael Johnson Fine Arts, Fallbrook, CA

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Dan Namingha

(b. 1950, Hopi-Tewa) “Desert Arroyo,” 1998 Acrylic on canvas Signed lower left: Namingha, signed again, titled and dated verso, and with the copyright symbol 14” H x 14” W $1,200-1,800 Provenance: Estate, Los Angeles, CA

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Joni Falk

(b. 1933, Phoenix, AZ) “Pueblo Treasures” Oil on board Signed lower right: Joni Falk AWA, titled on the frame plaque 10” H x 10” W $2,000-3,000

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Frank J. Gavencky

(1888-1966, Ramona, CA) “Indian Pot,” circa 1950 Oil on masonite Signed lower right: Frank J. Gavencky, titled and dated on a gallery label affixed verso 24” H x 30” W $1,000-1,500 Provenance: Michael Johnson Fine Arts, Fallbrook, CA

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William Penhallow Henderson

(1877-1943, Tesuque, NM) “Landscape with Rooster, Taos,” 1917 Pastel on deep brown colored paper under glass Initialed lower right: W.P.H, possibly titled in left rock: Red D***, Titled and dated on a gallery label affixed to the backing board Sight: 7” H x 9.75” W $3,000-5,000 Provenance: Private Collection, Santa Barbara, California Exhibitions: Phoenix, AZ, Phoenix Art Museum, “Master Colorist of Santa Fe,” September 29-November 18, 1984, Cat. No. 19. Denver, CO, Museum of Western Art, February 23-April 22, 1985 San Francisco, CA, Montgomery Gallery, March 18-April 25, 1987, #123 Notes: William Penhallow Henderson was an American Painter, architect and furniture designer. His career began in the Midwest where he taught at the Art Institute of Chicago. However he is best known for his work in Santa Fe, New Mexico, where he lived and worked from 1916 until his death in 1943. In addition to being an accomplished fine artist, Henderson built many private homes and public buildings including the Railroad Ticket Office and designed the Navajo House of Religion in Santa Fe (now the Wheelwright Museum of the American Indian). Like many artists of the region he chose to focus on scenes of everyday life that were often overlooked or over dramatized. His use of pastel in “Landscape with Rooster, Taos,” 1917 was likely done in Plein air. The medium is portable and would make it possible for smaller field works like this to be done in his travels. The present work exemplifies why Henderson is regarded as a notable colorist and early modernist. Retains “Wm. Penhallow Henderson Estate” label on backing board.

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Larry Pirnie

(b. 1940, American) “Morning Workout,” 2000 Acrylic on canvas Signed lower left: Pirnie, signed again, titled, dated, and numbered verso: ACC00-16, and with the copyright symbol 36” H x 48” W $3,000-5,000

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Thom Ross

(b. 1953, American) “Annie Oakley’s Dog,” 1997 Acrylic on board under glass Signed upper left: Ross, titled and dated on a gum label affixed to the backing paper Sight: 23.75” H x 15” W $800-1,200 Provenance: Kneeland Gallery, Sun Valley, ID Private Collection Palm Springs, CA, purchased from the above August 13, 1997

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Malcom Furlow

(b. 1946, American) “Armani Indian” Oil and acrylic on canvas Edition 46/50, signed lower right: Furlow, signed again, titled, and numbered verso, and with the copyright symbol 58” H x 46” W $2,000-3,000

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Malcom Furlow

(b. 1946, American) “Rodeo at Ojo” Acrylic on canvas Signed lower right: Furlow, signed again and titled verso, and with the copyright symbol 58” H x 46” W $2,000-3,000

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John Holcomb

(20th Century, American) “Sitting Chief 1900,” 2017 Acrylic, spray paint, and oil pastel on canvas Signed and dated on the stretcher: John Holcomb / 3-2017, and with the artist’s conjoined JH device, titled on an artist’s label affixed to the stretcher 68” H x 48” W $1,000-2,000 Provenance: Rebecca Hossack Art Gallery, New York, NY

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A Dirk v

Circa 191 Signed: The Arts copper s hammere electrifie 19” H x 1

$2,500-3

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van Erp Hammered Copper Table Lamp

15-1977; San Francisco, California Dirk van Erp / San Francisco [open-box mark] s and Crafts table lamp with a conical hammered shade with four mica panels on a two-light ed copper base with a flared body and four arms, ed 16.25” Dia.

3,500

Three American Arts and Crafts copper table items

Circa 1913-1938 First signed: Roycroft [late mark]; Second and third signed: Dirk van Erp [open box mark] Each hand-hammered copper, comprising a tapered vase, a calendar frame with openwork design, and a diminutive bulbous vase, 3 pieces Largest: 4.5” H x 4.75” Dia.; Smallest: 2.5” Dia. $800-1,000

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A Late-Classic First Phase Navajo wearing blanket Circa 1870 Woven of churro wool in red, cream and dark brown horizontal stripes 51.5” L x 61” W $12,000-18,000 Provenance: Private Collection Tucson, AZ, acquired in 1976 Notes: First Phase blankets of this era are considered among the finest achievements in Navajo weaving due to their materiality and distinctive design. They were frequently woven by Navajo women, created from handspun churro wool. Preferred for its long-staple fibers, churro wool was particularly conducive to hand-spinning and the tight weave ensured exceptional durability and near impermeability to water. Even at the time of manufacture in the 1800s, the blankets became status symbols, prized by Spanish and indigenous traders alike. The term Chief’s blanket references this desirability and expense when they were first produced. The naming convention can be misleading, as the Navajo had no tribal chief. Vertical looms were introduced to Navajo weavers by the Pueblo, and First Phase blankets likewise derived from their earlier precedent. A striking Pueblo shoulder blanket in alternating colors of natural wool inspired Navajo weavers to develop the Chief’s blanket. The First Phase aesthetic is most often found from 1850-1870, and is characterized by the broad horizonal bands of white, brown and red. It was intended to be worn by both men and women, over the body and crossed at center. When draped, the stripes to take on an entirely new form. While this example is not among the earliest First Phase weavings made from raveled Bayeta wool, it does share almost all other aesthetic characteristics. The present example was colored with aniline dye, introduced in the 1860s and supplied to the Navajo soon thereafter. The blanket features another distinctive detail: The left and right sides portray evidence of how the weaving was produced, joining two separate weavings into a final, singular form.

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A Navajo double saddle blanket

Fourth-quarter 19th Century Banded motif in both diamond and diagonal twill weave, woven in red, grey, and yellow 54” L x 33” W $4,000-6,000 Provenance: Private Collection, Seattle, WA The Nizhoni Ranch Gallery Exhibitions: Tubac, AZ, Tubac Center for the Arts, Navajo Nation Exhibit Collection of Steve Getzwiller, 2014

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A Navajo transitional Second Phase chief-style weaving

Late 19th/ early 20th Century Woven in alternating cream and dark brown bands with a nine block design in three rows featuring crosses and hourglasses in orange and red 50” L x 53” W $4,000-6,000 Provenance: Private Collection Ann Arbor, MI

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A Navajo child’s blanket

Early 20th Century With columns of conjoined diamonds woven in raveled red American flannel, indigo blue, cream, and light green 49” L x 30.5” W $1,000-1,500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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A contemporary Navajo room-sized rug

Late 1980s/early 1990s The custom hand-woven polychrome wool rug with alternating bands of serrated diamonds 167” L x 120” W approximately $2,000-3,000 Provenance: Private Collection Palm Springs, CA Notes: This lot is accompanied by eight photographs of the weaving process.

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A Navajo Yei weaving

Mid-20th Century Woven in polychrome wool depicting three standing Yei with corn 33.75” L x 55” W $400-600

100

A Navajo Yei weaving

Mid-20th Century Woven in polychrome wool depicting five standing Yei and rainbow god 37.75” L x 50.75” W $300-500

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101

A Navajo Two Greys Hills weaving

Mid-20th Century Woven of grey, black, and cream wool with a central diamond with a meandering border with corner extensions and a black exterior border 56.5” L x 38” W $700-900 Provenance: Private Collection Tucson, AZ

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102

A Navajo Crystal room-sized rug

Circa 1920 Woven in red, cream, dark brown, and brown with two large red diamonds with stepped and fretted elements and a hooked T border 127” L x 74” W $2,000-3,000 Provenance: Private Collection Tucson, AZ

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103

A Navajo regional rug

Mid-20th Century Woven of red, cream, grey, and black with serrated diamonds and feathered border 69.5” L x 37.5” W $400-600

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104

A Navajo regional rug

Second-quarter 20th Century Woven of red, cream, tan, and dark brown with double serrated diamonds and keyed border 70” L x 47” Wv $400-600 Provenance: Private Collection Tucson, AZ w w w. j o h n m o r a n . c o m 1 4 9

105

A Navajo regional rug

First-quarter 20th Century Woven in red, cream, grey, and dark brown with central radiating serrated diamond, eye-dazzler motif 85” L x 58” W $500-700 Provenance: Private Collection Tucson, AZ

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106

A Navajo regional rug

Mid-20th Century Woven of red, cream, tan, dark brown, and blue in a banded motif with four sections of tan and red serrated stars 62” L x 39.5” W $400-600 Provenance: Private Collection Tucson, AZ

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107

Two Navajo rugs

Mid-20th Century Comprising one rug woven in banded orange, blue, red, and cream with serrated corners and central stripe and one rug woven in red, dark brown, tan, and cream with serrated central X-motif and border, pieces Larger: 62” L x 33” W; Smaller: 57” L x 29” W $500-700 Provenance: Private Collection Tucson, AZ

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The Hartline Collect

John Moran Auctioneers is pleased to present collection. The couple acquired this extraordin in the 1970s and early 1980s.

Mary Ann, a nurse and hospital administrator b Riverside’s historic Mission Inn featured Native Soon thereafter, she and Charles began accom The excursions became the impetus for the co for quality and a deep appreciation for craftsm

As their acquisitions grew, Mary Ann became i by nature, Mary Ann spent a great deal of time Libraries, and overtime built her own selection

Mary Ann’s activities led her to pursue a furthe CA, a business she balanced with her career at collection of Native American objects, the anti

This exceptional grouping of Native American fondness for history and artistry is imbued in e of the works Moran’s will offer.

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tion of Native American Basketry

t a curated selection of Native American basketry from the Mary Ann and Charles Hartline nary assortment of objects during frequent visits to tribal reservations throughout the Southwest

by training, was first introduced to tribal arts through her colleague’s husband. His shop inside e American jewelry, pottery and basketry, all of which immediately piqued Mary Ann’s curiosity. mpanying their friends on buying trips through Nevada, New Mexico, Arizona and California. ouple to build their own collection. Mary Ann made purposeful choices, developing a keen eye manship.

increasingly fascinated by tribal customs and traditions. Invariably inquisitive and self-motivated e reading and researching Native American art. She frequented the nearby Claremont Colleges n of resources and texts.

er interest in history and material culture. She went on to cofound an antiques store in Fontana, t the hospital and raising a family. While her husband had been enthusiastic about building their iques enterprise was solely Mary Ann’s passion.

basketry is a testament to Mary Ann’s enduring devotion to tribal arts and culture. Her each of the works she hand-selected and her legacy as a thoughtful steward is apparent in each

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108

A large Yokuts basketry bowl

First-quarter 20th Century With radiating stepped spiral bands issuing from rim 7.5” H x 15.75” Dia. $2,000-3,000 Provenance: The Hartline Collection, Los Angeles, CA

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109

A Yokuts basketry bowl

First-quarter 20th Century Woven with a polychrome stepped motif depicting either quail or caterpillars with additional floating crosses throughout 4” H x 8.75” Dia. $700-900 Provenance: Private Collection Tucson, AZ

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110

A Yokuts polychrome pictorial basket

First-quarter 20th Century Woven with alternating figures and stylized trees in seven sets 5.75” H x 11.5” Dia. $1,200-1,800 Provenance: The Hartline Collection, Los Angeles, CA

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111

A Chemehuevi basketry bowl

First-quarter 20th Century With four vertical bands of checkered zigzags 4.25” H x 6.75” Dia. $800-1,200 Provenance: The Hartline Collection, Los Angeles, CA

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112

A Central California basketry bowl

First-quarter 20th Century With alternating bands of vertical and horizontal zigzags 6.75” H x 12.25” Dia. $600-800 Provenance: The Hartline Collection, Los Angeles, CA

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113

A Central California basketry bowl

First-quarter 20th Century Woven with banded diamond motif serrated by animal figures 5.5” H x 9” Dia. $600-800 Provenance: Private Collection Tucson, AZ

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114

A Central California polychrome basketry bowl First-quarter 20th Century Woven with three Z-form bands 5” H x 12.5” Dia. $600-800 Provenance: Private Collection Tucson, AZ

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115

A Central California basketry bowl

First-quarter 20th Century Alternating vertical bands of stepped triangles and positive/ negative diamond 3.75” H x 6.5” W $400-600 Provenance: The Hartline Collection, Los Angeles, CA

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116

Two matching Pomo basketry bowls

First-quarter 20th Century Each finely woven with three serrated arms issuing from center, 2 pieces Largest: 2.25” H x 7” Dia.; Smallest: 1.75” H x 4.5” Dia. $800-1,200 Provenance: The Hartline Collection, Los Angeles, CA

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117

A Poma gift basket

First-quarter 20th Century Woven with hooked rim, stepped band, and Z motif 2.75” H x 6” Dia. $400-600 Provenance: Private Collection Tucson, AZ

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118

A Pomo gift basket

First-quarter 20th Century Woven with staggered geometric motif throughout, rim with stitched clam shell decoration 2.5” H x 5” Dia. $400-600 Provenance: Private Collection Tucson, AZ

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119

A Pomo beaded basket

First-half 20th Century With an allover polychrome beaded geometric design 2.875” H x 4.25” Dia. $400-600

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120

A Panamint (Timbisha Shoshone) polychrome basketry bowl First-half 20th Century Finely woven with three stepped columns issuing from center 3.25” H x 6.25” Dia. $1,000-1,500 Provenance: The Hartline Collection, Los Angeles, CA Notes: With exhibition ribbon from: Original American Indian & Western Relic Show, Los Angeles, CA, 1971, Third Place.

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121

A Cahuilla Mission polychrome snake motif basket

First-quarter 20th Century The deep circular basketry tray decorated with a coiled rattlesnake and radiating bands mimicking the vibrations of the rattle 4” H x 15” Dia. $2,000-3,000 Provenance: The Hartline Collection, Los Angeles, CA

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122

A California Mission/ Soboba basketry bowl

First-quarter 20th Century Tag sewn to interior: Suboba [sic], [Woven by] Fannie Lubo, Cahuilla, 1923 Woven in polychrome with three radiating zigzag arms issuing from center 3.25” H x 5.75” Dia. $800-1,200 Provenance: The Hartline Collection, Los Angeles, CA

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123

A California Mission/Soboba basketry bowl First-quarter 20th Century With three polychrome arms issuing from center 4” H x 9” Dia. $300-500 Provenance: The Hartline Collection, Los Angeles, CA

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124

A California Mission/Soboba basketry bowl First-quarter 20th Century Woven with concentric eight-pointed flowers 5.5” H x 12” Dia. $600-800 Provenance: The Hartline Collection, Los Angeles, CA

125

A large California Mission storage basket

First-quarter 20th Century With four floating cross elements in dark brown, additional elements in polychrome 8.5” H x 24” Dia. $1,000-2,000 Provenance: Private Collection Tucson, AZ

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126

A California Mission basketry bowl

First-quarter 20th Century Woven with seven columns of concentric, conjoined diamonds 4.5” H x 7” W $600-800 Provenance: Private Collection Tucson, AZ

127

An Apache figurative basketry bowl First-quarter 20th Century

With five figural pairs separated by checkered zigzag motif radiating from center 3.75” H x 14.125” Dia. $1,000-1,500

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128

An Apache small basketry tray

First-quarter 20th Century Woven in a star/floral motif with a custom six-pointed nail stand 1.5” H x 9.5” Dia. $300-500 Provenance: Private Collection Palm Springs, CA

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129

An Apache pictorial basketry bowl

First-quarter 20th Century With dog motif and four conjoined diamond columns 6.5” H x 13” Dia. $300-500 Provenance: Private Collection Tucson, AZ

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130

An Apache burden basket Third-quarter 20th Century With hide and metal cones 8” H x 13” Dia. $500-700 Provenance: The Hartline Collection, Los Angeles, CA

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131

A Tulare polychrome storage basket

Circa 1915 With five radiating stepped arms issuing from rim band with attached cross motif 8” H x 19.25” Dia. $1,500-2,000 Provenance: The Hartline Collection, Los Angeles, CA

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132

A Tulare polychrome basket

First-half 20th Century Woven with polychrome geometric band 2.75” H x 5.5” Dia. $300-500 Provenance: From the estate of Dennis Bettencourt

133

A Tohono O’odham (Pima) basketry tray

First-quarter 20th Century With a five-pointed star center and meandering keyed motif 5.75” H x 19.25” Dia. $1,500-2,000 Provenance: The Hartline Collection, Los Angeles, CA

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134

A miniature Tohono O’odham (Pima) basketry tray First-quarter 20th Century Finely woven in four concentric fretwork bands 1.5” H x 7.25” Dia. $1,000-1,500 Provenance: The Hartline Collection, Los Angeles, CA

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135

A Tohono O’odham (Pima) basketry low bowl First-quarter 20th Century Woven with geometric pattern 3” H x 14.25” Dia. $400-600

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136

A Tohono O’odham (Pima) basketry bowl First-quarter 20th Century With stepped geometric design 5.25” H x 17.5” Dia. $600-800

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137

A Tohono O’odham (Pima) basketry gambling tray

First-quarter 20th Century Woven with a five-pointed central star and meandering border 3” H x 15” Dia. $500-700 Provenance: The Hartline Collection, Los Angeles, CA

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138

A large Papago basketry olla First-quarter 20th Century With an all over lattice motif 11.5” H x 11” Dia. $500-700 Provenance: The Hartline Collection, Los Angeles, CA

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139

A Navajo wedding basket

First-half 20th Century Woven with polychrome zigzag band 3.25” H x 13.5” Dia. $200-300 Provenance: From the estate of Dennis Bettencourt

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140

A Hopi coiled polychrome basketry storage vessel

First-quarter 20th Century With Crow Mother Kachina motif, in the traditional peach basket shape 12” H x 14.5” W x 17.5” D $500-700 Provenance: The Hartline Collection, Los Angeles, CA

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141

Two Hopi coiled polychrome basketry bowls

First-quarter 20th Century Geometric motifs to each, largest with animal motif to edge, 2 pieces Larger: 6” H x 9” Dia.; Smaller: 4.5” H x 7” Dia. $500-700 Provenance: The Hartline Collection, Los Angeles, CA

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142

Two Hopi basketry trays

Mid-20th Century The first with a coiled construction depicting Poly Mana Kachina, the second with a turtle motif and accompanied prize ribbon Largest: 13.25” Dia. $250-350

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143

Two Native American baskets

First-quarter 20th Century Comprising a Hupa openwork twined basket with geometric motifs and a Pitt River twined basket with five radiating bands of quail/caterpillar motifs, 2 pieces Larger: 12 H x 14” Dia.; Smaller: 8.5” H x 12” Dia. $500-700 Provenance: Private Collection Tucson, AZ

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144

Two Native American basketry bottles

Late 19th/early 20th Century One with tag: Klamath Falls basket/ Bought by Frederick S. Thompson /1898 The first a Klamath Falls woven basket over a glass bottle form with a handle and foot; the second a Pitt River twined basket with caterpillar motif, 2 pieces Each: 12” H $400-600 Provenance: The Hartline Collection, Los Angeles, CA

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145

A Hupa basketry hat

First-quarter 20th Century Woven with polychrome geometric designs on a natural ground 3” H x 7” Dia. $400-600

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146

A Wasco cornhusk sally bag

Mid-20th Century Woven cornhusk with wool polychrome cross motif, trade cloth interior, and a hide handle 6.75” H x 4.5” Dia. $600-800 Provenance: Private Collection Palm Springs, CA

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147

A Nez Perce twined cornhusk bag

First-quarter 20th Century The twined cornhusk double-sided flap-top bag with polychrome geometric motifs lined with red trade cloth displayed on a custom acrylic stand 11” H x 9.5” W $600-800 Provenance: Sale: Larry B Milligan Gallery, Ketchum, ID, 12 March, 1990 Private Collection Palm Springs, CA Notes: This lot is accompanied by a bill of sale.

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148

Two Nez Perce twined cornhusk bags

First-quarter 20th Century Each with a two-sided imbricated polychrome geometric design Smaller: 17” H x 14.5” W; Larger: 22.5” H x 17.75” W $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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149

Four American woven pine needle baskets

Second-half 20th Century One with Krayneck-Prince Studios label; One signed: Helen Dickerson / Masonville, Colo. Comprising one Francina and Neil Prince woven Torrey pine bowl, an olla-form vessel with tied hide and feather tassels, a Helen Dickerson vessel tray with wood bottom, and a lidded vessel with acorn knob, 4 pieces Largest: 6.25” H x 89.5” Dia. $200-300 Provenance: From the estate of Dennis Bettencourt

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150

A Weller Louwelsa art pottery vase with Native American portrait First-quarter 20th Century Signed: M. Rauchfuss / W / 565 / 1 The high glaze Louwelsa vase with an urn-form body and tapered neck decorated with a Native American portrait against a dark red ground 11” H x 7” Dia. $500-700 Provenance: The Alan Schneider Collection

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151

Donal Albert Hord

(1902-1966, San Diego, CA) Mother and Child Stoneware Signed and numbered: DH [artist’s cipher] / 17 8.25” H x 8.5” W x 8.25” D $1,000-1,500

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152

A Laguna Pueblo polychrome pottery olla

First-quarter 20th Century Stylized floral motif in red, orange, black, and cream 9.25” H x 10” Dia. $1,200-1,800 Provenance: Private Collection Tucson, AZ

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153

A Zia polychrome pottery olla

Second-quarter 20th Century Marked to underside: Zia Pueblo N.M. Four avian panels depicting two different types of birds with a rainbow ribbon, with a red interior and high gloss finish to lower exterior 9” H x 10.5” Dia. $600-800 Provenance: Private Collection Tucson, AZ

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154

A Polacca-Nampeyo-style pottery olla

First-quarter 20th Century The polychrome olla with white slip glaze and repeating black avian motif 7.5” H x 9” Dia. $600-800 Provenance: The Hartline Collection, Los Angeles, CA

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155

An Acoma polychrome pottery vase

First-quarter 20th Century Painted in slip glaze with avian motif and geometric details 5.5” H x 6” Dia. $200-300 Provenance: Private Collection Tucson, AZ

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156

An Acoma polychrome pottery olla

First-quarter 20th Century Slip glaze with geometric band to shoulder, swirls to upper and lower portions done in dark brown on white, with partial red interior and lower exterior 8.25” H x 10” Dia. $800-1,200 Provenance: Private Collection Tucson, AZ

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157

A Dextra Quotskuyva Nampeyo Hopi-Tewa pottery bowl

(b. 1928, Hopi-Tewa) Signed to underside: Dextra Quotskuyva with corn symbol The polychrome Hopi-Tewa pottery bowl with red, cream, and black repeating figures, each with inlaid turquoise earrings 4.5” H x 7” Dia. $700-900 Provenance: The Hartline Collection, Los Angeles, CA

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158

A Glendora Fragua Jemez Pueblo pottery vase

(b. 1958, Jemez Pueblo) Signed with cornstalk The pottery vessel with sgraffito on highly-polished clay with lizard motif and applied turquoise 4” H x 4.25” W $200-300 Provenance: From the estate of Dennis Bettencourt

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159

A Mida Tafoya blackware wedding pot

(b. 1931, Santa Clara Pueblo) Signed: Mida Tafoya / Santa Clara Pueblo The polished blackware wedding pot with incised stepped and geometric design 9” H x 7.5” W x 5” D $300-500

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160

A Rondina Huma Hopi-Tewa pottery bowl

(b. 1947, Hopi-Tewa) Signed: Rondina Huma / Tewa Village The coil-built and stone-polished polychrome pottery bowl with red, cream, black repeating geometric, scrolled, and linear decoration 4.5” H x 7.5” Dia. $200-300 Provenance: The Hartline Collection, Los Angeles, CA

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161

A Clinton Polacca Nampeyo pottery vase

(b. 1958, Hopi) Signed to underside: Clinton Polacca “Nampeyo” A polychrome vessel with an avian motif 5.5” H x 7.5” Dia. $200-300 Provenance: Private Collection Tucson, AZ

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162

A Casa Grande polychrome pottery jar First-quarter 20th Century Slip glaze with geometric motif 8” H x 8” Dia. $200-300 Provenance: Private Collection Tucson, AZ

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163

Two Acoma fine line pottery vessels

20th Century First signed: G. Louis Acoma NM; Second signed: Acoma / NM / MC / Antonio Each molded greenware, comprising a painted pottery vessel with fine line eye dazzler motif and a painted seed pot with fine line Kokopelli motif, 2 pieces Larger: 10.75” H x 10” Dia. $300-500

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164

165

(b. 1948, American) The black ceramic bowl with stretched sheepskin and deerskin over crab skeletons 3.75” H x 5.75” Dia.

(1924-2003, Zuni) The pottery bowl covered in turquoise and azurite chips and adorned with hand-carved stone fetishes tied with sinew 4.5” H x 7.25” Dia.

An Allen Moe hide-covered pottery bowl

$300-500

An Edna Leki Zuni fetish pottery bowl

$300-500

Notes: The crab skeletons were sourced from Port Hammond, Waldron Island, Washington; the sheepskin from Campbell Ranch, Saturna Island, British Columbia; and the deerskin was salvaged from Highway 20 on Fidalgo Island, Washington.

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166

Four Mimbres-style bowls

Pre-Historic or later One signed: S. Black Comprising three Mimbres-style bowls, one with rabbit interior, one black on white with coatimundi interior, and one red on white with geometric motif to interior, and one black on white Anasazi-style bowl geometric interior motif, 4 pieces Largest: 5.5” H x 11” Dia. $400-600 Provenance: Private Collection Tucson, AZ

167

A collection of Mimbres-style pottery

Fourth-quarter 20th Century Three signed: Ludwig; One signed: Regina Leno - Shutiva / Acoma, NM/ 5-5-00 Each Mimbres-style black on white pottery, comprising one pitcher with mouse handle, one two-handled pot, a scorpion bowl, and one turkey plate, 4 pieces Tallest: 7.25” H x 5.75” W x 5.25” D $400-600 Provenance: Private Collection Tucson, AZ

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168

A Mimbres Mogollon pottery olla

Pre-Historic or later Hand-coiled and pit-fired with black on white fine line decoration depicting four birds in flight 4.5” H x 5” Dia. $250-350 Provenance: C.J. Collection, Apache Junction, AZ Acquired by Old Adobe Traders, Santa Ynez, CA on August 14, 2003 Acquired from above by present owner, Riverside, CA, 2003 Notes: An appraisal certificate dated September 23, 2003, accompanies this lot along with a statement of release and disclosure regarding provenance.

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169

A group of Chimayo handwoven clutch purses

Mid-20th Century Various makers including: Ganscraft, La Azteca, El Grandee Ten clutch purses and three zippered pouches sewn from New Mexico Chimayo wool weavings, in varying colors, some with silver snaps, interior zippers, and interior buttons, 13 pieces Largest approximately: 6” H x 9.75” W $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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170

A group of Chimayo handwoven wool purses

Mid-20th Century Various makers including: Ganscraft, El Grandee, Fred Harvey, and Ortega’s Each sewn from hand-loomed New Mexico Chimayo wool weavings, varying colors and sizes, comprising seven zippered poutches, three with drawstring closures, two with braided handles and three with wood handles, 15 pieces Larger approximately: 14.75” H x 13.5” W; Smaller approximately: 4. 75” H x 6.75” W $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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171

A Plains pictorial beaded hide dress

First-half 20th Century The front depicting four figures on horseback, the back with six figures on horseback most wearing full feathered headdresses 49” L; Waist: 26”; Cuff to cuff: 48” $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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172

A Plateau beaded cloth dress yoke

Second-quarter 20th Century Beaded with foliate motif to the front and back, in a polychrome pallet with a variety of beaded tassels Without fringe: 12” H x 34” W $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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173

A collection of Native American objects

First-half 20th Century Comprising two reed/cane shafted arrows with detachable points, one polychrome drum stick, one ceremonial beaded Crow axe, and one partial axe head, 5 pieces Largest; 22.75” L $300-500 Provenance: The Hartline Collection, Los Angeles, CA

174

A Kwakiutl button blanket

First-half 20th Century Abalone and mother-of-pearl buttons on green felt foundation with red cotton borders, a central design of a Northwest Coast copper to center 60.5” L x 62” W $1,000-1,500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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175

176

Mid-20th Century Figurative portrait head with shaft wrapped in fiber strands 8.5” H x 4” Dia.

First-quarter 20th Cen Comprising a large po a polychrome lidded b Largest: 5.5” H x 8.5”

A carved polychrome Haida rattle

$500-700 Provenance: Private Collection Tucson, AZ

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Three Northwest C

$400-600

Coast baskets

ntury olychrome lidded basket with red star to lid and avian motif to body, basket with avian motif, and a small openwork bowl, 3 pieces Dia.; Smallest: 2” H x 3.25” Dia.

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177

Five Native American baskets

First-half 20th Century Comprising five Papago, Pima, and Apache woven vessels with various geometric patterns, 5 pieces Largest: 3.5” H x 7.625” Dia. $500-700 Provenance: From the estate of Dennis Bettencourt

178

Five Northwest Coast polychrome baskets

First-half 20th Century Makers include Tlingit and Makah, comprising woven vessels with various polychrome geometric patterns consisting of four lidded baskets and one bowl, 5 pieces Largest: 4” H x 6.75” Dia. $500-700 Provenance: From the estate of Dennis Bettencourt

179

A group of five miniature baskets

First-quarter 20th Century Comprising three Northwest Coast lidded baskets and one cylindrical basket, and one Pima bowl, various geometric designs, 5 pieces Larger: 1.75” H x 4.25” W x 3.25” D; Smaller: 2.25” H x 1.75” Dia. $600-800

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180

181

First-quarter 20th Century With imbricated polychrome bands in yellow, blue, pink, and dark purple 9.75” H x 13” Dia.

20th Century The long hair-on-hide chaps with tooled leather wea belt and pockets 37.5” L x 43.5” W approximately

A large Tlingit storage basket

A pair of white wooly chaps

$200-300

$500-700

Provenance: Private Collection Tucson, AZ

Provenance: From the Collection of the Dharam Dam

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ave motif

mama’s

182

A pair of Garcia sterling silver overlay spurs

Second-half 20th Century Signed: Garcia / Elko, Nev. / 3 Each sterling silver overlay with gold-toned accents decorated with chased designs, 2 pieces Each: 1.75” H x 3.5” W x 5.5” D 13.705 gross oz. troy approximately $300-400 Provenance: From the estate of Dennis Bettencourt

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183

A John McCabe two-tone belt buckle

Sterling silver and 10k yellow gold; Stamped for John McCabe Centering a gold longhorn steer with simulated ruby eyes over a tooled silver backing 2” H x 3” W 75 grams $1,500-2,000

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184

A group of silver belt buckles

An oval 10K yellow gold and sterling buckle stamped VOGT / Sterling / 10k; a rectangular buckle, an open oval buckle, an open cartouche shaped buckle Largest oval buckle: 4.50” L x 3.25” W 281 grams $500-700 Provenance: The Alan Schneider Collection

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185

A Nudie’s Rodeo Tailors Inc. 10k and sterling buckle set

Stamped: Nudie’s / Rodeo Taylors Inc. / 10k / sterling The sterling buckle and tip topped with 10k yellow gold are highly chased with floral pattern Buckle: 2” L x 1.8” W; Leather length: 36” $200-300 Provenance: From the estate of Dennis Bettencourt

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186

A large Navajo silver concho belt

First-quarter 20th Century The turquoise-inlaid buckle with six conchos and seven butterflies on a thick leather belt 49.5”L; Each concho: 3.5” H x 4.125” W 1190 grams $1,500-2,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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187

A David Reeves sterling silver and turquoise concho belt

20th Century; Stamped: D. Reeves / Sterling Designed with ten cross-shaped turquoise within a sterling stamped framework Each link: 2.3” L x 2.3” W; Leather length 33” 513 grams $600-800

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188

A Navajo sandcast concho belt

First-quarter 20th Century Designed with five butterflies, six conchos, and a buckle on an a leather belt 41.5” L; Each concho: 3” H x 3.625” W 939 grams $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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189

Three Southwest silver concho belts

20th Century; Each apparently unsigned Comprising one sandcast belt set with a single turquoise stone to each concho, one starburst-motif belt, and one belt with round stamped conchos Belt with oval links each: 3” L x 2.30” H; Longest: 44” L 1150 grams gross 3 pieces $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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190

A Navajo Floyd Becenti “Civil War” concho belt

1996 Stamped: Civil / F/ Becenti / BCT / Sterling / North/South / (c) / 11/96 Designed with eight octagonal conchos and a buckle with scenes of Civil War conflicts 44” L x 3.125” H; Buckle: 3.125” H x 4.125” W; Leather length: 41” L 982 grams $800-1,200

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191

A Navajo concho belt

Second quarter 20th century A leather belt with nine (9) silver & turquoise conchos, plus a stone set rectangular buckle Each concho: 3” L x 2.50” W; Leather length: 34” 387 grams $500-700 Provenance: Private Collection Palm Springs, CA

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192

A Navajo Benjamin Becenti concho belt

Fourth-quarter 20th Century; Stamped: BB Designed with eight rectangular conchos and a buckle depicting scenes of everyday life inlaid with mother-of-pearl, coral, onyx, and turquoise 42.25” L x 1.825” H; Buckle: 1.825” H x 3” W 421 grams $600-900

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193

A Navajo Benjamin Becenti concho belt

Fourth-quarter 20th Century; Stamped: BB Sterling Nine conchos and the buckle designed with unique scenes from daily life inlaid with coral, motherof-pearl, onyx and turquoise 46.25” L x 2.25” H; Buckle: 2.25” H x 3” W; Leather length: 43” L 488 grams $600-900

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194

Two Navajo Silver belt buckles

The larger oval buckle set with turquoise; the buckle with leather belt set with turquoise and coral Larger buckle: 3.75” L x 2.6” W 264 grams gross $200-300 Provenance: Private Collection Palm Springs, CA

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195

A Julian Arviso double-sided inlay bear pendant necklace

20th Century, Dine Marked to pendant flange: Julian Arviso / Sterling Silver Multistone mosaic inlay bear with turquoise, spiny oyster, onyx, lapis lazuli, opal, and coral banded in sterling and suspended from a graduated strand of lapis lazuli beads with silver terminals and spacers 22” L 2.75” H 2.90” W 98 grams gross $800-1,200

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196

A Zuni owl mood squash blossom necklace

Signed: B/sun on post/Zuni The whimsical owl links set with inlaid shell and turquoise 26” L x 2.50” H 188 grams $800-1,200 Provenance: The Hartline Collection, Los Angeles, CA

197

A turquoise and gold free-form ring 18k yellow gold Set with a table-cut turquoise stone 1.25” H x .875” W; Ring size: 7.5 24.3 grams $1,500-2,000

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198

A Preston Monongye sandcast cuff

1927-1987, Hopi Marked with artist’s symbol to interior A tuffa cast silver cuff bracelet with swirls to ends and inlaid with bone, turquoise, onyx, and coral points 6” L x 1.10” H 75.8 grams $3,000-5,000

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199

200

Mid-20th Century; Appears unsigned A heavy cuff topped with five turquoise stones diagonally set across the top 7” L x 2.5” W 161 grams

Fourth-quarter Comprising a s The onyx brace 114 grams

A Southwest turquoise wide cuff bracelet

$300-500 Provenance: The Hartline Collection, Los Angeles, CA

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Two Gene an

$400-600

Provenance: Th

nd Martha Jackson silver cuff bracelets

20th Century, Navajo; Each stamped: Jackson / Sterling silver sandcast bracelet with swirl motif and a shadowbox cuff set with four oval onyx cabochons, 2 pieces elet: 6.8” L x 1.25” W

he Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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201

A Glen Adakai Navajo slab turquoise cuff bracelet

Stamped G.A. for Glen Adakai Designed with rope wire and split wire and centering on a large turquoise tablet 7” L x 2.1” H 82 grams $300-500 Provenance: The Hartline Collection, Los Angeles, CA

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202

A Southwest silver and turquoise cuff bracelet

Mid-20th Century; Stamped: KS with zigzag below [maker unidentified] A silver cuff set with five cabochon turquoise stones in a shadowbox mount 6.75” L x 1.5” W 84.5 grams $600-800 Provenance: The Hartline Collection, Los Angeles, CA

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203

Three Frank Patania jewelry items

(1899-1964, American) Each stamped for Frank Patania; Further stamped: Sterling [Eagle] Comprising two pendant/brooches set with turquoise cabochons and a turquoise-set ring Ring size: 10; Larger brooch: 1.5” Dia. 45 grams 3 pieces $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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204

A group of Frank Patania jewelry items

(1899-1964, American) Each stamped for Frank Patania; Further stamped: Sterling Comprising a silver belt buckle with triangular design, a belt buckle set with oval turquoise cabochons personalized: LL, and a pair of monogrammed cufflinks personalized: APB and LMK Largest: 1.75” H x 2.75” W 130.5 grams 4 pieces $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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205

A set of Daniel and Christine Eriacho Zuni petite point jewelry

Signed Comprising a squash blossom necklace, a cuff bracelet, a pair of earrings, and a ring 23” L x 2.5” H 161 grams 5 pieces $1,000-1,500

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206

An early Zuni cluster-style bracelet

First-quarter 20th Century Designed with three turquoise-set medallions soldered to three twisted wires 6.5” C x 1.25” H, wrist opening: 1.25” 67.5 grams $500-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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207

A set of Zuni turquoise petite point jewelry

Unmarked Comprising a squash blossom necklace, a pair of earrings, and two rings set with turquoise Necklace: 22” L x 2.1” H 137 grams 5 pieces $800-1,200

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208

A group of Hopi and Zuni silver jewelry

Mid-20th Century Bolo stamped for Gene Pooyouma, Hopi; Buckle stamped for Joseph Harlan / Sterling; Cross marked: L. Iule [Lupe lule] Comprising a Hopi bollo tie with silver overlay Kokopelli motif to fitting and finished with silver tips by Gene Pooyouma, a Hopi Kokopelli themed silver belt buckle by Joseph Harlan, a Zuni turquoise-set cross pendant by Lupe Iule, and a squash blossom necklace strung with a double row of silvr beads supporting ten coral shadowbox set stones on bear paw blossoms and finished with a five paw naja, 4 pieces Squash blossom: 22” L; Belt buckle: 2” H x 3” W $500-700

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209

A large Navajo turquoise slab cuff bracelet

Mid 20th century Marked to interior: NC / J-AgA-MS-1 5 A large turquoise stone set into a rope and stamped bezel with feather and ball motif and a split shank cuff Ring size 7 7” L x 3.5” H x 2.5” W 234 grams $800-1,200

210

A Navajo turquoise cuff bracelet

Mid-20th Century Marked: M possibly for Mary Morgan (Dine) A large slab turquoise stone set into a stamped and feather setting with split shank cuff 6.5” L x 3” H x 2.40” W 118 grams $600-800

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211

A large Southwest turquoise cuff bracelet

Mid-20th Century A large turquoise slab cuff bracelet with rope work and stamping to edges mounted to a two-wire cuff 6.5” L x 3.25” H x 1.6” W 84.7 grams $400-600 Provenance: The Hartline Collection, Los Angeles, CA

212

A Southwest-style swivel cuff bracelet

Designed as a cuff centering a plaque set with turquoise that swivels to reveal and different plaque 6” L x 2.5” H x 1.6” W 82.6 grams $300-500 Provenance: The Hartline Collection, Los Angeles, CA

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213

Two Southwest turquoise-set squash blossom necklaces Mid-20th Century Comprising two necklaces each set with turquoise, 2 pieces Larger necklace: 24” L x 2.75” H 412 grams $800-1,200 Provenance: The Hartline Collection, Los Angeles, CA

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214

A large silver and mother-of-pearl squash blossom necklace Designed with bezel-set mother-of-pearl elements 25”L x 3.25” H x 3.75” W 292 grams $300-500 Provenance: The Alan Schneider Collection

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215

A Watson Honanie Silver and 14k gold Hopi Necklace

Sterling & 14k yellow gold, stamped with makers mark for Watson Honanie Designed with central plaque of a gold Pueblo village scene with Kokopelli within silver framework 15” L; plaque; 4.5” L x 1.75” H 78.4 grams $500-700

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216

A Roland Hogan Begay storyteller cuff bracelet Sterling silver and 12K gold stamped: R. H. Begay Topped with a gold life style scene 6.25” L x 0.75” H 39 grams $200-400

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217

A set of Sam Piaso silver and turquoise jewelry

Necklace stamped: Sam Piaso / Sterling Comprising a fringe necklace set with Royston turquoise together with a pair of matching earrings Necklace: 18” L; Each earring: .875” H 48 grams 3 pieces $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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218

A group of Pueblo-style multi-strand turquoise necklaces

Mid-20th Century or earlier Comprising an eight-strand cylindrical turquoise beaded necklace, a double-strand turquoise nugget and heishi necklace, a single-stand turquoise tab and heishi necklace, a graduated turquoise necklace with four silver and turquoise tabs, 4 pieces Longest necklace: 32” $600-900

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219

A Navajo turquoise fetish necklace

Mid-20th Century or later A single strand of turquoise carved animals including bears, rabbits, fish, turtles, fox, and others with a larger standing bear to center 32” L x 2” H $200-400

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220

A group of Native American turquoise jewelry

One stamped: CL Comprising two multi-strand heishe and turquoise necklaces, a single strand heshi and turquoise bead necklace, a tumbled turquoise bead neckalce, a turquoise and heshi jacala necklace, and a silver bead pendant necklace Longest necklace: 40” 6 pieces $500-700 Provenance: The Alan Schneider Collection

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221

A Pueblo-style multistrand coral necklace

Third-quarter 20th Century An eleven-strand beaded necklace of cylindrical coral and accented with similar silver beads 32” L $300-500

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222

A group of Navajo silver and turquoise jewelry

Earrings stamped: P.A. Smith for Priscilla Smith Comprising a tumbled turquoise necklace (23” L) and a pair of shadowbox earrings (.875” H x .75” W) Earrings: 12.5 grams 3 pieces $200-300

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223

Three Santo Domingo-style necklaces

Comprising one with spiny oyster beads, one with branch coral beads, and one in yellow coral/shell Longest: 27” 3 pieces $200-300 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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224

Three Southwest jewelry items

Fourth-quarter 20th Century The first: a large pendent stone-set with branch coral, onyx, and turquoise with two feather drops and a large stamped flange, marked: W.J. / Sterling with an associated chain marked: .925; The second: a ring stone set with branch coral and turquoise, appears unmarked; The third: a pendant stone-set with coral and turquoise, marked: CC / Sterling Necklace: 18” L x 7” H; Pendant: .25” L x 1.75” W 3 pieces $600-900

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225

A Sadie Calvin Navajo cuff bracelet

Stamped with maker’s cypher A heavy cuff set with turquoise and coral with a feather motif 6.75” L x 1.50” H 100 grams $300-500 Provenance: The Hartline Collection, Los Angeles, CA

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226

A group of five Native American rings Each set with tuquoise and coral Largest ring: Size 9.5, 1.3” H 33.3 grams $300-500 Provenance: The Hartline Collection, Los Angeles, CA

227

Four Southwest gold quartz and coral jewelry items

Mid-20th Century; Bracelet stamped: diamond plaque with pictorial mark of mountain in circle [maker unidentified] Comprising a ring (size: 8.5”), a cuff bracelet set with coral and gold quartz (6.625” C), and a hinged pillbox (1.125” H x 2.25” W); together with an oval belt buckle with two square cut turquoise stones, silver dots and leaf applique 3 pieces $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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228

Three silver and turquoise cuff bracelets

Mid-20th Century Comprising a thin row bracelet set with ten stones, a curio-row bracelet with turquoise stones and applied rain drops to edges, and a bracelet with four twisted wires supporting a central turquoise-inlaid plaque Largest: 6.5” C x 2.25” H, wrist opening: .875” 107.95 grams 3 pieces $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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229

Three Navajo twisted-wire bracelets

Second-quarter 20th Century Comprising a twisted wire cuff centering turquoise cabochons and applied silver cones together with a pair of twisted wire cuffs Largest: 7.5” C x .5” H, wrist opening: 1.5” 146.5 grams 3 pieces $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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230

231

Both set with jasper and stamped entirely Largest 7” x 2.30” H 130 grams 2 pieces

Comprising a bolo tie embellished tuquoise slab and a large turquoise Bolo: 3” L x 2.5” W 153.9 grams gross

Two Southwest jasper set cuff bracelets

$500-700 Provenance: The Hartline Collection, Los Angeles, CA

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Two silver Southwest jewelry it

$400-600

tems

by a large e ring, 2 pieces

232

Five Southwest silver bracelets

Mid-20th Century or later Comprising a stacked wire cuff, a turquoise-set cuff with a rope wire coil motif, and three twisted silver bangles, 5 pieces Largest cuff: 5.50” L x 1.60” W 241 grams $400-600

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233

Two Southwest silver cuff bracelets

Mid-20th Century; One marked: Emer Thompson / Sterling Comprising a silver cuff with twelve square cut simulated opals and a mother-of-pearl and heishi inlaid silver cuff, marked KXTT/JY-1/45, 2 pieces Larger: 7” L x 2.25” H 159 grams $500-700

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234

A group of Southwest jewelry items

Mid-20th Century; Brooch stamped: Coin silver Comprising a sandcast brooch, a pair of stamped collar tips, a pair of pictorial stamped collar tips, a rectangular buckle with coral corners and ropework, and a silver brooch with button design Largest: 2” H x 2.5” W 115.5 grams 7 pieces $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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235

A group of silver Native American and Southwest jewelry

Comprising an eagle bolo tie inlaid with coral, turquoise, onyx, and mother-of-pearl, two cuff bracelets, eight various rings, and two pins Largest cuff: 7” L x 2” W 198.5 13 pieces $500-700 Provenance: The Alan Schneider Collection

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236

A group of Southwest silver jewelry items

Comprising a thimble, a page marker, an early stone-set naja, a stamped naja, a shell and silver and white buffalo fish-motif bolo, a roadrunner pin, a child’s bracelet, a small pillbox, a letter opener, a yei pin, and three bug pins Largest: 5.325” L 220.5 grams 16 pieces $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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237

A group of Southwest turquoise jewelry

Mid-20th Century Including: a watch band with chip inlay (Thomas Singer), a channel inlay cuff, a Navajo bear, two chip inlay belt buckles, two chip inlay rings (Juan Singer), a inlay money clip, a howling wolf brooch/pendant, 9 pieces Largest belt: 3” L x 2” W 248 grams $400-600

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Consign Today

Art of the American West | Fall 2021 Olaf Wieghorst (1899-1988, El Cajon, CA) Indian and horse Price Realized: $6,875.00 Consignment and Auction Inquiries: maranda@johnmoran.com

bid in person - absentee - telephone - live online 145 East Walnut Ave, Monrovia, CA 91016 | www.johnmoran.com · info@johnmoran.com · (626) 793-1833

Made In Mexico | August 3, 2021

Alfredo Ramos Martinez (1871-1946, Mexican) “Jesus and Mary - The Crucifiction” Conté crayon and pastel on paper, 48.5” H x 38” W $30,000-50,000 Consignment and Auction Inquiries: marandam@johnmoran.com

bid in person - absentee - telephone - live online

145 East Walnut Avenue, Monrovia, CA 91016 | www.johnmoran.com · info@johnmoran.com · (626) 793-1833

Condition Reports

Consign Today

299

Consign Today

Fine Jewelry & Timepieces An Art Deco natural Ceylon sapphire and diamond pendant necklace

Price Realized: $53,125 Consignment and Auction Inquiries: mollie@johnmoran.com

bid in person - absentee - telephone - live online 145 East Walnut Ave, Monrovia, CA 91016 | www.johnmoran.com · info@johnmoran.com · (626) 793-1833

Condition Reports

1 Overall good condition with minor scuffs and darkening to bronze commensurate with age. Wood base with minor scuffs, scratches, nicks, and felt pad to underside.

10 Overall good condition with minor scuffs and darkening to bronze commensurate with age. Wood base with scattered scuffs, scratches, nicks, and felt pads to underside.

2 Overall good condition with minor scuffs and darkening to bronze commensurate with age. Wood base with scattered scuffs, scratches, nicks, and felt pad to underside. With artist’s label.

11 Overall good condition with minor scuffs and darkening to bronze commensurate with age. Wood base with scattered scuffs, scratches, nicks, and felt pad to underside.

3 Overall good condition with minor scuffs and darkening to bronze commensurate with age. Wood base with scattered scuffs, scratches, nicks, and felt pad to underside.

12 Overall good condition with minor scuffs and darkening to bronze commensurate with age. Felt pads to underside.

4 Overall good condition with minor scuffs and darkening to bronze commensurate with age. Wood base with light scuffs and felt pads to underside. 5 Overall good condition with minor scuffs and darkening to bronze commensurate with age. Wood base with scattered scuffs, scratches, and felt pad to underside. 6 Overall good condition with minor scuffs and darkening to bronze commensurate with age. Wood base with light scuffs and felt pad to underside.

Condition Reports

7 Overall good condition with minor scuffs and darkening to bronze commensurate with age. Wood base with scattered scuffs, splitting, and felt pad to underside.

302

8 Each overall good condition with minor scuffs and darkening to bronze commensurate with age. The figure holding a pipe and tobacco bag with wear and losses to tendrils on headdress and possible losses to tip of left hair strand. 9 Overall good condition with minor scuffs and darkening to bronze commensurate with age. A break to one horse’s rein. Wood base with scattered scuffs, scratches, and nicks.

13 Overall good condition with minor scuffs and darkening to bronze commensurate with age. Wood base with minor scuffs, scratches, nicks, and felt pad to underside. 14 Overall good condition with minor scuffs and darkening to bronze commensurate with age. Wood base with light scuffs and felt pads to underside. 15 Overall good condition with minor scuffs and darkening to bronze commensurate with age. Wood base with scattered scuffs and felt pad to underside. 16 Overall good condition with minor scuffs and darkening to bronze commensurate with age. Wood base with light scuffs and felt pads to underside. 17 Overall good condition with minor scuffs and darkening to bronze commensurate with age. 18 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Frame: 17” H x 20” W x 1.75” D

Blacklight: No evidence of restoration under blacklight. Frame: 16.25” H x 18.25” W x 2.5” D 20 Visual: Generally good condition. Small surface scuff left center. Blacklight: No evidence of restoration under blacklight. Frame: 23.25” H x 27.5” W x 1” D 21 Generally good condition. The paper has several full width creases to the lower half. A spot of grime to the left of the subject’s head. Mounted to the recto mat with two pieces of artist’s tape along the upper edge. Frame: 21.25” H x 17.25” W x 1” D 22 Visual: Generally good condition.

25 Visual: Frame abrasion with some edge residue. Tacking edges removed when lined and with new stretcher bars. Blacklight: Touch-up along the edges. An area approximately 1” x 2” with other scattered spots of touch-up on the figure. A spot of touch-up in the upper center sky. A few other minor dots of touch-up throughout. Other possible areas of touch-up but difficult to read under uneven and heavy varnish. Frame: 23.25” H x 39.25” W x 2.25” D 26 Generally good condition. The paper is gently rippled along the lower edge. A series of 1” light handling creases lower edge right and in the center. Frame: 29.5” H x 35” W x 2” D 27 Generally good condition. Hinged to the recto mat with artist’s tape along the upper edge. Frame: 23.25” H x 20.75” W x 1.5” D

Blacklight: No evidence of restoration under blacklight.

28 Generally good condition. Light handling creases lightly scattered throughout. Not examined out of the frame.

Frame: 18.75” H x 15.75” W x 1.5” D

Frame: 29” H x 25” W x 1.5” D

23 Visual: Generally good condition.

29 Generally good condition. Not examined out of the frame.

Blacklight: No evidence of restoration under blacklight. Frame: 25.5” H x 21” W x 2” D 24 Visual: Stretcher bar creases along the four edges. Craquelure throughout. Two tiny pinholes upper left. Tiny chips of paint loss scattered along the upper edge and lower edge right. Blacklight: Touch-up scattered throughout, concentrated mostly in the sky. Frame: 32” H x 44” W x 2” D

Frame: 25.75” H x 33.75” W x 2” D 30 Generally good condition. The paper is gently rippled. Minor toning to the paper. Staining along the left edge of the matting, not affecting the work. Not examined out of the frame. Frame: 13.75” H x 17.25” W x .75” D

Condition Reports

19 Visual: Generally good condition.

303

31 Visual: Generally good condition. Small chip of paint loss upper left corner. Blacklight: No evidence of restoration under blacklight. Frame: 27.5” H x 31.5” W x 1.5” D 32 Visual: Generally good condition. Small chips of paint loss scattered along the upper edge. Fine craquelure scattered throughout. A small chip of paint loss left center. Blacklight: A series of small spots of touch-up scattered along the length of the right edge. A scattered line of touch-up along the length of the left edge. A small spot of touch-up to the subject’s right cheek. Frame: 35.75” H x 29.75” W x 2.5” D 33 Visual: Generally good condition. A series of small dots of staining lower left quadrant. Not examined out of the frame. Blacklight: No evidence of restoration under blacklight. Frame: 22.5” H x 18.75” W x .75” D 34 Visual: Generally good condition. Craquelure throughout. Stretcher bar creases along the four edges. Surface dirt and grime throughout. Blacklight: Small spots, dots and lines of touch-up scattered throughout.

Condition Reports

Frame: 25” H x 20.75” W x 2.75” D

304

35 Visual: Stretcher bar creases along the four edges. Craquelure throughout. Small chips and tiny flecks of paint loss with some instability in the lower left quadrant. Blacklight: No evidence of restoration under blacklight. Frame: 26.5” H x 24.5” W x 1.5” D

36 Visual: Generally good condition. Frame abrasion along the four edges. A 1.5” crease to the canvas with paint loss in the upper left corner. A tiny chip of paint loss upper left edge. Isolated areas of fine craquelure scattered throughout, concentrated mostly in the subject’s face and hair. Minor surface dirt and dust accumulation. Blacklight: No evidence of restoration under blacklight. Frame: 27.25” H x 23.25” W x 2” D 37 Generally good condition. Not examined out of the frame. Frame: 26.5” H x 20.25” W x 1” D 38 Visual: The original canvas has been striplined and restretched. Wax lined with adhered film acrylic backing. Isolated areas of fine craquelure scattered throughout. Blacklight: Touch-up along the upper and lower extreme edges. Crack-fill throughout the left edge. Three diagonal lines of touch-up from the center to left edge, largest measuring 9.5” L. Other scattered flecks of paint loss concentrated in the left side of the painting. A quarter-sized spot of touch-up lower right center. Frame: 26” H x 32.25” W x 2.5” D 39 Visual: Generally good condition. Craquelure throughout. Tiny flecks of paint loss scattered throughout. Minor surface dirt throughout. Blacklight: A 2” x 4” ‘L’ shaped area of touch-up in the center building. A 3.75” H x 5” W scattered area of very minor touch-up with flecks of loss in the upper right edge. Some areas of loss fluoresce from underpaint. Other very minor scattered flecks of touch-up throughout. Mountains fluoresce consistent with wax residue from lining. Frame: 29.75” H x 35.75” W x 3.5” D

Blacklight: No evidence of restoration under blacklight. Frame: 19.25” H x 22.25” W x 3.25” D 41 Visual: Generally good condition. Blacklight: A pea-sized spot of touch-up upper center. A series of areas of tiny dots of touch up lower right, right center and lower center.

46 Generally good condition. The glass and back mat are sealed together with tape. Not examined out of the sealed envelope. Frame: 19.5” H x 37.25” W x 1” D 47 Each: Visual: Generally good condition. The first: A tiny chip of paint loss right center. Minor varnish discoloration throughout. Minor surface dirt. Each: Blacklight: No evidence of restoration under blacklight.

Frame: 17.25” H x 29.25” W x 2.25” D

Frame of each: 21.75” H x 18.75” W x 1.75” D

42 Visual: Generally good condition.

48 Generally good condition. Three tiny pinholes in the paper right edge center. Not examined out of the frame.

Blacklight: No evidence of restoration under blacklight. Frame: 16” H x 21” W x 2.25” D 43 Visual: Generally good condition.

Frame: 31.5” H x 28.5” W x 1.75” D 49 Generally good condition. Not examined out of the frame.

Blacklight: No evidence of restoration under blacklight.

Frame: 33” H x 25.25” W x 1.25” D

Frame: 14.5” H x 17.25” W x 1.5” D

50 Visual: Generally good condition. A few tiny drops of house paint lower right. Surface dirt throughout.

44 Each: Visual: Generally good condition. The first: Minor surface dirt and tiny spots of varnish discoloration throughout. Blacklight: No evidence of restoration under blacklight. Frame of first: 8.25” H x 14.25” W x 1” D Frame of second: 7.75” H x 9.75” W x .5” D 45 Generally good condition. Not examined out of the frame. Frame: 26.25” H x 23.5” W x 2” D

Blacklight: No evidence of restoration under blacklight. Frame: 36” H x 21” W x 1.75” D 51 Generally good condition. Scuffing to the paper scattered along the upper edge. A 1” minor handling crease lower left edge. Not examined out of the frame. Frame: 20” H x 30” W x 2” D 52 Visual: Generally good condition. A 3.5” light scratch to the varnish layer in the center. Blacklight: No evidence of restoration under blacklight.

Condition Reports

40 Visual: Generally good condition.

Frame: 34” H x 46” W x 2.5” D 305

53 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Some areas of uneven varnish fluoresce under blacklight.

59 Generally good condition. A light diagonal handling crease across the center running upper right to lower left. The paper is lightly rippled in the lower right corner. Frame: 24.75” H x 19.75” W x .75” D

Frame: 19.5” H x 22.5” W x 2” D 54 Visual: Generally good condition. Light stretcher bar creases scattered along the four edges. A few spots of very fine craquelure scattered throughout the upper portion of the canvas. Blacklight: No evidence of restoration under blacklight. Frame: 38” H x 54” W x 2.75” D

60 Generally good condition. Light visible creases in the upper corners from the hinges verso. Two small unobtrusive handling creases lower right. Not examined out of the frame. Frame: 19.25” H x 16” W x .75” D 61 Generally good condition. Frame: 26.5” H x 21.5” W x 1.5” D

55 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Frame: 19.25” H x 20.25” W x 2” D 56 Visual: Generally good condition. A .5” furrow in the paint upper edge right. Minor surface dirt throughout. Blacklight: The signature enhancement fluoresces. Frame: 17” H x 21” W x 2” D

Condition Reports

57 Visual: Generally good condition. Fine craquelure lightly scattered throughout the figures and horses.

306

Blacklight: Flecks of touch-up throughout lightly scattered throughout the sky, concentrated mainly in the clouds. A 2.5” thin line of touch-up in the upper left corner. Frame: 32.25” H x 41.75” W x 2.75” D 58 Generally good condition. Minor toning to the board. Hinged to the recto mat with tape along the four edges. Frame: 24.5” H x 20.5” W x 1” D

62 Generally good condition. The paper is gently rippled. The paper with deckled edges. A small handling crease in the upper left corner. Framed floating and hinged to the back mat. Not examined out of the frame. Frame: 38.5” H x 48.5” W x 2.25” D 63 Each: Toning to the paper. Hinged to the back mat with a piece of paper tape along the lower edge. The first: A .25” tear where the hinge meets the paper. A small smudge left center. Two small scuffs to the paper upper center and one left edge center. Light handling creases scattered throughout. Each: Matted, but not framed 64 Each: Generally good condition. Not examined out of the frame. Frame of first: 17.5” H x 15.5” W x 2” D Frame of second: 14.5” H x 17.25” W x 1” D

Preface pages: Minor, even, toning thorughout with slight handling creases. Portfolio Cover: Generally good condition. The four exterior sides have been replaced with appropiate leather and fabric tie. New end papers inside of portfolio. Portfolio: 16.75” H x 22.55” W x 2.25” D 66 Generally good condition. Minor toning to the card. A series of tiny pinholes scattered throughout. Hinged to the back mat with two pieces of artist’s tape in the upper corners. Frame: 18.5” H x 15.25” W x 1” D 67 Generally good condition. Tiny dots of yellow staining scattered throughout. The paper is folded under the mat to fit the frame. Mounted to the back mat with plastic corners. Frame: 16” H x 18.25” W x 1.25” D 68 Generally good condition. Minor toning to the paper. Tack holes along the upper and lower edges. Mat burn along the four edges. The paper is folded along the left edge. Unobtrusive handling creases scattered throughout. Mounted to the back mat with plastic corners. Frame: 18” H x 21” W x 1.5” D 69 Each: Generally good condition. Not examined out of the frame. Frame of first: 20.25” H x 16.25” W x 1” D Frame of second: 17.5” H x 14.5” W x 1” D

70 Generally good condition. Not examined out of the frame. Frame: 25.75” H x 32.25” W x 2.5” D 71 Visual: A .5” visible tear in the canvas along the upper tacking edge. Fine craquelure in the darker pigments throughout the center. A .25” and a tiny scratch with paint loss right edge center. A series of tiny pinholes scattered along the lower edge and lower left corner. Surface dirt and grime throughout. Blacklight: Two small spots of touch-up upper center. A pea-sized spot of touch-up upper left. A small spot of touch up lower right. A pea-sized spot of touch-up lower center. Frame: 43.5” H x 33.5” W x 1.5” D 72 Visual: Generally good condition. Stretcher bar crease along the upper edge. Craquelure throughout. Blacklight: Small dots and spots of touch-up scattered throughout, concentrated mainly in the sky. A quartersized spot of touch-up upper left edge. Frame: 32” H x 43.5” W x 2.5” D 73 Visual: Generally good condition. Minor surface dirt throughout. Blacklight: No evidence of restoration under blacklight. Frame: 18” H x 20.75” W x 1.75” D 74 Visual: Generally good condition. Very fine craquelure scattered throughout. Blacklight: Touch-up throughout. Frame: 33.25” H x 48.75” W x 3” D 75 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Frame: 19.25” H x 23.25” W x 2” D

Condition Reports

65 Each Etching: Generally good condition. Minor toning to the paper. Rippling in the corners where the paper has been mounted to the back mat. Minor nicks, tears and scuffs to the perimeter edge of the paper scattered throughout the collection. These do not affect the image. Each work has a glassine guard within a double mat.

307

76 Visual: Generally good condition. Minor surface dirt and grime throughout.

82 Visual: Generally good condition. Minor surface dirt throughout.

Blacklight: No evidence of restoration under blacklight.

Blacklight: Two small dots of touch-up upper left. A 1.5” x .5” area of touch-up upper right corner.

Frame: 25.25” H x 23.5” W x 2” D

Frame: 22” H x 17.75” W x 1.25” D

77 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

83 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Unframed.

Frame: 13.5” H x 21.5” W x 2” D 78 Visual: Generally good condition. Minor surface dirt throughout. Blacklight: No evidence of restoration under blacklight. Frame: 12.5” H x 15.5” W x 2” D 79 Visual: Generally good condition. A .25” paint smudge upper right corner. Blacklight: No evidence of restoration under blacklight.

84 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Frame: 18” H x 18” W x 2.5” D 85 Visual: Generally good condition. A series of small chips of paint loss upper edge center and upper left corner. Blacklight: No evidence of restoration under blacklight. Frame: 34.5” H x 40.5” W x 2.5” D

Frame: 13” H x 19” W x 1.5” D

Condition Reports

80 Visual: Generally good condition.

308

Blacklight: Certain pigments fluoresce under blacklight but these appear to be in the hand of the artist. Frame: 27.75” H x 33.75” W x 1.5” D 81 Visual: Generally good condition. Tiny fleck of paint loss upper right corner. Blacklight: No evidence of restoration under blacklight. Frame: 24.5” H x 28” W x 1.75” D

86 Generally good condition. Hinged in the upper right and left corners with archival tape. Frame: 15.5” H x 20.5” W x 1” D 87 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Frame: 42.5” H x 54.5” W x 2.25” D

Blacklight: No evidence of restoration under blacklight. Frame: 31.5” H x 22.75” W x 1.25” D 89 Visual: Generally good condition. Surface dirt and grime throughout Blacklight: No evidence of restoration under blacklight. Unframed, canvas on stretcher. 90 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Unframed. 91 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Frame: 70” H x 50” W x 2.5” D 92 Overall good condition with shelf wear, minor scuffs, and oxidation to copper commensurate with age. One mica panel with minor flaking to interior at upper brackets. Minor loosening to one arm. Evidence of possible resoldering to top of base. Wiring should be checked by a qualified electrician before use. 93 Each overall good condition with minor scuffs and darkening and oxidation to copper commensurate with age. The larger vase and calendar frame with spots of verdigris. the diminutive vase with a minor indentation to the side. 94 Overall good condition commensurate with age and use. Selvage edges in pink. Scattered light staining and a 1” round repaired hole to brown band in one corner. Side B: With fading to lower third, most notable in red band.

95 Overall good condition commensurate with age and use. 96 Overall good condition with scattered holes to upper band of dark brown, most likely from improper hanging method with unraveling to 4” section of corner. Scattered breaks in selvage edges throughout. Side A: Overall good condition. Side B: Overall good condition with fading to lower third of the blanket. 97 Older restorations throughout, including 4” of reweaving to one end. Repairs running the length of the blanket on both sides. 98 Overall good condition with typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered areas of soiling and staining and scattered minor pulled stitches. Side A: sunfading and dust accumulation throughout. Side B: minor dust accumulation. 99 Overall good condition with slight sun fading to one side, dust accumulation, and minimal signs of wear commensurate with age. Issues include, but not limited to: minor pulled/loose stitches and scattered minor holes. 100 Overall good condition with slight sun fading to one side, dust accumulation, and minimal signs of wear commensurate with age. Issues include, but not limited to: minor loose stitches to top and bottom edges. 101 Overall good condition commensurate with age and use. A small area of loss to grey field at one end on one side.

Condition Reports

88 Visual: Generally good condition.

309

102 Overall condition is good commensurate with age and use. Three areas with sewn repairs, two to central area and one to center of one edge, each approximately 3” x 3”. Side A: an area of surface soiling to one red diamond, 6” x 5”, with additional quarter sized areas of soiling scattered throughout. Side B: also with scattered quarter sized areas of surface soiling and additional whiteish surface soiling to same area as Side A, 4” x 5”. A stain to one end, 3” x 3”. 103 Overall good condition with typical signs of wear commensurate with age and use. 104 Overall fair to good condition with fading, light soiling/dirt accumulation, and typical signs of wear commensurate with age and use. Issues include, but not limited to: fugitive dye to central diamonds, areas of lost stitches and fraying to all edges, more prominent 2” and 1.25” frayed losses to one edge, and scattered minor holes. 105 Overall fair to good condition with scattered areas of soiling/staining, light fading, and signs of wear commensurate with age and use. Issues include, but not limited to: scattered lost stitches and fraying to all edges, a more prominent 10” area of fraying to one selvage edge, and areas of reweaving/repairs throughout.

Condition Reports

106 Overall good condition commensurate with age and use. Losses to selvage edges throughout. A 1.5” stain to one side.

310

107 Each in overall good condition commensurate with age and use. Scattered breaks to selvage edge throughout. The first: with even soiling throughout. Some fugitive red and orange dye to one half. The second: with even soiling throughout, possible fugitive dye to center from folding but faint. 108 Overall good condition commensurate with age and use. Dust accumulation to interior. Approximately two stitch losses to rim.

109 Overall good condition commensurate with age and use. Dust accumulation to interior. 110 Overall good condition commensurate with age and use. Approximately three stitch losses to rim. 111 Overall good condition commensurate with age and use. Slight darkening to exterior shoulder. 112 Overall good condition commensurate with age and use. Dust accumulation and oxidation throughout. 113 Overall good condition commensurate with age and use. Approximately one stitch loss, dust accumulation and oxidation throughout. 114 Overall good condition commensurate with age and use. A .25” tear to rim with .5” of losses, other losses scattered throughout rim. 115 Overall good condition commensurate with age and use. Approximately three stitch losses to rim. 116 Each in overall good condition with interior dust accumulation and slight darkening to exterior. Scattered scuffs to exterior and sewn button inventory tags to interiors. 117 Structurally good condition with fading to upper half and one side. Older inventory number to underside: D106. 118 Structurally good condition with loss of one clam shell to rim. Dust accumulation and stitch losses to rim less than .25”. Scattered bug holes throughout. Old inventory number D110 to underside. 119 Overall good condition with wear, dust accumulation, and scattered areas of loss to beading along rim, the largest .25”.

121 Overall good condition commensurate with age and use. 122 Overall good condition commensurate with age and use. Dust accumulation to interior and minor discolorations to foot. An inventory tag sewn to bottom. 123 Overall good condition with fading commensurate with age and use. Approximately three stitch losses to rim. 124 Overall good condition commensurate with age and use. An older inventory tag sewn to interior. 125 Basket with good structural integrity. Dark staining to rim on both interior and exterior in various places. Approximately 2 dozen stitches are lost from the rim. 126 Overall good condition commensurate with age and use. Dust accumulation throughout. 127 Overall good condition with dust accumulation and fading commensurate with age. A diminutive hole to bottom, likely from mounting. 128 Overall good condition commensurate with age and use. 129 Basket with losses to 1/3 of the rim with the largest section being 1”. Dust accumulation to interior and darkening to exterior.

130 Overall good condition with fading and dust accumulation commensurate with age and use. Loose stitches along the rim and scattered lost stitches to the side. 131 Overall good condition commensurate with age and use. Dust accumulation to interior. Inventory tag sewn to bottom with button. 132 Overall good condition with dust accumulation commensurate with age and use. Opening slightly out of round. 133 Overall good condition commensurate with age and use. Scattered losses to first inch of basket. Button sewn to bottom. 134 Overall good condition commensurate with age and use. 135 Overall good condition with minor dust accumulation and slight fading commensurate with age. Two stitch losses off-center from hanging with two additional lost stitches to rim. Minor spot of soiling to interior bottom. 136 Overall good condition with minor dust accumulation and slight fading commensurate with age. Two holes to bottom, possibly from hanging. 137 Overall good condition with losses to the finish stitching along edge, largest section 2”. 138 Overall good condition commensurate with age and use. Dust accumulation to shoulder. Approximately one stitch missing to rim and scattered losses to shoulder. Button sewn to interior.

Condition Reports

120 Overall good condition commensurate with age and use. Minor losses to red scattered to both interior and exterior.

311

139 Overall good condition with fading and dust accumulation commensurate with age and use. Issues include, but are not limited to: scattered lost stitches throughout, evidence of hanging, and opening of central coil at center. 140 Overall good condition commensurate with age and use. 141 Each in overall good condition commensurate with age and use. Each with sewn inventory tags to bottom. 142 Overall good condition commensurate with age and use. 143 The first overall fair condition with losses and breaks to rim and openwork elements scattered throughout. The second with 3” and 1” tears to rim, both vertical with a loss of stitching to rim scattered, and additional damage to foot. 144 Each in overall good condition. One lacking the original glass interior bottle with losses to rim and the other stands slightly askew. Both lacking stoppers.

Condition Reports

145 Overall good condition with minor lost stitches to rim, the largest .5”. A non-noticable seam separation of 1”.

312

146 Overall good condition commensurate with age and use. Slightly out of round. 147 Overall good condition with light scattered soiling to the flap slight fading commensurate with age and use. Lacking ribbon tie. 148 Overall good condition with light soiling commensurate with age and use.

149 Each overall good condition with shelf wear and dust accumulation commensurate with age and use. The Dickerson vessel with varnishing/sealant. 150 Overall good condition with scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Crazing to glazed surface. Mounting putty residue to underside. Illegible sitter’s name to underside, possibly “boyleine” [lowercase]. 151 Overall good condition with scattered minor scuffs, rubbed wear, and inherent firing flaws commensurate with age. Adhesive felt pads to underside. 152 Overall good condition with dust accumulation and wear commensurate with age and use. One small chip and a small nick to rim. Scattered minor slip loss to neck. A .25” nick to shoulder. 153 Overall good condition commensurate with age and use. Minor losses to slip glaze with scuffs and wear throughout. 154 Overall good condition with scattered scuffs and inherent firing flaws commensurate with age. With losses and rubbed wear to decoration scattered throughout. 155 Structurally good condition with wear and losses to glaze scattered heavily throughout. Minor chips to rim. 156 Overall good condition commensurate with age and use. Dust accumulation, scuffs and wear to upper shoulder and neck. Scattered loses to slip with approximately three small flecks that penetrate deeper. Shelf wear to base ring. 157 Overall good condition with scattered minor scuffs and inherent firing flaws commensurate with age. With losses to decoration scattered throughout and a 1” area of abrasion/rubbed wear to the rim.

159 Overall good condition with scattered minor scuffs, rubbed wear, and inherent firing flaws commensurate with age. 160 Overall good condition with scattered scuffs, minor nicks, and inherent firing flaws commensurate with age. With rubbed losses to decoration scattered throughout. 161 Overall good condition commensurate with age and use. 162 Several large cracks issuing from the rim downwards in an L-shape. Some loss to pigment on one side. 163 Each in overall good condition with some minor rubbing, scuffing, some discoloration and minor paint loss 164 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. 165 Overall good condition with scattered minor scuffs and inherent firing flaws commensurate with age. Losses to applied turquoise and azurite chips. Accompanied by four unattached fetishes. 166 Each overall fair to good condition with scattered scuffs, chipped losses, and inherent firing flaws commensurate with age. Each with rubbed wear to surface decoration. Two with kill holes. One with prominent losses to basin of bowl, approximately 4.5” Dia., and extensive repaired radiating breaks. One with repaired breaks throughout.

167 Each overall good condition with scattered minor scuffs and inherent firing flaws commensurate with age. Three with rubbed wear to the surface decoration. 168 Overall good condition with wear and inherent firing flaws commensurate with age and use. No visible restorations. Wear, soiling, paint loss, nicks, and scuffs commensurate with age. 169 Each in overall good condition with minor wear commensurate with age. Scattered clutches with minor moth damage and pulled threads. Scattered linings with soiling. Some retain original box. 170 Each in overall good condition with minor wear commensurate with age. Scattered clutches with minor moth damage and pulled threads. One with the original mirror to the pocket. Scattered linings with soiling. One wood handled purse with stitching loss to connect a portion of handle. Some retain original box. 171 Overall good condition with minor evidence of wear, scattered and uneven preparation to hide, minor bead losses. 172 Overall good condition with scattered bead loss, wear, and missing fringe commensurate with age and use. 173 Each overall good condition commensurate with age and use. The single axe head with broken point. Drum stick with stitch losses to hide. Ceremonial axe with bead loss. 174 Overall good condition commensurate with age and use. Two large abalone buttons with losses, several other buttons either loose or lost. Small losses to edge of red fabric from pinning and wearing.

Condition Reports

158 Overall good condition with scattered minor scuffs, scratches, and inherent firing flaws commensurate with age.

313

175 Overall good condition commensurate with age and use. A .25” scuff to cheek.

183 Overall good condition with tarnishing and light scratches commensurate with age.

176 Each in overall good condition with dust accumulation and wear commensurate with age and use.

184 Overall good condition with light scratches commensurate with age.

177 Each overall good condition with fading and dust accumulation commensurate with age and use. One with scattered lost stitches to bottom rim. One with scattered lost stitches to upper and lower rims and to sides. One with one lost stich to underside. 178 Each overall good condition with slight fading and dust accumulation commensurate with age and use. One lidded basket with wear and lost stitches to the rim and scattered areas of separation/tearing along the side. One lidded basket’s lid does not fit properly. One lidded basket with wear and lost stitches to the rim. 179 Each overall good condition with wear, fading, and dust accumulation commensurate with age. Scattered minor areas of loose stitches. One with evidence of possible glued repair to refix lid knob, fluoresces under blacklight.

Condition Reports

180 Condition is poor with losses, separations, and breaks throughout.

314

181 Overall good condition with wear and soiling commensurate with age and use. Hair with heavier soiling/darkening around bottom of legs. Each with soiling/staining to leather legs on verso, scattered areas of splitting/cracking to leather due to use and drying, and minor tears to interior fabric lining. One leg with prominent tear of hide on front along waist band. 182 Each overall good condition with scuffs and light scratches commensurate with age and use. Each with sticker label residue to interior.

185 Overall good condition with light scratches commensurate with age. Wear to leather. 186 Overall good condition with tarnishing and light scratches commensurate with age. Scattered stones with abrasions, cracks, and surface-reaching fractures. Drying, cracking, creasing, and wear to leather commensurate with age. 187 Overall good condition with light scratches commensurate with age. Scattered stones with abrasions. The leather shows wear and discoloration. 188 Overall good condition with tarnishing and light scratches commensurate with age. The leather with drying, cracking, creasing, and wear to leather commensurate with age. 189 Overall good condition with tarnishing and light scratches commensurate with age. Scattered stones with abrasions, cracks, and surface-reaching fractures. Drying, cracking, creasing, and wear to leather commensurate with age. The turquoise-set belt does not include a buckle. The conchos on the starburst-motif belt are loose. 190 Overall good condition with tarnishing and light scratches commensurate with age. 191 Overall good condition with light scratches commensurate with age. Scattered stones with abrasions. Solder evident on links on reverse. The leather shows wear and discoloration.

193 Overall good condition with tarnishing and light scratches commensurate with age. Scattered stones with minor abrasions. 194 Overall good condition with light scratches commensurate with age. Scattered stones with abrasions. Solder evident on links on reverse. The leather shows wear. 195 Overall good condition with light scratches commensurate with age. Scattered stones with abrasions. 196 Overall good condition with light scratches commensurate with age. Scattered stones with abrasions. 197 Overall good condition with light scratches commensurate with age. Scattered stones with abrasions. 198 Each in overall good condition with light scratches commensurate with age. Scattered stones with abrasions. 199 Overall good condition with light scratches commensurate with age. Scattered stones with abrasions. 200 Each in overall good condition with light scratches commensurate with age. Scattered stones with abrasions. 201 Overall good condition with light scratches commensurate with age. Scattered stones with abrasions.

202 Overall good condition commensurate with age and wear. 203 Each in overall good condition with tarnishing and light scratches commensurate with age. 204 Each in overall good condition with tarnishing and light scratches commensurate with age. 205 Each in overall good condition with light scratches commensurate with age. Scattered stones with abrasions. 206 Overall good condition with tarnishing and light scratches commensurate with age. 207 Each in overall good condition with light scratches commensurate with age. Scattered stones with abrasions. There is evident original glue which has discolored. 208

209 Overall good condition with light scratches commensurate with age. Scattered abrasions. 210 )verall good condition with light scratches commensurate with age. Scattered stones with abrasions. 211 Overall good condition with light scratches commensurate with age. Scattered stones with abrasions. 212 Each in overall good condition with light scratches, tarnishing commensurate with age. Scattered stones with abrasions.

Condition Reports

192 Overall good condition with tarnishing and light scratches commensurate with age. Scattered minor abrasions to some stones. The top of the belt has been torn to a point.

315

213 Each in overall good condition with light scratches commensurate with age. Scattered stones with abrasions.

223 Each in overall good condition with scattered abrasions and light scratches commensurate with age. Wear to strings.

214 Overall good condition with light scratches commensurate with age. Scattered stones with abrasions.

224 Overall good condition with light scratches commensurate with age. Scattered stones with abrasions.

215 Overall good condition with light scratches commensurate with age. Scattered stones with abrasions. Links missing.

225 Overall good condition with light scratches commensurate with age. Scattered stones with abrasions.

216 Overall good condition with light scratches commensurate with age.

226 Each in overall good condition with light scratches, tarnishing commensurate with age. Scattered stones with abrasions.

217 Each in overall good condition with tarnishing and light scratches commensurate with age. One post back slightly bent. Earrings are post-back for pierced ears only. 218 Each in overall good condition commensurate with age and wear. Several with frayed cotton ties. 219 Overall good condition with light scratches commensurate with age. Scattered stones with abrasions.

Condition Reports

220 Overall good condition with light scratches commensurate with age. Scattered stones with abrasions. One has no clasp.

316

221 Overall good condition with light scratches commensurate with age. Scattered stones with abrasions and natural inclusions. 222 Each in overall good condition with tarnishing and light scratches. Scattered turquoise beads with chips.

227 Each in overall good condition with tarnishing and light scratches commensurate with age. Abrasions to the stones. One coral cabochon missing from the pillbox. 228 Each in overall good condition with tarnishing and light scratches commensurate with age. One stone slightly loose. One turquoise cabochon with chips to the edge of the stone. 229 Each in overall good condition with tarnishing and light scratches commensurate with age. 230 Each in overall good condition with light scratches commensurate with age. Scattered stones with abrasions. 231 Each in overall good condition with light scratches commensurate with age. Scattered stones with abrasions. 232 Each in overall good condition with light scratches commensurate with age. Scattered stones with abrasions.

233 Each in overall good condition with light scratches commensurate with age. Scattered stones with abrasions. 234 Each in overall good condition with tarnishing and light scratches commensurate with age. Scattered minor bends to the silver. One collar decoration with an old repair verso. 235 Each in overall fair condition with dents, scratches commensurate with age. Scattered stones with cracks and abrasions. The leather is extremely worn and needs to be replaced. 236 Each in overall good condition with tarnishing and light scratches commensurate with age. Scattered stones with abrasions, chips, surface-reaching fractures, and cracks. Scattered dents and bends to the silver.

Condition Reports

237 Overall good condition with light scratches commensurate with age. Scattered stones with abrasions.

317

John Moran Auctioneers, Inc President, Auctioneer Jeffrey J. Moran

SPECIALISTS

Head of Sale, Specialist Maranda Moran Senior Vice President, Fine Art Director Morgana Blackwelder AAA Junior Specialist / Senior Fine Art Cataloguer Bobby Cullen Vice President, Furniture & Decorative Arts Director Roland Rynkiewicz Fine Art Cataloguer Mike Hook Furniture & Decorative Arts Cataloguer Shannon Dailey 20th Century Furniture and Decorative Arts Specialist Post War & Contemporary Fine Art Specialist

John Simon Taylor Bree Hughes

Jewelry Director Mollie Burns Keith, G.J.G.

CLIENT SERVICES

Office Manager Mario Esquivel Client Services Ella Fountain

OPERATIONS

Vice President, Business Director, Auctioneer Stephen Swan Finance & Human Resources Director Maha Darwish Consignment Coordinator Jean Rapagna Consignment Coordinator Julia Hamilton Operations Coordinator Ian Anderson Art Handler Joe Miranda Art Handler Richard Corral Art Handler Mars Ford

MARKETING

Advertising & Marketing Director, Art Design Nathan Martinez Graphic Designer Brian Olivas

Photography

Photographer Keith Berson Photographer Madison Torres

TRUSTS & ESTATES

Department Manager Noelle Valentino AAA Department Administrator Angela Bryant

FOUNDERS

Founder John H. Moran (1942-2017) Co-Founder Madeleine Moran

This catalogue is meant merely as a guide. The Auctioneers do not warrant the accuracy, genuineness, authenticity, description, weight, count or measure of any of the lots specified herein.

BUYER’S PREMIUMS: BUYER’S PREMIUM is calculated at 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,001 - $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Credit card payments will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards. Buyers outside of the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside of the United States.

BIDDING INCREMENTS:

$100 - $475 @ $25 increments $500 - $950 @ $50 increments $1,000 - $1,900 @ $100 increments $2,000 - $4,750 @ $250 increments $5,000 - $9,500 @ $500 increments $10,000 - $19,000 @ $1,000 increments $20,000 - $47,500 @ $2,500 increments $50,000 - $95,000 @ $5,000 increments $100,000 - $190,000 @ $10,000 increments $200,000 - $480,000 @ $20,000 increments $500,000 & above @ $50,000 increments, or at Auctioneer's discretion.

View Illustrated Catalogue Online @ www.johnmoran.com

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Conditions of Sale AUCTION HOUSE AS AGENT Except as otherwise stated, John Moran Auctioneers Moran's) acts as agent for the seller. The contract for the sale of the property is therefore made between the seller and the buyer. BEFORE THE AUCTION (a) Public Preview: All property is available for inspection by public preview during the day of auction. In many cases, particular lots can be examined in advance by private appointment. Prospective buyers are strongly encouraged to personally examine any property in which they are interested. (b) Buyer's Responsibility: Buyers are responsible for determining to their own satisfaction the true nature and condition of any lot prior to bidding. Though buyers are not legally required to inspect lots prior to purchase, failure to do so may constitute a waiver of complaint that an item was not delivered in a condition equal to the existent condition at the auction. (c) Property Sold 'As Is': Neither Moran's nor the seller provides any guarantee in relation to the nature of the property, or to any errors or omissions in the catalogue or supplemental material apart from the Limited Warranty stated below. Condition reports are offered as a courtesy and are typically published in Moran's catalogue or can be made available upon request. The absence of a condition report does not imply than an item is free from defects or restoration, nor does a reference to particular defects imply the absence of others. AT THE AUCTION (a) Admission: The auction is open to the public, though Moran's reserves the right to refuse admission or participation to anyone at any time. The auctioneer may be recorded (visually, aurally or otherwise) and all participants consent to such recording. (b) Buyer Registration: Prospective buyers must register with Moran's before bidding. Moran's may require identification and financial references in advance of buyer eligibility. Registered bidders accept personal liability to pay the purchase price, including the buyer's premium plus all applicable charges, unless Moran's agrees in advance that the bidder is acting as agent on behalf of an identified third party acceptable to Moran's. In such case, Moran's will look to the third party for payment. (c) Bidding Guidelines: Bidding, whether in person, by agent, absentee bid, telephone, or internet, constitutes a bidder's acceptance of these conditions. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer retains the absolute right to reject any bid, to withdraw, pass or divide any lots, to combine multiple lots, to advance the bidding at his or her absolute discretion and (in the case of error or dispute, whether during or after the sale) to determine the successful bidder, to continue the bidding, cancel the sale or to re-offer and sell the lot in question. Under no circumstances are the consignors' or agents acting on their behalf, permitted to bid on their consignment. In the event of any dispute after the auction Moran's sale record shall be conclusive. (d) Absentee, Telephone and Internet Bidding: Moran's offers absentee, telephone and internet bidding as a convenience to clients and does not accept liability for errors or failures to execute such bids. Absentee and telephone bids must be recognized by Moran's prior to auction day. When identical absentee bids are submitted that become the highest bids at the auction, the bid first received by Moran's shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure. (e) Reserves: Unless indicated otherwise, lots may be offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve for any lot shall not exceed its published estimate. Moran's shall act to protect the reserve by bidding through the auctioneer, who may open bidding on any lot below the reserve by placing a bid on the seller's behalf. The auctioneer may continue to bid on behalf of the seller up to the reserve amount, either by placing consecutive bids or by placing bids in response to other bidders. Lots without reserves are typically opened for bidding at 50% of their low estimate. In the absence of a bid at that level, the auctioneer may proceed backwards at his discretion or deem the lot unsold if a bid is not recognized. AFTER THE AUCTION (a) Payment and Title Transfer: The buyer agrees to pay the sum of the hammer price plus Buyer's Premium, plus any applicable sales tax. Buyer's Premium is calculated as follows: 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,001 - $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Successful bidders using Live Auctioneers platform will be charged a Buyer’s Premium of: 30% on the first $500,000 of the hammer price, plus 23% on any amount between $500,001 - $1,000,000, and 20% on any amount above $1,000,000 when paying by cash, check or wire transfer. Credit card payments will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards. Buyers outside the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside the United States. Buyers are strongly encouraged to provide full payment at the auction. Payment must be received by Moran's within five business days immediately following the auction. The buyer shall not acquire title or take possession of the lot until all amounts (including the hammer price, premium and applicable taxes) due to Moran's have been paid in full. (b) Collection: Buyers are strongly encouraged to collect purchased items from the sale site at the time of the auction. Packing material and labor are provided free of charge at the sale site during the auction. Packing and handling of purchased lot is undertaken by Moran's solely as a convenience to customers. Moran's is not liable for damage to property, regardless of cause, in connection with this courtesy service (c) Storage: Following the auction, uncollected lots shall be relocated to and stored in Moran's warehouse. Moran's shall retain possession of all purchases until full payment has been received from the buyer. Lots remaining uncollected after the fifth business day following the sale, regardless of payment status, are subject to a per-lot daily storage charge of $10.00. In addition to other remedies available by law, Moran's reserves the right to impose upon delinquent buyers a separate 1% monthly charge (of the

purchase price, or the maximum permitted by law) commencing on the sixth business day after the sale date. (d) Shipping: Buyers are responsible for arranging their own shipping estimates and deliveries. Moran's in our discretion and as a courtesy to buyers, can arrange to have purchased lots packed, insured and forwarded by a third-party shipper at the request, expense and risk of the buyer. Moran's assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers, even if recommended by Moran's. Nor does Moran's assume any responsibility for any damage to picture frames or to the glass therein. In circumstances where Moran's arranges for such third-party services, Moran's may apply an administration charge of 15% of that service fee. (e) All Sales Final: Notwithstanding other terms mentioned herein, refunds shall be given at Moran's sole discretion. Refunds requested on the grounds of authenticity must be made within 10 days of the auction and accompanied by a supporting written statement from a recognized authority (defined as a person who has authored, edited, or substantially contributed to a monograph on the artist, a person who has curated, organized or substantially contributed to a solo exhibition on the artist, a person who has represented the artist's estate or someone who represented or worked closely with the artist while they were alive and, in any of the above instances physically handled works of the period, medium and subject matter in question during the course of their duties) stating that the object sold is incorrect or not the work of the artist. Dealers, appraisers and representatives of other auction firms do not qualify as authenticators of individual artists unless they have had such specific involvement with that artist's work, as specified above, in addition to their daily duties. Refunded lots must be returned to Moran's in the same condition as when sold. Moran's does not grant extensions to refund considerations based upon authenticity due to shipping delays. There are no exceptions to this refund policy. LIABILITY AND LIMITED WARRANTY (a) Liability: The buyer expressly agrees that (i) neither Moran's nor the seller shall be liable, in whole or in part, for any special, indirect or consequential damages, including, without limitation, loss of profits and (ii) the buyer's damages, if any, are limited exclusively to the original purchase price paid for the lot. (b) Limited Warranty: All property is sold as is. Neither Moran's nor the consignor or our associates make any representation, express or implied warranty (including merchantability and fitness) or guarantee in condition, age, size, provenance, medium, signature, inscription, exhibition history, importance, rarity, country of origin, genuineness, historical relevance, monetary or other value, framing or lack thereof, mounting, conservation, coloring, palette, inscription, edition, style, label or other descriptor. No statement in the catalogue, brochures, website, bill of sale or invoice, any supplementary material, or statements by any Moran's employee shall be deemed such a warranty or representation or an assumption of liability. (c) Descriptions: No warranty, whether express or implied, is made with respect to any description contained in this auction or any second opinion. Any description of the items or second opinion is for the courtesy of identifying the items for those Bidders who do not have the opportunity to view the lots in person, and no description of items has been made part of the basis of the transaction or has created any express warranty that the goods would conform to any description made by the Auctioneer. Color variations can be expected in any electronic or printed imaging and are not grounds for the return of any lot. (d) Estimates: All estimates provided are carefully considered opinions of Moran's specialists, and are merely suggested guidelines for interested buyers. Buyers must be aware that all property sold is subject to fluctuating values depending on the subjective interests of collectors and a wide variety of other uncontrollable factors. The lots auctioned may sell at prices above, within, or below estimate. (e) Regulated Species: Lots with a "◊" symbol in the printed or digital catalog, or noted within the condition report of a lot, may contain regulated plant or animal materials and could be subject to certain import or export restrictions. It is the buyer’s responsibility to investigate any such restrictions and obtain any required import or export permits / licenses. The inability to obtain any such document(s) is not grounds for requesting a refund nor does it negate the buyer from making full payment for their purchase. (f) Notices, Demands and Refunds: Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016. ADDITIONAL MATTERS (a) Copyright: The copyright on all images, illustrations and written material produced by or for Moran's for this auction is and shall remain at all times the property of Moran's. Moran's and the seller make no representation or warranty that the buyer will acquire any copyright or reproduction rights to a purchased lot. (b) Buyer's Breach of Conditions: If a buyer fails to comply with any of these conditions, Moran's may, in addition to asserting all remedies available by law, including the right to hold that buyer liable for the purchase price, (i) cancel the sale, retaining as liquidated damages any payment made by the buyer, (ii) resell the property without reserve at public auction or privately upon notice to the buyer, or (iii) take such other action as we deem necessary or appropriate. If Moran's resells the property, the original defaulting buyer shall be liable for the payment of any deficiency between the original sale price and any subsequent mitigation sale, including warehousing, the expenses of both sales, reasonable attorney's fees, commissions, incidental damages and all other charges due hereunder. In the event that such buyer pays a portion of the purchase price for any property, Moran's shall apply the payment received to such property that Moran's in our sole discretion, deems appropriate. Moran's shall have the benefit of all rights of a secured party under the Uniform Commercial Code adopted in the State of California. (c) Severability: Should any of these conditions be deemed unenforceable, invalid or illegal in any court having jurisdiction, that part shall be discounted and shall have no effect on the enforceability of the remaining provisions contained herein, which shall remain valid to the fullest extent permitted by law. (d) Jurisdiction: The rights and obligations of the parties with respect to these conditions and the conduct of the auction shall be governed and interpreted by the laws of the State of California. By bidding, whether in person or by agent, by absentee bid, telephone, internet or other means, the buyer shall be deemed to have consented to the exclusive jurisdiction of the courts of the state of California or, if applicable, the federal courts sitting in this state. Further, the buyer agrees that the venue for any action arising out of the failure to abide by these conditions, or any conduct related to or arising out of the auction, shall be the Los Angeles Superior Court, North East Branch located at 600 Olive Street, Burbank, California.

Is your collection

protected?

Do you need a formal appraisal for insurance scheduling, estate tax ﬁling, gift or charitable donation? Moran’s team of USPAP compliant appraisers is here to meet your needs. • USPAP

Compliant

• Quick

Turnaround

art - jewelry - decorative objects - furnishings and more Sold at John Moran Auctioneers: Jessie Arms Botke White cockatoos in an avocado tree

Price Realized: $87,500

145 East Walnut Avenue, Monrovia, CA 91016 | www.johnmoran.com · trustsandestates@johnmoran.com · (626) 793-1833

Registration Form (Attendee / Absentee / Telephone Bidding) [For office use only]

General Notice: This Auction will be conducted in accordance with John Moran Auctioneers’ Conditions of Sale (COS). Bidding and buying at the sale will be governed by such terms and conditions. Please read the COS in conjuction with our policies relating to this sale and other published notices and terms relating to bidding. Winning bidders are responsible for the sum of the final bid, plus Buyer’s Premium on the final bid price and California State Tax for all items purchased, unless exempt in California or shipping documents showing an out-of-state destination are provided. Notice to First-Time Bidders: New clients are required to present a current form of I.D. in order to register and bid. New bidders will be asked to provide financial account information as a reference. All bidders: Please submit a completed bid form with lot details at least 24 hours prior to the auction to ensure acceptance. BUYER’S PREMIUM: BUYER’S PREMIUM is calculated at 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,000 $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Credit card payments will be subject to an additional 2% buyer’s premium.

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.

Title:

First Name:

Paddle number

Sale number

Please email or fax the completed Registration Form and requested information to: Fax: 1.626.798.2079 email: info@johnmoran.com Tel: 1.626.793.1833 Payment by personal or business check will delay release of purchase(s) until funds clear our bank. Checks must be drawn on a U.S. bank. Notice to Absentee Bidders: Bids will be rounded down to the nearest increment if your bid increment is incorrect. Moran’s will endeavor to execute these bids on your behalf but will not be liable for any errors or non-executed bids. In the event of a tie bid, the Registration Form received first will be recognized as the winning bid.

Please list lots for absentee bidding on reverse

In order to better serve you, please mark the checkbox’s below for your auction interests.

Last Name: Driver’s License number:

18th & 19th Century Furniture & Decorative Art

Company Name:

20th Century / Modern Design

Address 1:

American Art

Address 2:

Asian Art & Objects

City:

Couture / Luxury Goods

State:

Postal Code:

European Art

Country:

Jewelry & Timepieces

Email: *By providing your email address, you authorize Moran’s to send you sale announcements. Moran’s does not sell, share or trade any client information.

Telephone (primary):

Native American Objects Prints & Multiples

Telephone (secondary):

Rugs & Carpets Silver

Fax: Have you registered with Moran’s before? Yes

How did you hear about our services?

Sellers permit info: Contact office for verification Permit #

Modern & Contemporary Art

State:

Turn of the Century Design / Arts + Crafts Western Art Have a specific type of item you are interested in, let us know:

Exp:

I agree that I have read Moran’s Conditions of Sale and shall be bound by them. This affects my legal rights. Signature:

Date:

rev. 7/2018

Registration Form (Attendee / Absentee / Telephone Bidding)

Paddle number [For office use only] FOR OFFICE USE ONLY

General Bid Increments $200-475.................................$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...................$1000 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 the Auctioneer’s discretion

Telephone Agent Name: Bidder Name: Primary Phone Number: Secondary Phone Number: Email Address:

Absentee & Telephone Bidding Lot Number

Lot Description

***Absentee bids must be at least half of the low estimate*** Maximum Bid

(Excludes Buyer’s Premium) Absentee only

FOR OFFICE USE ONLY

Y/N

Last Bid $

PLEASE NOTE: In the event of any discrepancy, lot number and not lot description will govern proxy bid

Received By:

Date:

rev. 7/2018

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