Art of the American West — June 6, 2023 | John Moran Auctioneers

6.6.2023

AUCTIONEERS & APPRAISERS

SINCE 1969

AUCTIONEERS & APPRAISERS

6.6.2023 | 12pm PDT

Sale 248 145 East Walnut Avenue, Monrovia CA 91016

This is an interactive brochure. Click on any item description or hyperlink for more information.

Previews:

Friday, June 2nd: 12-4pm

Saturday, June 3rd: 12-4pm

Monday, June 5th: 12-4pm

Tuesday, June 6th: Doors open 10am Or by appointment

Meet the Team

Maranda Moran Head

of Sale, Vice President

maranda@johnmoran.com

Sally Andrew Silver, Western, & American Indian Cataloguer sally@johnmoran.com

Client Services

Mario Esquivel Office Manager mario@johnmoran.com

Jamie Holthauser Client Services jamie@johnmoran.com

Ella Fountain Client Services ella@johnmoran.com

Bryan Ortega Client Services bryan@johnmoran.com

SINCE 1969

AUCTIONEERS & APPRAISERS

Rex Chase

(1931-2017)

John Moran Auctioneers is honored to present Property from the Rex Gilman Chase Collection, Berkeley, CA. An avid art collector and frequent traveler, Rex Chase lived a life full of beauty and adventure. Born April 12, 1931, in Dunlap, Iowa as the youngest of seven siblings, Rex quickly learned the importance of hard work and independence. Paying his own way, he earned a bachelor’s degree in economics in 1953 followed by a master’s degree in health services administration in 1955 from the University of Iowa. After college he served in the United States Air Force, eventually landing him in Northern California. After completing his military service, he moved on to serve in various administrative positions at multiple hospitals in the area, ultimately working his way to President and CEO of Mary’s Help Hospital (later called Seton Medical Center) in Daly City, CA, where he remained for almost 20 years.

Along with achieving great success in his professional life, Rex had a loving and fulfilling personal life with his partner of 49 years, Everett Stanley. Together, the couple loved opera, the symphony, ballet, theater, museums, and collecting, especially while traveling. They loved to purchase art on many of their adventures, acquiring a variety of eclectic and abstract works. Rex was especially drawn to Inuit art for its simplicity, clean lines, and meaning. A friend of Rex lived in Canada and would often send him Inuit art and artifacts from local shops as well as consult him on items he’d find in the states. Navajo textiles had a large presence in Rex and Everett’s home and mainly came from Arizona and Colorado. Every room was filled with art, and so much so that the couple referred to their house as, “a salon of art”. Sadly, Rex passed away in 2017 and Everett currently resides in assisted living, but their memories will forever live on through each piece of this impressive capsule collection.

SINCE 1969

AUCTIONEERS & APPRAISERS

1001

Karl Yens (1868-1945)

“Monuments of Nature, Yosemite Canyon,” 1919 Oil on panel

Signed and dated lower right: Karl Yens; signed and dated again and titled verso 10” H x 14” W

$500-700

1002

Karl Yens (1868-1945)

“Time of Recollection (Half Dome in Yosemite Valley),” 1919 Oil on panel

Signed

$500-700

and dated lower right: Karl Yens; signed again, titled, and dated verso 10” H x 14” W

1003

Tiffany Stevenson (20th century)

“’Phelps Lake’ - new Rockefeller Trail,” 2008 Oil on Masonite

Signed lower right: T. Stevenson; signed again, titled, dated 7/18/2008, and inscribed: On Location, all verso 8” H x 10” W

$200-400

Provenance: Montgomery-Lee Fine Art, Park City, UT

The Estate of George David Sturges, acquired from the above, 2010

1004

Carole Cooke

(b. 1949)

“Late Winter Evening”

Oil on linen laid to panel

Signed lower right: Carole Cooke; signed again and titled verso: Carole Cooke © 11” H x 14” W

$500-700

Provenance: The Legacy Gallery, Scottsdale, AZ and Jackson Hole, WY The Estate of George David Sturges, acquired from the above, 2009

1005

Franz Arthur Bischoff (1864-1929) Oak tree

Oil on canvas tipped to artist board

Signed lower right: F.A. Bischoff

8” H x 10” W

$1,000-2,000

1006

Clifford Park Baldwin (1889-1961)

“Rainbow Valley,” 1938

Oil on canvas

Signed lower right: C. Park Baldwin; titled on an exhibition label affixed verso 26” H x 30” W

$300-500

Exhibited: Southern California Fair, Riverside, CA, 1938

1007 Alfred Nestler (1900-1970) Forest landscape Oil on Masonite

Signed lower right: Nester and with the artist’s device 16” H x 18” W

$600-800

1008

William Alexander Griffith (1866-1940) “Eucalyptus,” 1921 Oil on canvas

Signed and dated lower left: W. A. Griffith; signed again and inscribed indistinctly, verso; titled on a paper label affixed to the stretcher, verso 20” H x 24” W

$3,000-5,000

1009

Stanley Long (1892-1972)

“Friends”

Watercolor on paper

Signed lower right: Stanley M Long; signed in pen on a label affixed to the frame’s cardboard backing Sight: 15.5” H x 19.5” W

$400-600

1010

Hernando Villa (1881-1952)

Riders in the desert Watercolor on paper

Signed lower left: Hernando Villa Sight: 18.25” H x 25” W

$800-1,200

1011

Charles Waldman (b. 1949)

“Pack’N Home” Oil on canvas

Signed lower left: C. Waldman; Titled and inscribed on the stretcher: Kennedy MDW 20” H x 30” W

$800-1,200

1012 Jack Terry (b. 1952)

“One With The Wind,” 1996

Oil on canvas

Signed lower right: Jack Terry ©; signed again, titled, and dated verso 24” H x 20” W

$3,000-5,000

1013

“Leather and Lace,” 1997

Oil on panel

Bears

$500-700

Thomas William Lorimer (1941-2015)

signature and date lower left: Thomas W. Loimer, and with the artist’s device; signed again, titled, and dated verso Sight: 11.875” H x 8” W

“Quitting Time,” 1971

Patinated bronze on wood base

Edition: 1/36

Signed, dated, and numbered in the casting: A. Kelly Pruitt / 1971

19” H x 14.5” W x 7.25” D; with base: 21” H x 16.5” W x 9.5” D

$700-900

1014

A. Kelly Pruitt (1924-2009)

1015

Rusty Phelps (b. 1963)

Elk Hunter, 1978

Patinated bronze on wood base

Edition: 12/15

Signed, dated, and numbered in the casting: Rusty Phelps © / 78 / 12-15

22.25” H x 19.5” W x 17.5” D; with base: 24.25” H x 20” W x 19” D

$1,000-2,000

1016

Attributed to Edward Borein (1872-1945)

Western scene with figure and horses

Colored pencil on paper

Appears unsigned

Image/Sheet: 4.75” H x 7” W

$600-800

Other notes: There are several figural sketches by the artist verso.

1017

Attributed to Edward Borein (1872-1945)

Polo scene

Colored pencil on paper

Appears unsigned; indistinctly inscribed and dated verso: Aug. 1926

Sight: 4.5” H x 7.25” W

$600-800

Other notes: There is a sketch of a horse by the artist verso.

1018

A horsehair parade bridle 20th century

The polychrome woven headstall with chased metal bit, inset resin medallions with dog’s heads and tiger’s heads, and adjustable tasseled reins, together with a conformingly designed horsehair crop, 2 pieces

Crown: 47” L; nose band: 10” L; throat latch: 19.5” L; chin strap: 7” L; reins: 66” L; crop including strap: 44” L

$2,000-3,000

1019

A braided horsehair belt/hatband

20th century

Braided in dark brown and blonde horse hair, terminating in tassels

63” L x 0.75” W

$100-200

Provenance: The Estate of Oscar and Barbara Leidenfrost

Other Notes: Proceeds to benefit non-profit organizations and educational institutions.

1020

A Western Circa 1970s; Tooled to The leather Horn to cantle: $1,000-2,000

Provenance:

Western saddle from 26 Bar Ranch 1970s; Eagar, AZ to cantle: Eikichi Suzuki; Impressed: 9012 leather saddle with seat rise, billet strap, skirt, tooled seat, and leather and metal stirrups on a wood stand cantle: 19.75”; swell width: 12”; gullet width: 18.5; overall on stand: 43” H x 22” W x 31” D

$1,000-2,000

Provenance: Property from 26 Bar Hereford Ranch, Eagar, Arizona, by repute

1021

Jack N. Swanson (1927-2014)

“First Look”

Patinated bronze on wood base

Signed in the casting: J.N. Swanson / [illegible foundry mark]; titled to plaque 6” H x 12” W x 7.75” D; with base: 8” H x 14” W x 9” D

$500-700

Other 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.

1022

Circa late 19th/early 20th century

Appears unsigned

26” H x 36” W

$600-800

A tiger lithograph in custom cage frame

1023

A group of American folk art weathervanes

20th century

Each a reproduction folk art weathervane, comprising one carved wood black flying goose with metal wings, one carved wood white flying goose with metal wings, a carved wood Danish-style figure with windmill, and a metal horse with rider, 4 pieces

Larger: 36” H x 22” W x 9” D; smaller: 19” H x 28.5” W x 1” D

$400-600

1024

A Navajo silver and turquoise belt buckle

Mid-20th century; Diné

Appears unmarked

A rectangular silver belt buckle with stampwork embellishment and six bezel set turquoise nuggets, mounted to a newer leather strap

2.625” H x 3” W; strap: 35.75” L

92.2 grams gross

$200-300

1025

A Navajo silver concho belt

Mid/late 20th century; Diné

Appears unmarked

Comprised of a silver buckle with repoussé and stampwork motifs and set turquoise, together with eleven conchos with central set turquoise, all mounted to a leather belt strap, with one additional concho, 2 pieces

Buckle: 2” H x 3” W; each concho: 2” H x 2.5” W; strap: 31” L x 0.625” H

367.9 grams gross

$700-900

Provenance: The Estate of Oscar and Barbara Leidenfrost

Other Notes: Proceeds to benefit non-profit organizations and educational institutions.

1026

A Plains leather concho belt

19th century

Appears unmarked

With nine German silver smooth domed conchos in various sizes applied to a wide incised leather belt with two small riveted straps and buckles Conchos: 2.5” Dia.; 2” Dia.; 0.75” Dia.; Belt: 32.625” L x 3.35” H

$600-800

1027

A group of Ranger set belt buckle items

Mid/late 20th century

Variously marked: Hecho en Mexico / Sterling / 925 / 18K

Six works including a Mexican chased sterling silver and 18k gold overlay Ranger set with a buckle (1.875” H x 2” W) and two keepers (1.125” H), as well as a second chased sterling silver buckle (1.625” H x 2” W), as well as two partial Ranger sets, each with two silver and mixed metal keepers and a matching end (larger: 0.875” H; smaller: 0.75” H), and an additional mismatched keeper and belt end, 12 pieces

122.2 grams gross

$200-400

1028 Harry B. Wagoner (1889-1950) Desert landscape Oil on canvas laid to Masonite

Signed lower right: H.B. Wagoner

6” H x 8” W

$600-800

1029

Harry B. Wagoner (1889-1950)

Desert landscape

Oil on canvas laid to Masonite

Signed lower right: Harry B. Wagoner

12” H x 16” W

$1,000-1,500

1030

Michael R. Johnson, (b.1937)

The Grand Canyon Oil on canvas

Signed lower left: M Johnson © 48” H x 72” W

$2,000-4,000

1031

Grafton Tyler Brown

(1841-1918)

“Grand Canyon from Lookout Point, Yellowstone National Park,” 1886 Oil on canvas

Signed and dated lower right: G.T. Brown; signed and dated again and titled verso 30” H x 18” W

$20,000-30,000

Provenance: The Crane Collection, Boston, MA

1032

Gerald Brommer (b. 1927)

“WALPI” or “After The Storm,” 2013

Acrylic and collage on canvas

Signed lower right: G.F. Brommer; signed again, titled, and dated on a label affixed to the frame’s backing paper 48” H x 36” W

$700-900

Provenance: Jonathan Art Foundation, Los Angeles, CA

Other Notes: The Jonathan Art Foundation is a non-profit organization whose public charitable purpose is arts education and outreach through the acquisition and exhibition of outstanding artworks that focus primarily on Southern California artists and history, while also maintaining such works and books as a resource for use by scholars.

1033

William Slaughter (1923-2003)

“Cactus

Oil on canvas

Signed

$2,500-3,500

Provenance:

in Bloom”

lower right: W.A. Slaughter; titled and inscribed in blue pen on a flashcard affixed to the frame: Purchased 1987

16” H x 20” W

Simic Galleries, Carmel, CA Private Collection, Laguna Woods, CA, acquired March 1, 1987 from the above

1034

Franz Arthur Bischoff (1864-1929)

Desert cacti

Oil on canvas tipped to artist board

Signed lower right: F.A. Bischoff

5” H x 7” W

$400-600

1035

Milford Zornes (1908-2008) “Santa Fe”

Watercolor on paper, watermark Arches

Signed lower left: Zornes; signed 22” H x 30” W

$400-600

Arches again and titled in pencil, verso

1036 Stephen Hallet Willard (1894-1966)

“Symphony of Mountain and Desert”

Photograph with hand-painting on artist board

Signed and titled along the lower edge: © Stephen H. Willard

22” H x 30” W

$800-1,200

1038

Stephen Hallet Willard (1894-1966)

Blooming desert

Photograph with hand-painting on artist board

Signed and numbered in ink lower right: Stephen

H. Willard © / 258

11” H x 15” W

$300-500

1037

Stephen Hallet Willard (1894-1966)

“Song of the Sunlight”

Photograph with hand-painting on paper

Signed and titled lower left: Stephen H. Willard ©

30” H x 40” W

$1,000-1,500

1039

A Gustav Stickley hammered copper coal scuttle Circa 1905

The copper plated brass bucket with biomorphic handle and riveted seams, terminating in a fluted foot

26.5” H x 12.25” W x 14.25” D

$1,000-1,500

Literature: Stephen Gray and Robert Edwards, ed., “Collected Works of Gustav Stickley” (New York, NY: Turn of the Century Editions, 1981), p. 144, fig. 350.

1041

A Dirk van Erp hammered copper and Circa 1915-1977

Dirk Koperlager van Erp (1862-1933)

Marked to the underside for Dirk Van Erp Hammered copper with applied decorative 1.5” H x 5.5” W x 3.75” D

$300-500

1040

A Stickley Brothers hammered copper tankard no. 45 Early 20th century Stamped to the underside: 45 The handled metal mug with sturdy foot and rolled lip

6.75” H x 4.5” Dia.

$300-500

/ San Francisco / [windmill]

decorative silver accents and wood interior

and silver box

1042

A Clewell copper-clad ceramic cider set

Circa 1910s

Pitcher and mugs each marked to the underside: Clewell / Canton, Ohio

The set comprising one handled pitcher (10.25” H) and five mugs (each: 4.5” H), each ceramic with faux-riveted copper overlay, all set upon a solid copper oval tray (19.25” Dia.), 7 pieces

$300-500

1043

A group of Roycroft hammered copper table items

Circa 1910-1915

All marked for Roycroft

Comprising a cup, a lidded humidor, and a tray, all with a patinated finish, 3 pieces

Larger: 0.25” H x 13.75” L x 9” W; smaller: 3” H x 2.75” Dia.

$400-600

1044

A Roycroft “American Beauty” copper vase

Circa 1909-1920

Marked for Roycroft

The hammered copper vase with a tall neck, riveted bowl, and flared base 19” H x 7” Dia.

$1,000-1,500

Other Notes: The largest design of this style of vase was designed in 1913 for use at the Grove Park Inn in Ashville, NC. “The American Beauty” vase is the largest vase manufactured by Roycroft shops with name for this design paying homage to the long-stemmed roses often displayed in this statuesque model. This particular vase stands at 18” tall, which is the second largest size offering.

1045

A Spanish-style wrought iron andiron set

Late 19th/early 20th century

Each large andiron with scrollwork, foliate motifs, and floral finial along with a matching handled fire poker, 3 pieces

Each andiron: 31” H x 36” W x 13” D; poker: 41” L x 5.25” W

$800-1,200

1046

A Navajo pictorial blanket

Late 19th century; Diné Woven in red, cream, grey, black, and yellow wool with alternating bands of horse and train motifs, and serrated zigzags

84” H x 53.5” W

$6,000-8,000

1047

Mid-20th

$3,000-5,000

A Navajo transitional blanket

century; Diné Woven in red, green, dark and light brown, and cream wool in a serrated banded motif

44” H x 74” W

1048

A Pomo gift basket

Late 19th century; Northern California

A coiled oval form basket with five floating stepped motifs to sides and one end

2.75” H x 7.5” W x 4.5” D

$500-700

1049

A small Pomo basket

Early/mid-20th century

A

$200-300

small coiled basketry bowl with three stepped X-motifs to sides continuing to base

2” H x 4.75” Dia.

1050 A group of baskets

Early/mid-20th century

A mixed group including a large coiled oval basket with hide leather handles to the side ends (7.5” H x 15” W x 13” D), a Northern California vase form basket with flared base (6.125” H x 7” Dia.), and a rounded form woven basket with rattan strips and plaited strips woven over wide bark splints, with a nailed rattan rim (9” H x 8.5” Dia.), 3 pieces

$100-200

1051

A Hupa/Yurok/Karuk lidded basket

Late 19th/early 20th century; Northern California

A polychrome twined lidded basketry bowl in a rounded shape with three swirling sawtooth ‘house ladder’ style columns and with a domed lid with finial similarly decorated 8” H (with lid) x 7.5” Dia.

$600-800

Provenance: The Estate of Oscar and Barbara Leidenfrost

Other Notes: Proceeds to benefit non-profit organizations and educational institutions.

1052

Two Southwest basketry items

Mid/late 20th century

Two works:

Attributed to Mary Holiday Black (b. 1934, Diné)

A coiled polychrome Navajo wedding basket

A coiled “Night and Day” wedding tray basket with a standing figure on a natural pale field opposite a howling coyote figure on a dark field, each with all-over multicolored cross star motifs

2” H x 11.5” Dia.

A polychrome Hopi basketry plaque

A coiled Hopi plaque with Mud Head figure and stepped edge motifs, with hanging loop 1” H x 10.75” Dia.

2 pieces

$400-600

1053

A miniature basket

Mid/late 20th century; Mexico

A diminutive polychrome coiled basket with swirled diagonal banding from rim to base

1.375” H x 2.5” Dia.

$50-75

Other Notes: Owner’s notes indicate the basket is made by the indigenous Seri people near Bahia Kino, Mexico and acquired in 1990

1054

A Navajo regional rug

Early 20th century, Diné Woven in red, brown, cream, tan, and natural grey/brown wool, with three stacked diamonds and columns of whirling logs all within a double border of black and red

80” H x 47” W

$800-1,200

Provenance: Property from the Rex Gilman Chase Collection, Berkeley, CA

1055

A Navajo regional rug

Early 20th century; Diné

Woven in red, dark grey, and natural brown wool with serrated diamond motif throughout 81” H x 58.5” W

$700-900

Provenance: Property from the Rex Gilman Chase Collection, Berkeley, CA

1056

A Navajo regional rug

Mid-20th century; Diné Woven in red, brown, cream, and natural grey brown wool with central stepped and serrated diamonds

87.5” H x 63.5” W

$600-800

Provenance: A.N. Abell Auctioneers. Los Angeles, CA, 10/12/1981

1057

A Navajo regional blanket

Early 20th century; Diné Woven in cream, dark brown, and red wool with alternating striped bands and rows of serrated diamond motifs, with faded red wool ends and selvage stitching

37.5” H x 59” W

$500-700

Provenance: Sold: Butterfield & Butterfield, San Francisco, CA, May 02, 1990, Lot 2868

Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, May 1990

Other notes: This lot is accompanied by a copy of a sales receipt from Butterfield & Butterfield, San Francisco, CA, dated May 03, 1990.

1058

A Navajo regional rug

Mid-20th century; Diné Woven in ochre, black, cream, and grey wool with a central serrated zigzag column and complex serrated border

60” H x 33” W

$300-500

1059

A Navajo regional rug

Mid/late 20th century; Diné

Woven in grey, red, cream, and black wool with ten rows of multicolored diamonds and a black and white border

49” H x 54” W

$300-500

1060

A Navajo Ganado/Klagetoh textile

Late 20th century; Diné

Woven in red, grey, black, and cream wool with a central cross within a stepped diamond and a stepped border

35” H x 24” W

$200-300

1061

Charles Loloma (1921-1991, Hopi)

A Hopi gold stone inlay ring, late 20th century With incised mark for Charles Loloma; further etched: CXCXP / CL8 / 2

An 14k gold ring with multistone sculptural cobblestone inlay including lapis, turquoise and coral Ring size: 6 16.2 grams gross

$2,000-3,000

Provenance: The Estate of Oscar and Barbara Leidenfrost

Other Notes: Proceeds to benefit non-profit organizations and educational institutions.

This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

1062

A Southwest 18k gold and turquoise 20th/21st century Stamped: 18K / C [indistinctly marked, likely A chunky 18k yellow gold ring with a central Ring size: 9.25 28.1 grams gross

$700-900

turquoise ring

likely for Chris Beyuka, Zuni) central claw bezel set turquoise stone

1063

Two Southwest silver and 14k gold rings

Late 20th/21st century; Diné

Each marked: 14K; one further marked: Sterling / [lizard pictograph; for Calvin Peterson, Diné] Comprising a Calvin Peterson Navajo sterling silver and 14k yellow gold shadowbox style ring with a gold overlay howling coyote motif (ring size: 9.5), and a 14k yellow gold ring with multistone mosaic inlay including opal (ring size: 9.25), 2 pieces 23.0 grams gross

$500-700

1064

A collection of Southwest rings

Late 20th/21st century

Seven works:

Veronica Benally (b. 20th century, Diné)

A Navajo sterling silver and sculptural inlay ring

Stamped: V. Benally / Sterling

A rectangular multistone inlay ring including lapis and turquoise, with stamped silver flared band

Ring size: 10.5

Billy Slim (b. 20th century, Diné)

A Navajo sterling silver and turquoise ring

Stamped: B / Sterling

A large heavy cast sterling silver ring with set oval turquoise with heavy matrix

Ring size: 10.75

Fred and Lolita Natachu (b. 20th century, Zuni)

A Zuni sterling silver inlay ring

Stamped: FLN / Sterling

A sterling silver ring with Sunface inlay in turquoise, red and black

Ring size: 11

Four Southwest-style silver and stone set rings

One stamped: NH / [arrow and shield]

One ring with set onyx and three further rings with stone inlay in various colors and designs, 4 pieces

Largest: ring size: 11; smallest: ring size: 8.75

7 pieces

120.9 grams gross

$300-500

1065

Two Southwest-style stone set rings

Late 20th/21st century

One stamped: [zig-zag pictograph] / Sterling Comprising a sterling silver and set turquoise modernist style trapezoidal ring with grill effect band (ring size: 5.5), and a chunky silver ring with central turquoise-colored stone and coral and with applied silver accents (ring size: 8.25), 2 pieces 44.4 grams gross

$200-300

Provenance: The Estate of Oscar and Barbara Leidenfrost

Other Notes: Proceeds to benefit non-profit organizations and educational institutions.

1066

A group of Southwest rings

Late 20th century

Five works:

Gary Reeves (1962-2014, Diné)

A sterling silver Navajo stone set ring

Stamped: Gary Reeves / Sterling

An oval set turquoise ring with stamped band

Ring size: 8.5

Ruth Ann Begay (b. 20th century, Diné)

Two Navajo stone set sterling silver rings

Each stamped: Ruth Ann Begay [script] / Sterling

Two silver rings with set stones, including one with set turquoise with pale matrix (ring size: 10), and one with set purple charoite (ring size: 8.75), 2 pieces

A large sterling silver and set oval turquoise ring with stamped edging

Stamped: RB [within a bear, for Running Bear shop, Gallup N.M.], .925

Ring size: 9.5

A large sterling silver and set turquoise and coral ring with feather and ball accents

Stamped: D [possibly for John Delvin, Navajo/Diné] / Sterling

Ring size: 8.5

5 pieces

96.5 grams gross

$200-300

1067

R.C. Gorman (1932-2005)

“Pueblo Potter,” 1978

Lithograph in colors on paper

Edition: 69/100, State 1

Signed and dated lower left: R.C. Gorman; with two unidentified blindstamps; Orgin Press, San Rafael, CA, prntr. and pub. lower left and right

Image/Sheet: 22” H x 30” W

$800-1,200

Literature: Adams and Newlin 156

1068

Fritz Scholder (1937-2005)

“Indian Portrait in Roma,” 1978

Etching and aquatint in colors on paper

Edition: 43/90

Signed and numbered in pencil in the lower margin: Scholder

Plate: 47.25” H x 38.75” W; Sight: 50” H x 40.5” W

$3,000-5,000

1069

Fritz Scholder (1937-2005)

“Flower at Giverny”

Etching in colors on paper

Edition: 98/120

Signed and numbered in pencil in the lower margin: Scholder

Plate: 21.25” H x 16.25” W; Sheet: 30” H x 22” W

$500-700

1070

Dan Namingha

((b. 1950) Hopi-Tewa)

“West of Hopi”

Lithograph in colors on wove paper

Edition: A.P.

Signed, titled, and inscribed A.P. in pencil along the lower margin: Dan Namingha; Naravisa Press, Santa Fe, NM, and with their blindstamp in the lower left margin

Image: 31” H x 23” W; Sheet: 33” H x 25” W

$600-800

1071

Oscar Howe ((1915-1983) Yanktonai Dakota)

“Koda, Nape Ciuza” (“Friend, I Shake Your Hand”), 1966 Gouache on paper

Signed and dated lower right: Oscar Howe, with the artist’s fingerprint imprinted in paint in the lower right sheet margin; titled on a label affixed to the frame’s backing board

Image: 20.625” H x 21.375” W; Sheet: 22.375” H x 23.375” W

$12,000-18,000

Provenance:

University of South Dakota, Vermillion, SD

John C. Weaver, gift from the above in thanks for his commencement address on January 28, 1967

A Private Rancho Palos Verdes Estate, by descent from the above

Notes:

Oscar Howe (1915-1983) was a renowned Native American artist who is best known for his innovative and expressive depictions of traditional Dakota culture and mythology. Born on the Crow Creek Reservation in South Dakota, Howe grew up immersed in his heritage and was deeply influenced by the rich visual traditions of his people.

Despite facing significant obstacles as a Native American artist in a predominantly white art world, Howe persevered and became one of the most respected and celebrated artists of his generation. Howe experimented with a wide range of artistic styles and techniques, eventually developing a highly individualized style that blended traditional Dakota imagery with contemporary abstract forms. He drew inspiration from the geometric designs and bright colors of Dakota beadwork and quillwork, as well as from the bold, sweeping lines of modernist painting.

Throughout his career, Howe created a vast body of work that included paintings, drawings, prints, and murals, as well as sculptures and installations. His art was exhibited widely in galleries and museums across the United States and Europe, and he received numerous awards and honors for his contributions to the field. Despite facing discrimination and marginalization throughout his life, Oscar Howe remained committed to his artistic vision and his cultural heritage.

In 2022, a major exhibition titled “Dakota Modern: The Art of Oscar Howe” opened at the National Museum of the American Indian, New York which reintroduced Howe’s work to contemporary audiences. The exhibition subsequently traveled to the Portland Art Museum in Oregon and will be on view at the South Dakota Art Museum at South Dakota State University from June 10, 2023 to September 17, 2023.

A label on the frame verso, typewritten by the artist, provides the following explanation of this painting’s subject matter:

“HORSE DANCER” (Sunk waci)

“Sioux Indians (Dakota’s) really appreciated the horse and his use to them, in hunting, warfare and many other uses. The horse appropriately named SUNKA WAKAN, (Sacred Dog) and considered mysterious - He is given a dance in his honor, in which the horse dances or performs in rhythm to singing with drumbeats - Horse is with or without rider - Horses used in dance usually number between 20 to 40 - in each performance in formation as according to cardinal points (different colors artificial).

“The background as related to foreground (in form, rhythm etc.) is explained through Sioux language, of nature or natural dimensional meanings and feelings which I try to objectify, the visual form by verbal (Sioux) meanings. Sioux terminology makes for poetic aesthetic form and forms.

“(The colors of the horses according to the cardinal points are. Four black horses represent the west; white, the north; sorrel, the east; buckskin, the south).”

1072

Oscar Howe (1915-1983, Yanktonai Dakota)

“Camte waste, no no wa” (“Good Heart Forever”) Gouache on paper

Signed lower right: Oscar Howe, with the artist’s fingerprint imprinted in paint in the lower right sheet margin; titled on a label affixed to the frame’s backing board

Image: 18.5” H x 24.625” W; Sheet: 20.25” H x 26.5” W

$12,000-18,000

Provenance:

John C. Weaver, acquired from the artist circa January 1967 A Private Rancho Palos Verdes Estate, by descent from the above

1073

Allan Houser (1914-1994)

Mother and Child, 1989

Patinated bronze on wood base

Edition: 12/15

Signed, dated, and numbered to base: Allan Houser / © 89

Overall: 25.325” H x 10.75” W x 9.5” D

$6,000-8,000

Provenance: Private Collection, San Francisco, CA

1075

Christine Nofchissey McHorse (1948-2021, Diné)

A micaceous ceramic pot

Signed to underside: McHorse

Embellished with two low-relief crosses and stepped rim

12” H x 13” Dia.

$600-800

Provenance: The Estate of Oscar and Barbara Leidenfrost

Other Notes: Proceeds to benefit non-profit organizations and educational institutions.

1076

Tina Garcia-Trujillo (1957-2005, Santa Clara Pueblo/Ohkay Owingeh)

A micaceous redware seed pot, 1987

Signed and dated to the underside: Tina Garcia-Trujillo / 2-87

The shouldered pottery vessel with an all-over burnished red slip glaze

3.5” H x 7” Dia.

$500-700

Provenance: The Estate of Oscar and Barbara Leidenfrost

Other Notes: Proceeds to benefit non-profit organizations and educational institutions.

1074

Jacquie Stevens (1949-2021, Winnebago)

Two gourd-form pottery vessels, 1987

Each signed: Jacquie Stevens; one dated: ‘87

Each ceramic jar with black fire clouding and accented with hide, shell, and bone

2 pieces

Larger: 18” H x 19” Dia.; smaller: 10” H x 14.5” Dia.

$200-400

Provenance: The Estate of Oscar and Barbara Leidenfrost

Other Notes: Proceeds to benefit non-profit organizations and educational institutions.

1077

Eddie Bonnie (b. 20th century, Diné)

A Navajo Burntwater/Wide Ruins tapestry weaving, mid/late 20th century Finely woven in pinks, blues, oranges, browns, greens, and purple wool in a textile weave with a diagonal motif shift, with half featuring a stepped diamond motif and half featuring Wide Ruins style banding

36” H x 23.5” W

$400-600

Provenance: Garland’s Navajo Rugs, Sedona, AZ

Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, 2011

Other Notes: Accompanied by a copy of a receipt from Garland’s Navajo Rugs, Sedona, AZ, dated April 21, 2011, as well as a photo of the weaver. With a Garland’s Navajo Rugs, Sedona, AZ tag attached to one corner, denoting weaver.

1078

Larry Yazzie (1955-1995, Diné)

A Navajo Blue Canyon raised outline textile, late 20th century Woven in blue, grey, cream, red and multicolored wools in a combination of various figural motifs including corn stalks, feathers, and birds, with further geometric motifs and banding overall and diagonal banding to the center

87” H x 47.5” W

$800-1,200

Provenance: Garlands Navajo Rugs, Sedona, AZ

Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, 2005

Other notes: This lot accompanied by a copy of a sales receipt from Garlands Navajo Rugs, Sedona, AZ, dated June 02, 2005.

With a Garlands Navajo Rugs label affixed to one corner denoting weaver, location and style.

1079

Laverne Van Winkle Tacheney (b. 1963, Diné)

A framed Navajo Burntwater textile, late 20th century Woven in grey, light grey, and pale yellow, brown and pink wool in a Teec Nos Pos style with a complex border, mounted within a window opening with a custom cut geometric banded mat frame

Textile: 16.75” H x 12” W

$200-400

Other Notes: With a Hubble Trading Post, Ganado, AZ label attached along with a photograph of the weaver

1080

A group of three Native American items

Early/mid-20th century

Three works:

A Navajo/Diné regional rug

Woven in cream, red, brown, and dark grey wool with three columns of five diamonds with half-columns to the sides

50” H x 36” W

A small Inuit carved wood mask with fur and painted features

6.5” H x 4” W x 2.5” D

A small Southwest-style copper box

With stampwork to the lid and an applied bronzed metal Thunderbird motif

1.375” H x 3.25” W x 2.375” D

3 pieces

$600-800

1081

Lorraine T. Harrison (b. 20th century, Diné)

A Navajo Crystal style runner weaving, late 20th century Woven in six bands of conjoined serrated diamonds in natural colors with blue and pink accents

94” H x 33.5” W

$600-800

Other Notes: With Shiprock Trading Post, Shiprock, NM, label attached denoting weaver

1083

Mabel Bighorse (b. 20th century, Diné)

A Navajo Teec Nos Pos storm pattern textile, mid-20th century Woven in wool grey, cream, brown, red, and black handspun wool in an elaborate storm pattern with a stepped sawtooth border

74.25” H x 50.5” W

$800-1,200

Provenance: Cameron Trading Post, Cameron, AZ

Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, June 2005

1082

Robert Toney (b. 20th century, Diné)

A Navajo Ganado Klagatoh textile, circa 2009 Woven in light and dark grey, red, cream, and black wool with a central stepped diamond motif and floating stepped motif border

50” H x 34” W

$400-600

Provenance: Hubbell Trading Post, Ganado, AZ

Property from the Rex Gilman Chase Collection, Berkeley, CA, aquired from the above, 2011

Other Notes: This lot accompanied by a copy of a receipt from Hubbell Trading Post, Ganado, AZ, dated April 20, 2011.

With a Hubbell Trading Post, Ganado, AZ label affixed to one corner, along with a photo of the weaver.

Edition:

$800-1,200

1084

Michael Naranjo

(b. 1944, Santa Clara Pueblo-Tewa)

“Secret,” 21st century

Patinated bronze with granite base

4/10

Signed and numbered to the left heel: Naranjo © 29.5” H x 9” W x 9” D

1085

Michael Naranjo

(b. 1944, Santa Clara Pueblo-Tewa)

Man with Bird, 21st century

Patinated bronze with granite base

Edition: 2/10

Signed and numbered to the left heel: Naranjo ©; further marked for the foundry: Santa Fe Bronze 47” H x 25” W x 27” D

$1,500-2,500

Other notes: This sculpture is illustrated here as a part of an exhibition of Naranjo’s Works: https:// www.indystar.com/picture-gallery/news/local/2020/02/27/blind-sculptor-michael-naranjo-eiteljorgmuseum-indiana-school-for-the-blind/4693947002/

1086

A Pueblo turquoise carved stone fetish and shell necklace

Mid/late 20th century

A triple-strand necklace of turquoise and shell beads with carved stone and inlay birds in various stones and colors, with a silver clasp

29.5” L (inner strand)

$300-500

Provenance: The Estate of Oscar and Barbara Leidenfrost

Other Notes: Proceeds to benefit non-profit organizations and educational institutions.

1087

A Pueblo turquoise and shell necklace

Mid/late 20th century

A single strand necklace with various turquoise and carved shell tab and disc beads, with a central shell pendant with applied turquoise accents 25” L x 1.5” H

$200-400

Provenance: The Estate of Oscar and Barbara Leidenfrost

Other Notes: Proceeds to benefit non-profit organizations and educational institutions.

1088

A Pueblo turquoise and shell necklace

Mid/late 20th century

A single strand tab necklace with nugget turquoise and spiny oyster tab beads

29” L x 1.25” H

$200-400

Provenance: The Estate of Oscar and Barbara Leidenfrost

Other Notes: Proceeds to benefit non-profit organizations and educational institutions.

1089

Two Pueblo stone and shell necklaces

Mid/late 20th century

Comprising a triple-strand turquoise and carved stone fetish choker necklace with animals and katsina figures (17.5” L), together with a multistrand brown heishi shell necklace (28” L), 2 pieces

$300-500

Provenance: The Estate of Oscar and Barbara Leidenfrost

Other Notes: Proceeds to benefit non-profit organizations and educational institutions.

1090

A Navajo Third Phase Chief-style wearing blanket

Late 19th/early 20th century; Diné Woven in red homespun, cream, grey, and dark brown wool with three columns of serrated elements, with striped banding and pictorial elements to corners 43.5” H x 48” W

$3,000-5,000

1091

A Navajo Chief-style variant wearing blanket

Late 19th/early 20th century; Diné

Woven in red, cream, dark brown, and orange wool with bands of stepped diamonds alternating with solid bands 55.25” H x 68.5 “ W

$3,000-5,000

Provenance: Sold: Butterfield & Butterfield, San Francisco, CA, May 02, 1990, Lot 2857

Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, May 1990

Other notes: This lot accompanied by a copy of a sales receipt from Butterfield & Butterfield, San Francisco, CA, dated May 03, 1990.

1092

A Navajo Revival Third Phase-style chief’s blanket Mid/late 20th century; Diné Woven in cream, dark brown, grey, blue, and red wool with three columns of stepped diamonds and alternating stripes of blue, black and cream 46” H x 46” W

$500-700

Provenance: Property from the Rex Gilman Chase Collection, Berkeley, CA

1093

A Navajo Late Classic child’s blanket Late 19th century; Diné Woven in cochineal red, cream, and black wool with three bands of crosses divided by horizontal ticking 28.75” H x 49” W

$5,000-7,000

Other Notes: Dye samples were sent to Dr. David Wenger, Ph.D., of Thomas Jefferson University, Philadelphia, PA for testing. Dr. Wenger found that the red sample was dyed with cochineal, possibly with traces of lac. The dye test results dated 4/26/2023 will be included with the lot.

1094

Laverne Nelson Black (1887-1938)

Native Americans on horseback Oil on board

Signed verso: Laverne Nelson Black

10” H x 12” W

$15,000-20,000

1095

Gordon Coutts (1868-1937) “Twilight” Oil on canvas

Signed lower right: Gordon Coutts; titled by repute 40” H x 30” W

$6,000-9,000

Provenance: The artist Johnny Vance, acquired by exchange with the artist Private Collection, Lodi, CA, by descent from the above

Other Notes: Johnny Vance, the original owner of this piece, rented a house from the artist and traded three saddles for “Twilight.” Later, the painting hung in a memorial exhibit held by Dee Bradford Art Gallery in association with Ramus of London.

1096

Millard Sheets

(1907-1989)

“Street Scene,” 1926 Oil on canvas

Signed and dated lower left: Millard Sheets

16” H x 19” W

$6,000-8,000

Provenance: Private Collection, gift from the artist Private Collection, by descent from the above Private Collection, Texas, by descent from the above

Notes:

Millard Sheets was an American artist and educator known for his contributions to the California School of watercolor painting. Born on June 24, 1907, in Pomona, California, Sheets grew up in a family that valued art and encouraged his artistic talents from an early age. He went on to become one of the most influential artists of his generation, leaving a lasting legacy in the world of art and education.

In 1926, when this work was painted, Sheets would have been 19 years old and likely still living with his family in Southern California. Sheets began his formal education in art at the Chouinard Art Institute in Los Angeles, where he studied under prominent artists such as F. Tolles Chamberlin and Pruett Carter. He later transferred to Pomona College, where he continued to hone his craft under the tutelage of Jean Mannheim and Phil Dike. It was during this time that Sheets discovered his love of watercolor painting, which would become his preferred medium for much of his career.

After graduating from Pomona College in 1930, Sheets began his professional career as an artist, initially working as a muralist for the Public Works of Art Project (PWAP) during the Great Depression. He would go on to work on numerous public art projects over the years, creating murals for schools, post offices, and other public buildings across the United States.

In addition to his work as a muralist, Sheets also created a significant body of work in watercolor, which he exhibited widely throughout his career. His watercolors were known for their luminous colors, rich textures, and complex compositions, and were inspired by the landscapes and people of California and other parts of the world he visited.

Sheets was also a passionate educator, and in 1953 he was appointed as the director of the Scripps College art department, a position he held for nearly two decades. During his tenure at Scripps, Sheets was instrumental in building the college’s art program into one of the most respected in the country, and he mentored many of the leading artists of his generation, including Sam Francis and Karl Benjamin.

Sheets continued to work as an artist and educator until his death in 1989, leaving behind a legacy of creativitAnd innovation that continues to inspire artists and art lovers around the world. Today, his work can be found in major collections and museums across the United States, including the Smithsonian American Art Museum, the Los Angeles County Museum of Art, and the Metropolitan Museum of Art.

1097

Anna Katharine Skeele (1896-1963)

Adobe Pueblo in the snow Watercolor on paper

Signed lower right: A.K. Skeele Sight: 15.5” H x 20.75” W

$700-900

1098

Ransom Gillet Holdredge (1836-1899)

“Indian Encampment in the Sierras,” circa Oil on canvas laid to canvas Appears unsigned; titled and dated on 30” H x 51” W

$3,000-5,000

Provenance: Jonathan Art Foundation,

Other Notes: The Jonathan Art Foundation to acquire and exhibit outstanding artworks and to maintain such works and books

circa 1890

on a label affixed to the frame, verso

Los Angeles, CA

Foundation is a non-profit organization whose public charitable purpose is artworks which focus primarily on Southern California artists and history, as a resource for use by scholars.

1099

Grace Carpenter Hudson (1865-1937)

A Pomo girl looking up at a flock of birds, 1923 Oil on canvas

Signed and dated lower left: © G. Hudson; signed again, numbered, and inscribed verso: G. Hudson / 578 / Ukiah Cal 17” H x 14” W

$15,000-20,000

Exhibited: Parducci Winery, Ukiah, CA, “The Painter Lady,” October 1977

Other Notes: Grace Carpenter Hudson was well-known for her numbered series of more than 684 portraits of the local Pomo natives. In this lot, this painting is a part of this particular series and assigned the number 578.

(1858-1949)

“Chief Red Cloud, Sioux,” 1899 Conte crayon on cream-colored paper

Signed and inscribed lower right: E.A. Burbank / Pine Ridge, S. Dak.; titled and dated upper right

Image/Sheet: 12” H x 10” W

$800-1,200

1100 Elbridge Ayer Burbank

$400-600

1101

Herbert Herget (1885-1950)

Native American Chief Gouache and watercolor on paper

Signed lower right: H. Herget

Sight: 17.5” H x 12” W

“Sinagua,” 1993

Cold painted bronze and wood Edition: 20/89

Signed dated, and numbered on the base: Susan Kliewer / © 93

22” H x 8.5” W x 15” D

$800-1,200

1102

Susan Kliewer (b. 1940)

1104

Ansel Easton Adams (1902-1984)

“Taos Pueblo,” 1977

Adams, Ansel Easton (photographs); Austin, Mary (description).

“Taos Pueblo,” Boston: New York Graphic Society, 1977

Hardcover book

Facsimile Edition; first edition, first printing in this format

No. 208 of 950 copies, signed to publisher’s colophon: Ansel Adams

The folio facsimile edition of Adams’s book first published in 1930, limited to 108 copies, with original brick cloth and brown leather spine bound by Vincent Mullins, housed in a brick cloth slipcase, with 12 black and white photographs reproduced by George Waters and woodcut decorations by Valenti Angelo

With slipcase: 17.875” H x 13.25” W x 1.5” D

$1,000-1,500

1103

Susan Kliewer (b. 1940)

“The Women of Bosque Redondo,” 1996

Patinated and cold-painted bronze and wood

Edition: 18/45

Signed, dated, and numbered on the verso: Susan Kliewer / © 1996

22” H x 15.5” W x 20” D

$800-1,200

1105

A Southwest-style Buffalo Indian Head nickel squash blossom necklace

Early/ mid 20th century

A silver squash blossom necklace with two strands of silver beads, fourteen Indian Head nickel blossoms and a central cast silver naja

26” L x 2.5” H

150.6 grams

$3,000-5,000

1106

A Zuni silver and inlay squash blossom necklace

Mid/late 20th century

Appears unmarked

A Zuni squash blossom necklace with turquoise and multistone inlay Sunface motifs

27” L x 2.625” H 118.2 grams gross

$400-600

1107

A set of Southwest petitpoint turquoise and coral jewelry

Mid/late 20th century

Each appears unmarked

A Zuni-style two-sided reversible squash blossom necklace with cluster set and row set petit point turquoise to one side and set coral verso (25.5” L x 2.5” H), together with a pair of matching two-sided earrings (each: 1.75” H), 3 pieces

144.9 grams gross

$600-900

1108

A Zuni sterling silver and stone inlay squash blossom necklace

Mid/late 20th century

Stamped: Sterling

A squash blossom style necklace with multistone inlay including turquoise, onyx, coral, and mother of pearl, with a bird motif naja, and twelve bird blossoms on a double-strung silver beaded necklace

28” L x 3” H

147.1 grams gross

$500-700

1109

L. Eugene Nelson (b. 1954, Diné)

A Navajo sterling silver stone-set abstract brooch/pendant, 21st century

Stamped: L.E. Nelson

An elaborate silver shadowbox “computer chip” brooch/pendant with set turquoise and various gemstones

2.625” H x 1.625” W

26.5 grams gross

$400-600

Provenance: The Estate of Oscar and Barbara Leidenfrost

Other Notes: Proceeds to benefit non-profit organizations and educational institutions.

1110

A Southwest sterling silver and turquoise pendant

Mid/late 20th century

Stamped: 925

A large oval central cabochon turquoise stone with heavy matrix surrounded by eleven similar smaller teardrop stones, with smaller cabochon to reverse

3” H x 2.75” W

104.0 grams gross

$200-300

Provenance: The Estate of Oscar and Barbara Leidenfrost

Other Notes: Proceeds to benefit non-profit organizations and educational institutions.

1111

An Ilaria sterling silver and shell necklace

Late 20th/21st century; Peru

Stamped: Ilaria / 950

A sterling silver graduated link necklace with repoussÉ swirl motifs suspending a central pendant with a large spiny oyster tab

20” L - 21.5” L x 2.75” H x 2” W

106.1 grams gross

$200-400

Provenance: The Estate of Oscar and Barbara Leidenfrost

Other Notes: Proceeds to benefit non-profit organizations and educational institutions.

1112

A Modernist-style silver and shell necklace

Mid/late 20th century

Etched signature verso: Gogo

A spiney oyster necklace with a large partial shell pendant suspended on a silver collar link necklace with bead accents

18.5” L x 2.125” H

55.4 grams gross

$200-400

Provenance: The Estate of Oscar and Barbara Leidenfrost

Other Notes: Proceeds to benefit non-profit organizations and educational institutions.

1113

Two Navajo textiles

Mid/late 20th century; Diné

Two works:

Eva Barber (1940-2020; Diné)

A small Navajo Two Grey Hills weaving

A table mat woven in grey, brown, ochre, cream, and black wool with a central cross surrounded by a stepped diamond

18” H x 15” W

A Navajo pictorial weaving

Woven in ochre, brown, green, cream, and black wool featuring a central house flanked by trees, a truck, birds and clouds

17.5” H x 29.25” W

2 pieces

$200-300

Provenance: Property from the Rex Gilman Chase Collection, Berkeley, CA

Other notes: Table mat with a Verkamp’s Inc. Grand Canyon, AZ label affixed to one corner denoting Eva Barber as weaver.

1114

A Navajo Two Grey Hills textile

Late 20th/21st century; Diné

Woven in tan, grey, cream, and black wool with a central stepped diamond motif, stepped corners and sides, with a narrow sawtooth border

42.75” H x 33” W

$300-500

Provenance: Property from the Rex Gilman Chase Collection, Berkeley, CA

1115

A Navajo Two Grey Hills textile

Mid/late 20th century; Diné

Finely woven in natural cream, grey, and dark brown wool in a conjoined double diamond motif and elaborate border

54.5” H x 36” W

$600-800

$300-500

1116

A Navajo Two Grey Hills rug

Mid-20th century; Diné

Woven in grey, black, and cream wool with an interlocked central double cross motif and floating stepped corners

51.5” H x 33.5” W

1117

An Inuit caribou jawbone miniature sled

Early/mid-20th century

A miniature sled formed from a caribou jawbone, with whale baleen struts and handle, with a hide pouch suspended from the handle

4.375” H x 13” W x 4.25” D

$100-200

This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

1118

A Plains beaded hide cushion cover

Late 19th/early 20th century

A square beaded hide cushion cover with a central floral motif, with floral and flag motifs of British America, or the Queen Anne flag, and the United States of America as well as eagle motifs, with a hide fringe and a printed striped calico hand-stitched backing

19” H x 17.75” W; fringe: 2.25” L

$300-500

1119

A pair of NÍhiyawak Plains Cree quilled leggings

Late 19th century; Canada

Each hide legging with overall multicolored quillwork in foliate motifs, with top flaps, and each with a blue fabric lining and edged with blue wool twill tape, mounted to a beige backing fabric within a custom-made Plexiglas frame

Each legging: 18” H x 12.5” W approximately

$2,000-3,000

1120

A Southwest-style painted hide drum

Mid/late 20th century

A large two-sided hide drum with wood splint frame, with polychrome painted star motif and border, with a leather-wrapped carved wood drum beater, 2 pieces

4” H x 26.25” Dia.; beater: 13.5” L

$400-600

1121

A Plains-style hide collage

Late 20th century

An abstract irregular shaped hide “painting” with painted and applied leather appliques with beadwork accents depicting a central warrior figure surrounded by mountains, sun, and other natural element motifs, with additional thread-wrapped feather accents to each corner and wrapped hair accents to the center side edges, all mounted to red backing fabric within a custom-made Plexiglas frame

16.5” H x 21” W approximately; feathers: 3” L

$500-700

1122

Marie Z. Chino (1907-1982, Acoma Pueblo)

An Acoma Pueblo polychrome olla, mid/late 20th century

Signed to the underside: Marie Z. Chino / Acoma, N.M.

The ceramic vessel with abstract figural black on white decoration and terracotta slip glaze accents

8” H x 8.5” Dia.

$700-900

Provenance: The Estate of Oscar and Barbara Leidenfrost

Other Notes: Proceeds to benefit non-profit organizations and educational institutions.

1123

Polly Rose Folwell (b. 1962, Santa Clara Pueblo) and Susan “Mesa Flower” Folwell (b. 1972, Santa Clara Pueblo)

A sgraffito pottery vessel, 1991

Signed and dated to the underside: Polly Rose Folwell / Mesa Flower /

The

$300-500

Provenance: The Indian Craft Shop, Washington, D.C.

The Estate of Oscar and Barbara Leidenfrost, acquired from the above 1991

Other Notes: This lot is accompanied by a sales receipt and Certificate of Authenticity from Indian Craft Shop, Washington, D.C., dated June 7, 1991.

Proceeds to benefit non-profit organizations and educational institutions.

‘91

stout pot constructed out of burnished deep brown clay with incised X-motif banding 4” H x 4.5” Dia.

1124

Helen Baca Shupla (1928-1985, Santa Clara Pueblo)

A blackware melon vessel

Signed to base: Helen Shupla / Santa Clara Pueblo

The large globular “melon” or “squash,” jar with ridges and an overall burnished black slip glaze

8.5” H x 9.25” Dia.

$1,500-2,500

Provenance: The Estate of Oscar and Barbara Leidenfrost

Other Notes: Proceeds to benefit non-profit organizations and educational institutions.

Tony

A sgraffito redware jar, late 20th/early 21st century Signed to the underside: Tony Da A burnished red slip glazed jar with wrap-around carved Avanyu serpent motif

3.125” H x 4” Dia.

$1,000-1,500

Provenance: The Estate of Oscar and Barbara Leidenfrost

Other Notes: Proceeds to benefit non-profit organizations and educational institutions.

1125

Da (1940-2008, San Ildefonso Pueblo)

1126

A Puebloan pottery dough bowl

20th century

Appears unsigned

With red painted geometric motifs over buff slip glaze

6” H x 13.25” W x 8.325” D

$300-500

Provenance: The Estate of Oscar and Barbara Leidenfrost

Other Notes: Proceeds to benefit non-profit organizations and educational institutions.

1127

A group of Southwest Native American ceramics

Six works:

Dorothy and Paul Gutierrez

(b. 1940, Diné and b. 1940, Santa Clara Pueblo)

A blackware seated mudhead

Signed: Dorothy / Paul

With burnished olla and facial features

3.125” H x 1.625” W x 1.75” D

Crucita (Blue Corn) Gonzales Calabaza

(1921-1999)

A diminutive blackware bowl

Signed: Blue Corn / San Ildefonso Pueblo

With slip-painted feather motif on a burnished black slip glaze

0.875” H x 3” Dia.

Grace Medicine Flower

(b. 1938, Santa Clara Pueblo)

Avanyu serpent seed pot, 1981

Signed and dated: Grace Medicine Flower / 81 / [flower cipher]

The burnished blackware seed pot with sgraffito carved Avanyu serpent surrounded by deeply carved band 2.75” H x 3” Dia.

Marie Zieu Chino

(1907-1982, Acoma Pueblo)

Two white ceramic jars One signed: Marie Z. Chino / Acoma N.M; another signed: M. Z Chino / Acoma

One with polychromed deer figures with heart lines, one with step design, 2 pieces Larger: 2” H x 2.125” Dia.

An Acoma Pueblo seed pot 1989

Dated and inscribed: M.A. Valley / Acoma, N.M. / 89 [underscored]

The ceramic with black fine line geometric motif on white slip glaze 2” H x 3.325” Dia.

6 pieces

$200-400

Provenance: The Estate of Oscar and Barbara Leidenfrost

Other Notes: Proceeds to benefit non-profit organizations and educational institutions.

1128

Marilyn Henderson Ray (b. 1954, Acoma Pueblo)

Storyteller figure

Signed: M. Henderson / Acoma, N.M.

The polychromed ceramic figure depicted holding a seed pot decorated with animals and insects, surrounded by children and a cat

9.875” H x 5.5” W x 6.75” D

$500-700

Provenance: The Estate of Oscar and Barbara Leidenfrost

Other Notes: Proceeds to benefit non-profit organizations and educational institutions.

1129 Stephen Hallet Willard (1894-1966)

“Dawn Fire”

Photograph with hand-painting on artist board

Signed and dated in ink along the lower edge: Stephen H. Willard

30” H x 40” W

$1,000-1,500

1130

Blooming desert

Photograph with hand-painting on canvasboard

Signed lower center: Willard ©

15” H x 21.5” W

$400-600

Stephen Hallet Willard (1894-1966)

1131

Stephen Hallet Willard (1894-1966)

“Broken Ranges”

Photograph with hand-painting on artist board

Signed and titled along the lower edge: © Stephen H. Willard

22” H x 30” W

$800-1,200

“Springtime on the Desert,” 1920

Photograph with hand-painting on artist board

Signed and dated lower center: Stephen H. Willard; titled lower left

Sight:

$400-600

1132

Stephen Hallet Willard (1894-1966)

15.25” H x 19.25” W

1133

A set of Arts & Crafts-style oak armchairs

Late 20th century

Each oak slat back chair with three slats over a shaped seat atop four square legs and an arched apron with peg joints, 6 pieces

Each: 43.75” H x 27” W x 23.25” D

$1,000-1,500

Provenance: All Saints Episcopal Church, Beverly Hills, CA

1134

A Roycroft “Little Journeys” oak bookcase with books

Early 20th century; East Aurora, NY Bookcase with Roycroft metal tag

The quarter sawn oak bookcase with keyed mortise and tenon joints and three shelves, sold together with thirteen Roycroft 1928 Memorial Edition “Little Journeys” hardcover books, the 1926 hardcover “Little Journeys Guide Book,” and a signed 1902 suede bound softcover “Little Journeys: Eminent Artists” on Albert Thorvaldsen, 16 pieces

Bookcase: 26.25” H x 26.25” W x 14” D

$800-1,200

1135

A Van Briggle “Despondency” pottery vase

Circa 2001; Colorado Springs, CO

Marked for Van Briggle with impressed double AA mark; further marked: II / V 2 / SAR [Sylvia Rice]

Designed 1902, the baluster-form vase in gradient blue matte glaze with hauterelief recumbent figure around the rim

16.5” H x 8” Dia.

$400-600

1136

A pair of Handel glass torchiere mantle lamps

Circa 1910s-20s; Meriden, Connecticut

Each shade stamped: Handel 6989

Model no. 6989, each mantel lamp with a cylindrical glass shade decorated with reverse-painted daisies and acid-etched textured exterior finish on a molded patinated metal base with finial, electrified, 2 pieces

Each: 14.5” H x 5.25” Dia.

$1,200-1,800

1895

Marked for Rookwood; further inscribed: 125 [pattern no.]/ W [white clay] / W.PMcD. The ovoid pottery vase decorated by Wm. P. McDonald with a portrait of man

13.25”

$1,000-2,000

1137

A Rookwood Pottery vase, by William P. McDonald

H x 10” W x 5” D

Provenance: The Estate of George David Sturges

1139

A pair of Gouda floral earthenware vases

Circa 1910-1920; Holland

Each marked for Gouda; each further marked: N.P. / [little house] / 588 / SS / Holland

Likely designed by Wilhelmus Petrus Hartgring, two vases each with a hand painted abstracted passionflower vine motif on a white ground, 2 pieces

Each: 16” H x 6.25” Dia.

$600-800

1138

A glazed pottery vase

20th century

Possibly West German, the baluster-from ceramic vase with a thickly applied turquoise glaze

16.5” H x 8.5” Dia.

$300-500

1140

Etta Peacock (b. 20th century; Diné)

A Navajo Yei textile, late 20th/21st century

Woven in brown, rust, orange, cream, black, and blue wool, with seven Yei dancers and a rainbow guardian, with an irregular sawtooth border

48” H x 53” W

$2,000-3,000

Provenance: Cameron Trading Post, Cameron, AZ

Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, June 2005

Other Notes: Award winning Navajo/Diné Master weaver Etta Claw Peacock is known for her very finely woven Yei tapestry style rugs. Etta’s work is typically very precise and evenly executed with even tension throughout, and her weavings can take at least three months to complete, with traditional striking color choices and designs including complex border motifs inspired by those of her mother.

This lot accompanied by a copy of a receipt from Cameron Trading Post, Cameron, AZ, dated June 03, 2005. With a Cameron Trading Post, Cameron, AZ label affixed to one corner.

1141

A Navajo Burntwater Yei textile Mid/late 20th century; Diné Woven by Marvelle DeBord in grey, yellow, cream, orange, pink, brown and black wool with four Yei dancers in two panels with complex serrated borders

28” H x 36” W

$300-500

Provenance: Property from the Rex Gilman Chase Collection, Berkeley, CA

Other Notes: with a Verkamp’s Inc, Grand Canyon, AZ label affixed to one corner denoting weaver as Marvelle DeBord

1142

A Navajo Yei textile

Late 20th century; Diné

Woven in grey, green, purple, blue, orange, and cream wool with four Yei dancers 28.5” H x 36.5” W

$200-400

1144

A Navajo Teec Nos Pos Mid/late 20th century; Diné Woven in black, light and waterbug motif and elaborate geometric motifs, feathers, 58” H x 39.5” W

$600-800

Provenance: Property from

Pos textile

Diné and dark grey, red, cream, tan and green wool with a central elaborate waterbugs on either side, with multiple all-over feathers, and a complex border

1143

A Navajo Germantown eyedazzler textile

Late 19th century; Diné

Finely woven in red, green, purple, and yellow multicolored wool with an overall eye dazzler diamond motif with pictorial arrows and striped bands to each end

52.5” H x 37-33.5 “ W (variable)

$1,000-2,000

Provenance: Sold: Butterfield & Butterfield, San Francisco, CA, December 5, 1991, Lot 1025

Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, December 1991

Other Notes: This lot accompanied by a copy of a sales receipt from Butterfield & Butterfield, San Francisco, CA, dated December 06, 1991.

from the Rex Gilman Chase Collection, Berkeley, CA

1145

Louise Begay (b. 20th century, Diné)

A Navajo Ganado textile, mid/late 20th century Woven in red, cream, grey, and black wool with a central stepped diamond on a red field and black border

36” H x 27” W

$300-500

Provenance: Property from the Rex Gilman Chase Collection, Berkeley, CA

Other Notes: With attached label from Verkamp’s Inc. Grand Canyon, AZ, denoting weaver

1146

A Navajo Burntwater style textile

46”

$600-800

Other Notes:

Mid/late 20th century; Diné

Woven by N. Begay in pinks, greens and browns, with elaborate conjoined diamond motif set within a striped border, creating an optical effect

H x 32.5” W

With a Hubble Trading Post label attached with a photograph of the weaver.

1147

A group of Native American silver items

Early/mid-20th century

Each appears unmarked

A German silver Plains Indian cuff bracelet pierced at terminals, with a leather cord (5.5” L x 0.875” H), together with a group of Southwest stamped silver metal buttons with metal shanks, in various sizes and patterns including a set of five stone set buttons and a group of silver buttons with chiseled designs (largest: 1.5” Dia.; smallest: 0.375” Dia.), 19 pieces

79.7 grams gross

$300-500

Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

1148

A group of Southwest-style cross pendants

Late 20th/21st century

Each variously marked for silver and for maker

Four works comprising a Don Lucas stone set sterling silver pendant (2.125” H x 1.5” W), an E.J. Bighand Navajo/Diné set turquoise and sterling silver cross with bead necklace (18.5” L x 3” H), a DBL silver double cross pendant with stampwork motifs (4” H x 1.375” W), and an LB cast sterling silver cross pendant (3.375” H x 1.5” W), 5 pieces 95.8 grams gross

$200-400

1149

A group of Southwest-style jewelry

Late 20th/21st century

Variously marked for maker and for sterling silver

Five works comprising a large DN sterling silver pendant with onyx and opal geometric inlay (4.75” H x 1.125” W), a Jay-Jay onyx and opal inlay pendant (2” H), a chunky opal, onyx and mother of pearl inlay pendant (2” H), a liquid silver and lapis bead multistrand necklace (17” L), and a pair of Mexican silver overlay earrings with blue glass (each: 1.125” H), 6 pieces

126.2 grams gross

$200-400

1150

A group of Southwest-style jewelry

Late 20th/21st century

Variously marked for sterling silver, maker and Mexico

Six works comprising four stone bead necklaces in various colors and sizes, each with a heart-shaped silver stone set pendant, including turquoise, heishi shell, amber, and spiny oyster (largest: 26” L x 2.5” H; smallest: 17” L x 2.25”H), as well as two further sterling silver stone-set heart pendants, one with a carved green stone heart (1.75” H), and one with set spiny oyster and stamped edging (2.5” H), 6 pieces

$400-600

1151

A group of Southwest-style jewelry

Late 20th century

Ten works:

Raymond Kyasyousie (b. 1957, Hopi)

A Hopi silver overlay cuff bracelet

Stamped with conjoined RK

A narrow silver overlay cuff with wave motifs

6.875” total inner C x 0.375” H, with a 1.125” gap

A mixed group of nine jewelry items

Five marked for sterling; two marked for maker

Comprising two necklaces, including a WS sterling silver pendant with shadowbox set malachite suspended from a multistrand liquid silver necklace (24” L x 2.25” H), and a multistrand green stone bead necklace (25” L), as well as two sterling silver bracelets including a Mexican silver link bracelet with multistone inset cabochon lnks (7.75” L) and a textured sterling silver link bracelet (7.375” L), together with two stone pendants including a turquoise nugget pendant (2.75” H) and a sterling silver set stone pendant with turquoise and coral (2.25” H), a sterling silver ring with long oval set turquoise (ring size: 8), and two pairs of silver earrings with set stones (largest: 2” H)

12 pieces

147.5 grams gross

$400-600

1152

A group of Southwest-style jewelry

Late 20th century

Peterson Chee (b. 20th century, Diné)

A Navajo cast sterling silver and stone inlay cuff bracelet

Stamped: Chee [within pictograph feather mark] / Sterling

A cast sterling silver cuff with cobblestone inlay including turquoise, coral and spiney oyster

7” total inner C x 1.375” H, with a 1.25” gap

A sterling silver stone inlay pendant with spiny oyster and turquoise on a coral and multistone bead necklace

Pendant stamped: TF / Sterling

21” L x 2.5” H

A Mine Finds/Desert Rose Trading quartz watch with sterling silver and stone inlay endpieces, with a metal stretch band

Strap stamped: DTR / 925 / China; watch: S Steel / China / Japanese Movement

7” inner C (adjustable) x 1” H; each inlay endpiece: 0.625” H x 1.375” W

Two silver rings with multicolored stone inlay

One stamped: S [star] / Sterling / Philippines

Ring sizes: 8.5 & 9

5 pieces

135.6 grams gross

$300-500

1153

A group of Southwest-style silver and turquoise jewelry

Mid/late 20th century

Most unmarked; three stamped: MP [conjoined] / Sterling

Comprising five pairs of silver earrings, including a pair of cluster-set turquoise earrings plus one matching single earring (each: 1.125” H), a pair of sterling silver square earrings with concentric circular motifs plus a single matching cufflink (each: 1.125” H), 12 pieces

78.6 grams gross

$200-300

Provenance: The Estate of Oscar and Barbara Leidenfrost

Other Notes: Proceeds to benefit non-profit organizations and educational institutions.

1154

Two Pueblo-style turquoise and coral bead necklaces

Mid/late 20th century

Comprising a single strand necklace of red coral beads with turquoise nugget accents (22” L), together with a double strand turquoise disc bead choker necklace with coral and shell accent beads (15” L), 2 pieces

$200-400

Provenance: The Estate of Oscar and Barbara Leidenfrost

Other Notes: Proceeds to benefit non-profit organizations and educational institutions.

1155

A group of Southwest jewelry

Late 20th century

Two works:

A small sterling silver concho belt with central set turquoise and stampwork accents

Each concho marked: Sterling

35.5” to 38” L x 1.5” H

A squash blossom necklace with silver beads and set turquoise and coral to each blossom and to the central naja

Appears unmarked

28” L x 2.5” H

2 pieces

360.6 grams gross

$300-500

1156

A large group of Southwest-style silver jewelry

Mid/late 20th century

Twenty-two marked for sterling; thirteen variously marked for maker

A large group comprising two silver cuff bracelets with set turquoise, one a three-wire cuff with applied stamped flared silver plaques and a central bezel set stone (5.75” inner C x 1” H, with a 1” gap) and a stamped silver cuff with arrow and thunderbird motifs and small central stone (6.375” inner C x 0.625” H, with a 0.75” gap), as well as a sterling silver necklace with two incised silver feather motif links and a set onyx cabochon pendant (15.5” L x 1.5” H), and a liquid silver bead necklace with a small silver bird bead pendant and silver bird fetish beads ( 26” L), together with twentythree silver and stone-set pendants in various styles, sizes and stones, including multistone inlay, turquoise, coal, spiney oyster, mother of pearl, agate and lapis, two pendant/brooches, and two naja pendants (largest: 2.75” H; smallest: 1” H), three silver brooches, one in a roadrunner motif with set turquoise eye (1.5 “ H), three silver rings with set turquoise and coral (ring sizes: 5.5, 6, 8), and three pairs of diminutive silver earrings with set turquoise and multistone inlay (each: 0.75” H), 40 pieces approximately 406.8 grams gross

$200-400

1157

A group of silver and stone set jewelry

Late 20th century

Six marked for sterling; two marked for maker/artist

Eight works including a Hedy Kietz sterling silver Brutalist-style brooch with quartz and opal (1.25” H x 1.625” W), three silver link bracelets, including a Chiara frog link bracelet (7.5” L), two sterling silver and turquoise Southwest-style pendants (each: 1.25” H), a pair of small domed sterling silver earrings (each: 0.5” H), and a small silver box with case (0.625” H x 2.375” W x 0.25” D), 9 pieces

141.7 grams gross

$300-500

1158

A group of Southwest jewelry

Late 20th century

Each appears unmarked

Eleven works including eight Pueblo-style necklaces in various stones and colors including four necklaces with various sizes of turquoise nugget beads (26” L to 18” L), as well as three multicolored stone bead necklaces, one with a multistone inlay pendant (18” L to 16” L), a carved stone fetish bear necklace with blue/green stone beads (28” L), together with a narrow strand bracelet with turquoise, stone and shell disc beads (7.5” L), with a pair of similar style bead strand earrings (each: 3” H), and three additional carved stone bear fetish beads (each: 0.625” H), 14 pieces

$300-500

1159

Gene Speck

(b. 1937)

“Late Autumn”

Gouache on artist board

Signed lower right: Gene Speck; titled on a label affixed to the frame’s backing

paper

Sight: 7.125” H x 11.25” W

$700-900

1160

Gene

(b.

“The Hunter Returns”

Gouache

Signed

paper

Sight: 7.25” H x 11.25” W

$700-900

Speck

1937)

on artist board

lower left: Gene Speck; titled on a label affixed to the frame’s backing

1161

Gordon Pond (1920-2001)

“Street Scene, 2nd Mesa” Oil on canvas

Signed lower right: G. Pond; signed again and titled verso 12” H x 16” W

$400-600

1163

Clarence Ellsworth (1885-1960)

Native Americans on horseback, 1960

Oil on canvas

Signed and dated lower right: Clarence Ellsworth

12” H x 16” W

$400-600

1162

Elbridge Ayer Burbank (1858-1949)

“Zy-You-Wah, Hopi,” 1899

Graphite on cream-colored paper with Signed and inscribed in pencil lower right: E.A. Burbank / Polacco, Ariz.; titled and dated in pencil upper right

Image/Sheet: 12.25” H x 9” W

$1,000-1,500

1164

A Late Classic Moki blanket

Late 19th century; Diné

Woven in bands with a mix of plied and homespun yarn with indigo and black stripes

50” H x 72” W

$7,000-9,000

Provenance: Garlands Navajo Rugs, Sedona, AZ

Property from the Rex Gilman Chase Collection, Berkeley, CA, aquired from the above, April 2011

Other notes: Accompanied by a copy of a receipt from Garlands Navajo Rugs, Sedona, AZ, dated April 21, 2011

With a Garlands Navajo Rugs, Sedona, AZ label attached to one corner.

1165

A Navajo Moki-style blanket

Early/mid-20th century; Diné Woven in red, cream, black and blue homespun wool with alternating black and blue stripes interspaced with hatched and diagonally striped bands

54” H x 80.5” W

$3,000-5,000

1166

Two pairs of Plains beaded hide moccasins

Late 19th/ early 20th century

Comprising a pair of women’s moccasins with green, red, black, and white patterned beadwork (7.5” L x 2.75” H x 3.25” W) and a pair of children’s moccasins with beaded geometric motifs in white, green, red, blue, and silver beads (5.25” L x 3.25” H x 2.25” W), 4 pieces

$400-600

1167

A pair of Plains Indian beaded moccasins

Late 19th/early 20th century

Each hide moccasin with geometric motifs in blue, white, green and red beads to front and side edges, 2 pieces

Each: 8” L x 2.5” H x 3.25” W

$300-500

1168

A Sioux beaded doctor’s bag

Late 19th/early 20th century

The bag with fully beaded bag exterior with geometric and flag motifs in white, red, blue, and green beads, with a metal frame and handle, with a stiff pressed paper interlining and a purple striped open weave fabric lining

6.25” H x 12” W x 6” D; handle drop: 2”

$3,000-5,000

1169

An Aymara textile

Circa 1850; Oruro Aymara Culture, Bolivia

A woven brown wool/camelid mantle textile with multicolored striped geometric motif banding and striped rolled binding to all sides

36” H x 38.5” W approximately

$800-1,200

Provenance: Property from the Rex Gilman Chase Collection, Berkeley, CA

A Chimayo textile

Mid/late 20th century; New Mexico, USA

Woven in grey, brown, red, blue, and yellow wool with a central Saltillo style diamond motif with black field, and striped banding with motifs to each end, with a central seam

57” H x 28.5” W

$200-300

1170

1171

A Modernist Southwest-style brass and turquoise cuff bracelet

Late 20th/21st century

Marked with unknown leaping animal pictograph

A Modernist-style brass metal cuff with asymmetrical set turquoise within a hand cut sawtooth bezel

6” total inner C x 0.625” H, with a 0.75” gap

48.7 grams gross

$200-400

Provenance: The Estate of Oscar and Barbara Leidenfrost

Other Notes: Proceeds to benefit non-profit organizations and educational institutions.

1172

Two Southwest silver and stone cuff bracelets including Lewis Lomay

Mid/late 20th century

Two works:

Lewis Lomay (c.1915-1996; Hopi)

A Hopi silver and turquoise cuff bracelet

Stamped to one terminal: [snake pictograph for Lewis Lomay]

A three-wire silver cuff with three oval plaques with bezel set turquoise

6.125” inner C x 1.125” H, with a 0.875” gap

A heavy ingot silver set turquoise and coral cuff bracelet with overlay terminals

Appears unmarked

6.75” total inner C x 0.5” H, with a 0.875” gap

2 pieces

117.6 grams gross

$500-700

Provenance: The Estate of Oscar and Barbara Leidenfrost

Other Notes: Proceeds to benefit non-profit organizations and educational institutions.

1173

Clarence Lee (b.1952, Diné)

A Navajo shadowbox coral and sterling silver cuff, late 20th century Stamped: CO Lee

A heavy silver cuff bracelet with five shadowbox set coral stones with elaborate stampwork edging and interior accents

5.75” total inner C x 1.375” H, with a 0.75” gap 79.6 grams gross

$500-700

Provenance: The Indian Craft Shop, Washington, D.C. The Estate of Oscar and Barbara Leidenfrost, acquired from the above, 1991

Other Notes: Accompanied by a Certificate of AuthenticitAnd a receipt of sale from The Indian Craft Shop, Washington, D.C., dated June 7, 1991.

Proceeds to benefit non-profit organizations and educational institutions.

1174

A Navajo ingot silver and turquoise cuff bracelet

Mid-20th century; Diné

Stamped: 925

A Navajo 1920s-style silver ingot cuff with twenty-five graduated matched Hubbell bevel set turquoise stones

6.75” total inner C x 1” H, with a 1.5” gap 39.2 grams gross

$400-600

1175

Two Navajo silver and turquoise cuff bracelets

Mid-20th century; Diné Each appears unmarked

Comprising a Navajo silver ingot cuff in an unusual shape with three set turquoise stones, and stampwork to edges with arrow shaped terminals (6.75” total inner C x 1.25” H, with a 1.25” gap), and a narrow silver ingot cuff with nine set matched turquoise stones and stampwork terminals (6.75” total inner C x 0.25” H, with a 1.125” gap), 2 pieces 79.4 grams gross

$400-600

1176

Charlie John (b. 1954, Diné)

A Navajo sterling silver and turquoise cuff bracelet, late 20th/21st century Stamped: CJ [for Charlie John] / Sterling

A silver overlay cuff with a shadowbox stepped mountain scene and a central bezel set turquoise stone

6.625” total inner C x 1.25” H, with a 1.25” gap 88.9 grams gross

$400-600

1177

Bruce Morgan (b. 20th century, Diné)

A Navajo sterling silver and 14k yellow gold cuff bracelet, late 20th/21st century Stamped: B. Morgan / Sterling / 14K

A heavy silver cuff bracelet set with a central 14k gold stampwork overlay 6.25” total inner C x 0.75” H, with a 1.125” gap 114.1 grams gross

$400-600

1178

Rondina Huma (b. 1947, Hopi-Tewa)

A polychrome jar, late 20th century

Signed to the underside: Rondina Huma

The shouldered vessel with medium shard geometric motifs in red and brown slip glaze on a buff ground

4.5” H x 5.25” Dia.

$800-1,200

Provenance: The Estate of Oscar and Barbara Leidenfrost

Other Notes: Proceeds to benefit non-profit organizations and educational institutions.

1179

Mark Tahbo (1958-2017, Hopi Tewa Pueblo)

A polychrome seed pot, late 20th century

Signed to underside: painted by Mark Tahbo; further marked indistinctly The squat, wide vessel with geometric avian motifs painted in shades of brown and black on the buff ground

3.25” H x 10.25” W

$1,000-1,500

Provenance: The Indian Craft Shop, Washington, D.C The Estate of Oscar and Barbara Leidenfrost, acquired from the above, 1990

Other Notes: The lot is accompanied by a sales receipt from The Indian Craft Shop, Washington, D.C., dated March 27, 1990.

Proceeds to benefit non-profit organizations and educational institutions.

1180

Marie Z. Chino (1907-1982, Acoma Pueblo)

A black on white olla, mid/late 20th century

Signed to the underside: Marie Z. Chino / Acoma, New Mexico

The large vessel decorated with black slip glaze in an “Anasazi Stepped” design on white ground and terracotta wash at the base

8.75” H x 10.5 Dia

$200-400

Provenance: The Estate of Oscar and Barbara Leidenfrost

Other Notes: Proceeds to benefit non-profit organizations and educational institutions.

1181

A group of Puebloan and Mexican pottery vessels

3 works:

Paty Ortiz

(b. 1972; Mata Ortiz, Mexico)

A polychrome marbled clay jar

Signed to the underside: Paty Ortiz

With black and red slip glaze decoration in geometric and reptile motifs on the buff and terracotta marbled ceramic 8.25” H x 6” Dia.

Joseph Lonewolf

(b. 1932, Santa Clara Pueblo)

A diminutive sgraffito blackware pot, 1972

Signed, dated, and inscribed to the underside: Joseph Lonewolf / 21 6 / 1972; further marked: [wolf cipher]

The diminutive jar with a sgraffito carved reserve centering a toad, decorated in red slip glaze surrounded bAn all-over burnished black slip glaze 1.5” H x1.75” Dia.

Anita Suazo

(b. 1937, Santa Clara Pueblo)

A carved redware jar

Signed to the underside: Anita L Suazo / Santa Clara Pueblo; further marked: [bird cipher]

With deeply carved ribs in a kiva stepped design and all-over burnished micaceous red slip glaze 3” H x 3.25” Dia.

3 pieces

$300-500

Provenance: The Estate of Oscar and Barbara Leidenfrost

Other Notes: Proceeds to benefit non-profit organizations and educational institutions.

glaze

1182

A group of Southwest and Mexican pottery

Six works:

Jorge Ponce (b. 20th century; Mata Ortiz, Mexico)

Two wide-shouldered pots

Each signed: Jorge Ponce

Each with black geometric motifs on a red burnished slip glaze, one with feather design and one with checkered design, 2 pieces Larger: 3” H x 4.875” Dia.

Mark Wayne Garcia (b. 20th century, Santo Domingo Pueblo)

A diminutive round pot

Signed: Mark Wayne Garcia / Santo Domingo Pueblo / [MW cipher]

With black feather motif on burnished red micaceous ceramic 2.325” H x 2.875” Dia.

Sara Corona (b. 20th century; Mata Ortiz, Mexico)

A diminutive olla

Signed: Sara Corona / R

With black slip painted avian designs on a burnished red slip glaze 2.5” H x 2.5” Dia.

A Navajo sgraffito pottery vessel

20th century

Signed, inscribed, and numbered: Navajo / J. Hayes / 409632

The diminutive jar with matte polychromed feather motif and 3.125” H x 2.325” Dia.

A Oaxacan barro negro pottery vessel

20th century

Signed: Lama [partially illegible, possibly Zama or Cama] /

The diminutive blackware jar with burnished black slip glaze

2” H x 2.5” Dia.

6 pieces

$300-500

409632 and black glazed flared neck / Oaxaca / Mexico glaze

1183

An Arts & Crafts-style humidor cabinet

Circa 1930s-40s

The oak humidor with a single-door cabinet decorated with inset green slag glass and a painted and carved wood panel, possibly depicting the Pied Piper, over a pull-out slag glass rolling surface and two short drawers raised on four legs with a carved stretcher

65.75” H x 18.5” W x 18.5” D

$600-800

1184

A Taylor Tilery tile-top mission scene table

Early/mid-20th century

The tabletop, with six inset glazed terracotta tiles, depicting a garden with a mission in full color, set upon a gilt bronze base with foliate and shield motif

18.5” H x 27” W x 19” D

$600-800

1186

A Tiffany Studios counter-balance floor lamp base

Circa 1902-1919; New York, NY

Singed: Tiffany Studios / New York / 468

The single-light patinated bronze counter-balance base with plain narrow stem, weighted ball in a foliate cradle, and adjustable head raised on five curved legs with spade feet, electrified

54.5” H x 15” W x 16” D

$1,000-1,500

1185

A Monterey-style wall shelf

Mid-20th century

The Monterey/Coronado-style wall unit two with steel rails, and with faux crackle vaquero riding a bull in the style of Juan added custom shelf extensions, 3 pieces Wall unit: 34.5” H x 27.375” W x 5” D; 5.25” D

$400-600

unit in light-toned wood with four shelves, crackle painted back panel depicting a Mexican Juan Duran Tinoco (1905-1988), with laterpieces D; each extension: 16.5” H x 29.625” W x

1187

A Tiffany Studios harp floor lamp base

Circa 1902-1919; New York, NY

Signed: Tiffany Studios / New York / 423

The single-light patinated bronze harp base with plain stem and pivoting socket raised on three curved legs with spade feet, electrified 54.75” H x 14.5” W x 14.5” D

$1,500-2,500

Literature: Alastair Duncan, “Tiffany Lamps and Metalware” (Woodbridge, UK: Antique Collector’s Club, 2007), p. 210, fig. 820.

1188

A Tiffany-style light fixture

20th century

The hammered copper hanging ceiling fixture with a wide canopy suspending four lights with foliate motif accents and pulled feather glass shades with iridescent gold interior, electrified

Overall: 28.5” H x 15.875” Dia.; each shade: 5” H x 4.25” Dia.

$800-1,200

1189

An Arts & Crafts-style leaded glass table lamp

Early/mid-20th century

Shade and base appear unmarked

The leaded glass shade with chartreuse square brick pattern and pink and green floral border on a two-light patinated metal base, electrified

Overall: 23.75” H x 16.125” Dia.; base: 23.75” H x 8” Dia.; shade: 8.875” H x 16.125” Dia.

$1,500-2,000

1190

A Wilkinson leaded glass table lamp

Early 20th century; Brooklyn, NY

Shade and base not marked

The leaded glass, skirted dome shade with a stylized iris flower band and scalloped edge in hues of yellow, red, and green on a two-light patinated metal base with floral motifs and a concentric circle patterned foot, electrified

Overall: 21” H x 18.75” Dia.

$800-1,200

1191

Benjamin

Photographs in Yosemite

Early 20th century

Approximately 50 pages of tipped in photographs of important locations in Yosemite with attendant printed titles and descriptions of the locations; in a custom loose-leaf black album manufactured by The Heinn Company, Milwaukee, WI Custom loose-leaf black album: 12.75” H x 10.375” W x 1.125” D

$1,000-2,000

Sears (1846-1905)

(1838-1914)

“Our National Parks,” 1901 Muir, John. “Our National Parks.” Boston: Houghton, Mifflin and Company, 1901 Hardcover book

First edition, early printing, possibly first

The octavo with top edge gilt, gilt-stamped title to front and spine, dark green and gilt stamped tree design to front, on moss green cloth boards with eleven inserted plates comprising illustrations from photographs and one inserted map on plate paper

8.25” H x 5.5” W x 2” D

$500-700

1192

John Muir

1193

(b. 1931)

“The Tetons and The Snake River, Wyoming,” 1980

Gelatin silver print on paper

Edition: 124/250

Signed on the mount lower right: Howard Bond; title, date, and the artist’s copyright stamp on verso of mount

Image/Sheet: 15” H x 19.5” W

$400-600

Howard Bond

1194

Ansel Adams

(1902-1984)

“Vernal Falls, Yosemite Valley,” circa 1948

Gelatin silver print on paper

Unsigned; Alan Ross, California, 1996, prntr., and his initials, verso; with the special edition ink stamp, verso

Image: 9.5” H x 7.375” W; Sight: 10” H x 8” W

$300-500

1195

Totem, 1998

Etched glass

Edition: 7/35

Signed, dated, and numbered at the base of the totem: M / ‘98

54” H x 19.25” W x 12.5” D

$1,000-2,000

David Montpetit (b. 1951)

“Salmon #88”

Screenprint in colors on paper

Edition: 101/125

Signed, titled, dated, and numbered in pencil under the image

Image/Sheet: 13” H x 11” W

$300-500

1196

Terry Starr

(b. 1951)

1197

A Tlingit or Haida raven rattle

Late 19th/20th century, Pacific Northwest Coast

An elaborate carved cedar and polychrome painted rattle with multiple figures including raven, frog, kingfisher and hawk

5.75” H x 15.5” W x 4” D

$4,000-6,000

1198

A Northwest Coast canoe model

Late 19th/early 20th century

In carved wood with polychrome painted exterior geometric motifs and interior band

6.5” H x 38.25” W x 7.5” D

$800-1,200

1199

A Northwest Coast carved wood rattle Mid-20th century A carved wood polychrome painted bear rattle

12” H x 4.5” Dia.

$500-700

1200

A Kwakiutl carved wood sun rattle

Early/mid-20th century; Pacific Northwest Coast

A carved sun rattle with polychrome painted features and accents, with a twined plant strand wrapped handle

14” H x 10” W x 5” D

$700-900

1201

Stan Greene (b. 1953, Coast Salish)

Signed and dated to under brim; further inscribed: Gitksan / Chief ’s Hat / Eagle Clan

A carved cedar wood Tsimshian Chief’s hat, 1989; British Columbia, Canada

With a carved eagle’s head topped with stacked hide segments wrapped in cedar strips, with various feathers, surrounded by painted polychrome whale and other motifs to sides Wood: 8.5” H; with segments: 12.5: H x 16.5” Dia.

$500-700

Provenance: The Art of Man Gallery, Victoria, B.C., Canada

The Estate of Oscar and Barbara Leidenfrost, acquired from the above, 1989

Other Notes: Accompanied by a sales receipt from The Art of Man Gallery, Victoria, B.C., Canada, dated January 25, 1989

Proceeds to benefit non-profit organizations and educational institutions.

1202

Ipeelee Osuitok (1923-2005, Inuit; Cape Dorset/Kinngait)

“Tauvinik,” a “qallupilluit” ghost figure, circa 1992 Stone on acrylic plinth

Signed syllabically near bottom of figure verso

Figure: 24” H x 6.125” W x 6.5” D; Plinth: 0.75” H x 9.625” W x 12” D

$4,000-6,000

Provenance: Marion Scott, Ltd., Vancouver, British Columbia

Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, July 30, 1992

Other Notes: In Inuit mythology, the Qallupilluit (a.k.a. Qalupalik) are a creature akin to the boogeyman that live along Arctic shorelines near ice floes. They are said to steal children that wander too close to the water. This myth served as a cautionary tale to keep children from wandering too close to the ice. According to the urban legend, they smell of sulfur and are sometimes referred to as “smelly ghost.”

Osuitok was born and raised at Neeouleeutalik camp near the settlement of Cape Dorset (Kinngait) in Nunavut. His early years were spent living off of the land; he married Nipisha in 1946 and moved their growing family into Cape Dorset permanently in the mid-1950s.

When James Houston arrived in Cape Dorset in 1951, Osuitok was already well known as an ivory carver; he had sold his artwork to the local Catholic priest, teachers in Cape Dorset, and the RCMP. His earliest carvings were ivory miniatures of kayaks and fox traps; the very first piece that Ipeelee sold in the 1940s was a “miniature ivory fox-trap with moving parts.

It was Ipeelee’s questions about the origins of the printed images on cigarette packages, now an almost legendary story, that set in motion the creation of the Cape Dorset printmaking co-operative. James Houston explained the rudiments of printmaking by rubbing ink onto the surface of one of Ipeelee’ tusk carvings and then used toilet paper to lift the resulting impression’s image. Upon seeing the result Ipeelee commented: “We could do that.”

1203

Davie Atchealak

(1947-2006, Inuit; Frobisher Bay/Iqaluit)

Carved figure with drum and drumstick

Stone, bone, and sea sponge

Signed to underside: Davie Atchealak / ©

15” H x 14.5” W x 6” D

$2,000-4,000

Provenance: Sold: Waddington’s, Toronto, Ontario, “Inuit Art Auction, session 1,” November 5, 2007, Lot 368 Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, 2007

This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

1204

Joseph Shuqslak (b. 1958, Inuit; Gjoa Haven/Uqsuqtuuq)

Carved standing figure, circa 1991 Stone, whalebone, and fur on bronze base Appears unsigned

Figure: 21.5” H x 10.75” W x 5” D; Base: 1.125” H x 8” W x 8” D

$2,000-3,000

Provenance: Marion Scott Ltd., Vancouver, British Columbia Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, July 30, 1992

Other Notes: Artist’s work has been exhibited at The Guild Shop, Galleria d’Arte Moderna e Contemporanea, and Pucker Gallery, among others.

This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

1205

Kiawak Ashoona

(1933-2014, Inuit; Cape Dorset/Kinngait)

Carved kneeling figure with lanyard, circa 1989

Stone and hide

Signed syllabically near bottom of figure verso

17.75” H x 12.25” W x 7.625” D

$2,000-4,000

Provenance: The Guild Shop, Toronto, Ontario

Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, November 27, 1989

Other Notes: Kiawak was described as a “devout Christian” whose work depicted themes of traditional Inuit mythologAnd legends due to their popularity with southern buyers. It has been noted that his work is reflective to older cultural values and oral traditions and that his themes focus on: shamans, “Inuit mythology,” story telling, hunting and other “traditional activities,” as well as mother and child pairings.

The artist said: “When I carve it is hard for me to think what the carving is going to be. I will (then) start from the head. I try to put down a lot of details in the carvings that I do. Sometimes I carve from my imagination and sometimes I carve what I have seen in the past.”

1206

Nalenik Temela (1939-2003, Inuit; Lake Harbour/Kimmirut)

Carved seal figure, 1980

Stone

Signed syllabically to underside and dated: 1980 / © 3.875’ H x 11.5” W x 4” D

$400-600

Provenance: The Guild Shop, Toronto, Ontario Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, June 6, 1980

Other Notes: The artist’s work has been presented by l’Iglou Art Esquimau, the Canadian Guild of Crafts Quebec, and Aberbach Fine Art, among others.

1207

John Kaunak (b. 1941, Inuit; Repulse Bay/Naujaat)

Carved walrus with tusks

Stone and bone

Signed to underside: John Kaunak / Repulse Bay / N.W.J.; further marked with sticker: Canada eskimo art 4.625’ H x 5.25” W x 7.25” D

$200-400

Provenance: Property from the Rex Gilman Chase Collection, Berkeley, CA

This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

1208

Two Inuit carved stone figures

20th century

The walrus with partially worn label: Canadian Eskimo art

Comprising a recumbent walrus and bird, 2 pieces

Walrus: 2.125” H x 7.25” W x 3.25” D; Bird: 6” H x 2.75” W x 4.25” D

$200-400

Provenance: Property from the Rex Gilman Chase Collection, Berkeley, CA

1209

Tuki (Tukai) (1888-1979, Inuit; Port Harrison/Inukjuak)

Carved whale figure

Stone

Syllabic symbol to underside; further marked with sticker to underside: Canadian eskimo art

3’ H x 11” W x 5.5” D

$200-400

Provenance: Property from the Rex Gilman Chase Collection, Berkeley, CA

Other Notes: Artist’s work has been exhibited with Artists of Arctic Quebec at the Inuit Gallery of Vancouver.

1210

Mikisiti Saila

(1939-2008, Inuit; Cape Dorset/Kinngait)

Carved polar bear figure

Stone

Signed near bottom of foot: MEEKEESEETEE; further signed syllabically to underside with artist’s disc number: E7-992

7.875” H x 19.75” W x 5.325” D

$700-900

Provenance: Arctic Arts, Edmonton, Alberta

Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, June 7, 1976

Other notes: Artist is the son of well-known Inuit artist Pauta Saila. His works have been exhibited at Frye Art Museum, Marion Scott Gallery, and Inuit Galerie, among others.

1211

Aqjangajuk Shaa

(1937-2019, Inuit; Cape Dorset/Kinngait)

Carved sea spirit figure

Stone

Unsigned

23” H x 7.25” W x 8” D

$2,000-3,000

Provenance: Inuit Gallery, Vancouver, British Columbia Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, July 30, 1981

Other Notes: Artist’s works have been exhibited at Inuit Gallery of Vancouver, Houston North Gallery, and Cottage Craft Gifts and Fine Arts Ltd., among others.

1212

Ovilu Tunnillie (1949-2014, Inuit; Cape Dorset/Kinngait)

Three carved figures

Stone

Each signed in syllabically; one with applied sticker to underside: B2891

3 pieces

Largest: 5.875” H x 2.125” W x 1.125” D; smallest: 5” H x 1.75” W x 1.75” D

$800-1,200

Provenance: Property from the Rex Gilman Chase Collection, Berkeley, CA

1213

Kenojuak Ashevak (1927-2013)

“Spirit of the Raven,” 1979

Stonecut and stencil in colors on paper

Edition: 4/50

Signed, titled, dated, numbered, and inscribed in pencil along the lower edge; and with the artistís device lower right

Sight: 21.25” H x 26.75” W

$800-1,200

1214

Keeakshook Kiakshuk (1886-1966)

“Hunters, Umiak and Animals,” 1962 Stonecut on cream-colored paper

Edition: 38/50

Signed and numbered in pencil in the lower margin: Kiakshuk; with an unidentified blindstamp lower right margin; titled and numbered again on a gallery label affixed to the plastic wrapping

Image/Sheet: 12.75” H x 17.75” W

$400-600

Provenance: The Artic Circle, Los Angeles, CA

1215

Simon Tookoome (1934-2010)

“Friendly Spirit,” 1972

Stonecut in colors on cream-colored paper

Edition: 17/50

Signed, titled, dated, inscribed, and numbered in pencil lower right: Simon Tookoomee / Auyuittuq, and with the artist’s device lower right

Sight: 22.5” H x 28.5” W

$300-500

1217

Simon Tookoome (1934-20100

“A Time of Plenty,” 1970

Stonecut in colors on paper

Edition: 26/50

Signed, titled, dated, and numbered in pencil lower right: Tookoome; and with the artist’s device and an unidentified blindstamp lower right

Sight: 23.5” H x 34” W

$400-600

1216

Simon Tookoome (1934-2010)

“Hide and Seek,” 1972 Stonecut in colors on paper Edition: 18/39

Signed, titled, dated, and numbered in pencil lower right: Tookoome; and with the artist’s device lower right

Image/Sheet: 25.5” H x 37.25” W

$400-600

1218

Paul Toolooktook (1947-2003, Inuit; Baker Lake/Qamaniítuaq)

Carved lounging figure

Stone

Appears unsigned

7.75” H x 12.5” W x 7” D

$500-700

Provenance: Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired November 22, 2000

Other Notes: Artist’s work has been exhibited at Arctic Inuit Art, Arctic Inuit Art Gallery, and D/Erlien Fine Art Limited presented by Orca Aart, Chicago, among others.

1219

Syollie Weetaluktuk

(1906-1962, Inuit; Port Harrison/Inukjuak)

Carved figure skinning a fox Stone

Signed syllabically to underside and with artist’s disc number: EF1745; further marked with sticker: canadian eskimo art 7” H x 6.125” W x 7.875” D

$500-700

Provenance: Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired Toronto, Ontario circa 1965

Other Notes: Artist’s work has been exhibited at the National Gallery of Canada and Gimpel Fils, among others.

1220

Peter Sevoga (1940-2007, Inuit; Baker Lake/Qamaniítuaq)

Carved figure

Stone

Unsigned; with two applied stickers to underside: AGALIIA, Baker Lake / 12856 / 4195

6” H x 4.125” W x 2.625” D

$400-600

Provenance: UNUK 1, Eskimo Art, San Francisco, CA

Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, June 7, 1976

1221

Mannumi Shaqu (1917-2000, Inuit; Cape Dorset/Kinngait)

Carved head figure

Stone on wood plinth

Marked with sticker applied to figure verso: canada eskimo art With base: 9.25” H x 11.375” W x 5.375” D

$300-500

Provenance: Hudson Bay Company, Toronto, Ontario

Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, June 7, 1976

1222

An Inuit carved stone figure

Early/mid-20th century

Attributed on partially illegible label to verso: P / [Peterossie] / Niss; with sticker to underside: Canadian eskimo art

Depicting a figure carrying a seal over their shoulder and at their feet

9.75” H x 6.5” W x 3” D

$200-400

Provenance: The Guild Shop, Toronto, Ontario.

Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, 1965

1223

Marc Alikaswa

(1928-2008, Inuit; Eskimo Point/Arviat)

Carved leaning figure, circa 1988

Stone

Appears unsigned

16.75” H x 11.75” W x 7.5” D

$300-500

Provenance: Marion Scott Ltd., Vancouver, British Columbia Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, June 15, 1989

Other notes: Marc Alikaswa’s Inuit carvings into his native unpolished stone depict abstracted figures. He was born near Manitoba to Shamen Idjuadjuk and spent most of his life in Arviat, Nunavut. His first exhibition in 1971, “The Art of the Eskimo,” at the Simon Fraser Gallery in Burnaby, BC, showcased his works and launched his successful carving career.

1224

Accordion

Stone

Appears unsigned 11” H x 10” W x 4.75” D

$400-600

November 22, 2000

Johnny Inukpuk (1911-2007, Inuit; Port Harrison/Inukjuak)

Player, circa 1999

Provenance: Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired

1225

Johnny Inukpuk

(1911-2007, Inuit; Port Harrison/Inukjuak)

Carved figure of boy ice fishing Stone

Signed syllabically to underside and numbered: C-NO-5-87 / 14160; further marked with sticker: [illegible] / eskimo art esquimau

10” H x 6.875” W x 6.5” D

$400-600

Provenance: The Guild Shop, Toronto, Ontario

Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, November 27, 1989

Other Notes: Johnny Inukpuk began carving in the early 1950s after James Houson’s first visit to Inukjuak. His work, including a very large piece entitled “Hunter,” was part of a collection of Inuit art that was acquired by the TD Bank Financial Group in 1951. His work received recognition as part of an exhibition of Inuit art known as The Coronation Exhibition held at Gimpel Fils in London, England in 1953.

1226

Matiusie Iyaituk (b. 1950, Inuit; Ivujivik)

Carved figure with inset face and knife

Stone, bone, and caribou antler

Marked syllabically; further marked: EA / © / 3-1; further marked with stickers: I-16803 / 195 / [partially illegible] / 3-16085 / Matthew Iyaituk / Canada eskimo art esquimau / [graphic of figure building igloo] / 3

5.25” H x 2” W x 4.25” D

$400-600

Provenance: INUK 1, Eskimo Art, San Francisco, CA

Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, October 1, 1981

This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

1227

Aliknak Parr (b. 1939, Inuit; Cape Dorset/Kinngait)

Carved figure of sea spirit

Stone

Unsigned; marked with stickers to underside: A Parr / CD / Z84285

4.75” H 15.25” W x 3.75” D

$200-400

Provenance: UNUK 1, Eskimo Art, San Francisco, CA

Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, October 1, 1981

1228

(b. 1936, Inuit; Povungnituk/Puvirnituq)

Carved figure skinning a seal

Stone

Signed syllabically to underside and numbered: 171344; further marked with sticker: canada eskimo art

8.25” H x 6” W x 5.25” D

$200-400

Provenance: Property from the Rex Gilman Chase Collection, Berkeley, CA

Daniel Nuluki Kuanana

1229

Jacob Sangoyak

(b. 1933, Inuit)

“The Casualty,” 1976

Stone

Signed to underside with artist’s disc number: Sangoya / E5 694

11” H x 8.125” W x 12.125” D

$100-200

Provenance: S. Simone Gallery

Private Collection, Berkeley, CA, acquired from the above

1230

Mayoreak Ashoona

(b. 1946)

“Land and Seascape,” 1984

Stonecut and stencil in colors on paper

Edition: 5/50

Signed, titled, numbered, dated, and inscribed in pencil along the lower edge: Mayoreak / Dorset; with a blindstamp lower right

Sight: 24” H x 30.5” W

$200-400

1231

Pitseolak Ashoona (1904-1983, Inuit)

“Owls in Spring Snow,” 1972

Stonecut in colors on paper

Edition: 2/50

Signed, titled, dated, numbered, and inscribed in the lower margin:

Pitseolak / Dorset; with a blindstamp lower right

Image/Sheet: 22” H x 24.5” W

$300-500

1232

Peter Pitseolak (1902-1973)

“My Wife and I,” 1974

Stonecut in colors on cream-colored paper

Edition: 3/50

Signed, titled, dated, numbered, and inscribed in pencil along the lower edge: Peter Pitseolak / Dorset; with an unidentified blindstamp lower right

Image/Sheet: 24.5” H x 34” W

“Legend of the Narwal,” 1968

Stonecut in colors on cream-colored paper

Edition: 6/50

Signed, titled, dated, numbered, and inscribed indistinctly in pencil along the lower edge: Pitseolak / Loo***; with an unidentified blindstamp lower right

Image/Sheet: 21.75” H x 24.25” W

2 pieces

$300-500

1233

Pitseolak Niviaqsi (Niviaksie) (1947-2015, Inuit; Cape Dorset/Kinngait) Carved hare figure, 1984

Stone

Signed and dated to underside: [syllabics] / © / 1984

12.25” H x 4.75” W x 6.75” D

$500-700

Provenance: Marion Scott Ltd., Vancouver, British Columbia

Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, October 10, 1986

1234

Kneeling

Stone

Unsigned;

$300-500

Annie Komek (Etokto) Kiguina (b. 1947, Inuit; Coppermine/Kugluktuk)

caribou, circa 1980

marked with sticker to underside: Canada eskimo art 4’ H x 11.25” W x 3” D

Provenance: The Guild Shop, Toronto, Ontario Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, June 6, 1980

1235

Two carved stone figures

Two works:

Joanassie Oomayaualook (b. 1934, Inuit; Port Harrison/Inukjuak)

Carved hare on rocky ground base

Stone

Signed syllabically to verso; further marked with artist’s identification disc number: E91749

3.375” H x 4.75” W x 1.875” D

Celina Seeleenak Putulik (b. 1934, Inuit; Repulse Bay/Naujaat)

Carved bear figure

Stone

Unsigned; with applied sticker to underside: Canadian Eskimo art

2.5’ H x 4.75” W x 1.875” D

2 pieces

$100-200

Provenance of the first: Canadian Handicrafts Guild, Toronto, Ontario

Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, 1966

Provenance of the second: Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired by present owner in Toronto, Ontario, 1966

1236

Allie Kasudluak

(1926-1982, Inuit; Port Harrison/Inukjuak)

Carved elephant figure, 1979

Stone

Signed syllabically to underside and dated: © / 1979; further marked: I N-5-115103; with sticker: canada eskimo art esquimau 7.625” H x 12.325” W x 3.875” D

$200-400

Provenance: Picadilly Place, Hotel Vancouver, Vancouver, British Columbia Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, July 22, 1981

1237

$200-400

Sarah Alareak lootna (b. 1926, Inuit; Eskimo Point/Arviat) Carved plaque Stone

Signed syllabically to verso

2.75” H x 2.125” W x 1” D

Provenance: Marion Scott Ltd., Vancouver, British Columbia Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, June 15, 1989

$100-200

Provenance:

1238

Parsa Nowra

(b. 1930, Inuit; Kuujjuaraapik/Great Whale River)

Carved plaque Stone

Signed syllabically to verso; numbered 35948; with label: Canada Eskimo art esquimau

3.5” H x 2.75” W x 0.375” D

Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired November 17, 2000.

1239

Lucy Qinnuayuak (1915-1982)

“Woman Stretching Bear Skins,” 1967

Stonecut in colors on paper

Edition: 20/50

Signed, titled, dated, and numbered in pencil along the lower edge: Lucy

Sight: 17” H x 29” W

“Katajuk,” 1976

Lithograph in colors on paper

Edition: 3/50

Signed, titled, dated, numbered, and inscribed in pencil along the lower edge: Lucy / Dorset; the artist’s name in Roman and syllabics in the lower left corner; two unidentified blindstamps in the lower right corner

Sight: 25” H x 20” W

2 pieces

$200-400

1240

Three Inuit stonecuts

Agnes Nanogak (1925-2001)

“Vengeance,” 1977

Stonecut in colors on cream-colored paper

Edition: 7/50

Signed, titled, dated, numbered, and inscribed in pencil along the lower edge: Nanogak / Holman / Egutak; with the Holman and an unidentified blindstamp lower right

Image/Sheet: 20.125” H x 30.25” W

Toweener Arngnakik (20th century)

“Embroidering a Parka,” 1971

Stonecut in colors on paper

Edition: 9/42

Signed, titled, dated, and numbered in pencil along the lower edge: Toweener Arngnakik, and with the artist device lower right; with an unidentified blindstamp lower right

Image/Sheet: 19.75” H x 26” W

Lipa Pitsiulak (1943-2010) & Solomon Karpik Pangnirtung (20th century)

“Shaman Test of Strength,” 1978

Stonecut in colors on paper

Edition: 3/50

Signed, titled, dated, and numbered in pencil along the lower edge: Lipa Pitsiulak / Solomon Karpik

Pangnirtung / 66, and with the artist’s device lower right; with an unidentified blindstamp lower right

Image/Sheet: 16.75” H x 24.5” W

3 pieces

$300-500

1241

A group of Inuit artworks

Agnes Nanogak (1925-2001)

“Dream,” 1968

Stonecut on cream-colored paper

Edition: 14/50

Signed, titled, dated, and numbered in pencil along the lower edge: Nanogak; with the red Holman stamp lower right

Sight size: 18” H x 23” W

Peter Aliknak (b. 1928)

“Sorcerers Contest,” 1966

Stonecut on cream-colored paper

Edition: 19/40

Signed, titled, dated, numbered, and inscribed in pencil along the lower edge: Aliknak / Eskimo Western Arctic / #7; with the red Holman stamp and unidentified blindstamp lower right

Image/Sheet: 15.125” H x 20.25” W

Helen Kalvak (1901-1984)

“The Sea Dwellers,” 1968

Stonecut on cream-colored paper

Edition: 27/50

Signed, titled, dated, and numbered in pencil along the lower edge: Kalvak / #13; with the red Holman stamp and unidentified blindstamp lower right

Image/Sheet: 18” H x 24” W

Peter Aliknak

“Mother Bear,” 1984

Stonecut on cream-colored paper

Edition: 9/50

Signed, titled, dated, numbered, and inscribed in pencil along the lower edge: Aliknak / Holman / Equtak; with the Holman blindstamp and unidentified blindstamp lower right

Image/Sheet: 17.125” H x 25.25” W

4 pieces

$400-600

1242

Helen Kalvak (1901-1984)

“Shamanís Ritual “1970

Stonecut in colors on cream-colored paper

Edition: 25/50

Signed, titled, dated, numbered, and inscribed in pencil along the lower edge: Kalvak / Eskimo Western Arctic; with the Holman and unidentified blindstamp lower right

Sight:14.5” H x 20.625” W

“Underwater Fisher,” 1973

Stonecut in colors on cream-colored paper

Edition: 33/50

Signed in the image lower right; titled, dated, numbered, and inscribed in pencil along the lower edge: Kalvak / Eskimo Western Arctic; with the Holman and unidentified blindstamp lower right

Image/Sheet: 20” H x 30” W

“Magic Power,” 1973

Stonecut in colors on cream-colored paper

Edition: 4/50

Signed in the image lower right; titled, dated, numbered, and inscribed in pencil along the lower edge: Kalvak / Eskimo Western Arctic; with the Holman and unidentified blindstamp lower right

Image/Sheet: 24.5” H x 17” W

3 pieces

$400-600

1243

Tudlik (1890-1966, Inuit; Cape Dorset/Kinngait)

Carved owl figure

Stone

Unsigned 4.5” H x 4.25” W x 1.75” D

$3,000-5,000

Provenance: Sold: Waddington’s, Toronto, Ontario, “Inuit Art Auction,” November 8-9, 2004 Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, November 8, 2004

1244

Three Inuit carved stone figures

Three works:

Allie Kasudluak (1926-1982, Inuit; Port Harrison/Inukjuak)

Carved bird figure with incised feathers

Stone

Signed syllabically to underside

3.25” H x 6.5” W x 2.75” D

Josie Pamiutu Papialuk (1918-1996, Inuit; Povungnituk/Puvirnituq)

Carved seal head breaching ice, circa 1986

Stone

Signed to underside: Josie Papialook [sic] / ?© / 81; further marked with partially illegible disc number

2.875” H x 2.5” W x 2.75” D

Davidee Saumik (1925-1984, Inuit; Port Harrison/Inukjuak)

Carved duck

Stone

Signed syllabically to underside; further marked: 187391

4” H x 4.25” W x 2” D

3 pieces

$300-500

Provenance of the second: Marion Scott Ltd., Vancouver, British Columbia Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, October 9, 1986

1245

Lucie Angalakte Mapsalak

(b. 1931, Inuit; Repulse Bay/Naujaat)

Two carved geese Stone

One signed syllabically to underside and with artist’s identification disc number: E3-486; one with applied sticker to underside: Canadian eskimo art

2 pieces Largest: 4.5” H x 6” W x 2.25” D; Smallest: 3” H x 5.5” W x 1.625” D

$200-400

Provenance: Property from the Rex Gilman Chase Collection, Berkeley, CA

1246

Paul Kavik

(b. 1948, Inuit; Belcher Islands/Sanikiluaq)

Two carved birds Stone

One signed: Paul K / 171; one appears unsigned, with two applied stickers to underside: Canadian Eskimo art / Hudson’s Bay Company / 9 / WHU

2 pieces Larger: 4.625” H x 5” W x 2.75” D; smaller: 3.5” H x 5.75” W x 2.25” D

$200-400

Provenance of the signed bird: Hudson Bay Co., Toronto, Ontario Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, June 7, 1976

1247

Latcholassie Akesuk (1919-2000, Inuit; Cape Dorset/Kinngait) Carved arctic bird figure

Stone

Unsigned 11.325” H x 3.75” W x 8.625” D

$700-900

Provenance: Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from Edmonton, Alberta, September 10, 1984

Other Notes: Latcholassie Akesuk (1919-2000) was born in 1919, on Anatalik Island in the Northwest Territories. His father Akesuk Tudlik (1890-1966) was a renowned sculptor, as was his brother, Solomonie Tigullaraq. He began carving alongside his father in the early 1950s and was particularly influenced by his father’s owls and has made a name for himself with his own body of work that features many abstract bird themes, such as this example. His selection of material enhances the overall form by using the natural character of the stone to call attention and animate his subjects.

His work is held in a variety of museums, including the National Gallery of Canada, the Museum of Inuit Art, the University of Lethbridge Art Collection, and the University of Michigan Museum of Art. He passed in 2000 in Cape Dorset, now Kinngait.

1248

Karoo Ashevak (1940-1974, Inuit; Spence Bay/Taloyoak) Carved bird figure

Whalebone

Signed in pen to underside: Karoo Ashevak

9.5” H x 12.875” W x 9.5” D

$5,000-7,000

Provenance: Marion Scott Ltd., Vancouver, British Columbia Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, circa 1990

This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

1249

Nipisha Osuitok (Neepeesha) (1925-1980, Inuit; Cape Dorset/Kinngait)

Carved owl figure

Stone

Signed syllabically to underside; further marked with stickers to underside: Nipicha / CD

8.25” H x 4.75” W x 2.875” D

$200-300

Property

Provenance: INUK 1, Eskimo Art, San Francisco, CA

from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, October 1, 1981

1250

Dietrich “Dimu” Muchelstein (b. 20th century)

Two carved birds and a beaver Stone

Each signed: Dimu

3 pieces

Largest: 2.5” H x 5” W x 1.875 D; smallest: 2” H x 5.25” W x 1.875 D

$400-600

Provenance: Property from the Rex Gilman Chase Collection, Berkeley, CA

1251

Tamusi Qumalu Tukula (Thomassie Tookalook) (b. 1945, Inuit; Povungnituk/Puvirnituq)

Carved falcon figure, 1977

Stone

Signed to underside: Thomassie Tookalook / [syllabics] / © 77; further marked with sticker: canada eskimo art esquimau

12” H x 6.25” W x 12” D

$800-1,200

Provenance: Maison de Cadeau L’Escale Gift Shop, Quebec City, Quebec Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, August 3, 1980

Other Notes: Artist’s works have been presented by the Inuit Gallery of Vancouver, Rothmans of Pall Mall Canada Ltd., the National Museum of Man, among others.

1252

Ralaa Nutarariaq (active late 20th century, Inuit; Nunavut Territory) Carved “inunnguaq” stacked stone human figure Stone and serpentine Signed syllabically to underside of feet and numbered: 187 6.5” H x 7.625” W x 1.875” D

$200-400

Provenance: Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from Toronto, Ontario November 18, 2000

Other Notes: “Inuksuk” is a type of stone landmark or cairn built by, and for the use of, Inuit, IÒupiat, Kalaallit, Yupik, and other peoples of the Arctic region of North America. “Inunnguat” is the human form of stacked stone.

1253

George Arluk (1949-2023, Inuit; Eskimo Point/Arviat)

Carved abstract multiple-headed figure

Stone Appears unsigned

12.5” H x 11.75” W x 9.5” D

$300-500

Provenance: Rita Zeichner, INUK 1/Eskimo Art, San Francisco, CA

Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, October 1, 1981

1254

Tumasi Uqaitu Qinuajua (Thomasie Ken) (b. 1948, Inuit; Povungnituk/Puvirnituq)

Carved walrus figures with tusks

Stone and bone

Signed to underside: Ken

4.125” H x 8.5” W x 4.375” D

$300-500

Provenance: INUK 1, Eskimo Art, San Francisco, CA

Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, October 1, 1981

1255

Enook Manomie

(b. 1941, Inuit; Frobisher Bay/Iqaluit)

Carved wolf figure

Stone

Signed to underside: [syllabics] / Enook / 1981 / C; further marked with sticker: Enook Manomie Frobisher Bay

5.25” H x 10.75” W x 3.25” D

$200-400

Provenance: The Inuit Gallery of Eskimo Art, Toronto, Ontario Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, June 5, 1982

1256

Lucassie Echalook

(b. 1904, Inuit; Port Harrison/Inukjuak)

Carved bear and walrus in a death struggle

Stone

Signed syllabically to underside and marked with artist’s disc number: E9 1582; further marked with sticker: canadian eskimo art

6.5” H x 8.375” W x 5.875” D

$400-600

Provenance: The Guild Shop, Toronto, Ontario Property from the Rex Gilman Chase Collection, Berkeley, CA, acquired from the above, circa 1963

Other Notes: Artist’s works have been exhibited at Embankment Gallery, Winnipeg Art Gallery, and MusÉe du Quebec, among others.

Condition Reports

1001

Visual: Overall good condition. Small spots of paint loss and areas of crazing scattered throughout. A surface crack across the center of the panel. Craquelure due to woodgrain scattered throughout the sky.

Blacklight: Touch-up throughout the skAnd the mountain on the right.

Frame: 14.5” H x 18.5” W x 1.75” D

1002

Visual: Overall good condition. Occasional specks of grime commensurate with age. Frame abrasion along the upper right edge.

Blacklight: No evidence of restoration.

Frame: 14.75” H x 18.75” W x 1.5” D

1003

Visual: Overall good condition. Dust accumulation commensurate with age.

Blacklight: No evidence of restoration.

Frame: 13” H x 15” W x 1.75” D

1004

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 18.25” H x 21.5” W x 1.5” D

1005

Visual: Overall good condition. Dust accumulation and grime commensurate with age.

Blacklight: No evidence of restoration.

Frame: 11.5” H x 13.5” W x 1.75” D

1006

Visual: Overall good condition. The canvas is loose and slightly rippled. Minor surface dirt and grime.

Blacklight: No evidence of restoration.

Frame: 33.25” H x 37.25” W x 2” D

1007

Visual: Overall good condition. Very fine paint shrinkage scattered throughout.

Blacklight: No evidence of restoration.

Frame: 23.125” H x 25.25” W x 2.25” D

1008

Visual: Overall good condition. Scattered craquelure commensurate with age. Stretcher bar creasing and frame abrasions showing slightly along all four sides.

Blacklight: Scattered tiny touch-ups, pea-sized or smaller, concentrated mostly along the upper and left stretcher bar creases. Difficult to read under varnish.

Frame: 23” H x 27” W x 2” D

1009

Overall good condition. Not examined out of the frame.

Framed under glass: 24.75” H x 28.625” W x 1.625” D

1010

Overall good condition. Not examined out of the frame.

Framed under glass: 28” H x 34.75” W x 0.75” D

1011

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 27.5” H x 37.5” W x 2” D

1012

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 33” H x 29” W x 2” D

1013

Visual: Overall good condition. Not examined out of the frame.

Blacklight: No evidence of restoration.

Framed under glass: 19.5” H x 15.25” W x 1” D

1014

Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age.

1015

Overall good condition with minor scuffs, darkening/ oxidation, and dust accumulation to bronze commensurate with age.

1016

Overall good condition. Toning to the paper. A light crease in the paper in the lower right corner. Tape remnants from previous mounting remain verso. The sheet is loose, not mounted.

Framed under glass: 10.25” H x 12.25” W x 1.75” D

1017

Overall good condition. Toning to the paper. Not examined out of the frame.

Framed under glass: 8.25” H x 10.25” W x .75” D

1018

Overall good condition with wear, dust accumulation, scuffs, and oxidation commensurate with age and use. The leather with some drying and cracking.

1019

Overall good condition commensurate with age. With minor wear and minimal fraying.

1020

Overall good condition with wear commensurate with age. Worn and with scattered areas of darkening to the leather and typical scuffs/scratches from use. The horn with a previous stitched repair.

1021

Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age. The wood base with minor scratches.

1022

Overall good condition. Toning to the paper. Tears to the paper in the upper corners, left center edge, and right center edge. Small spots of paper loss upper center. The frame and cage with wear and dust accumulation commensurate with age.

Framed under glass: 33.5” H x 43.5” W x 5.5” D

1023

Each overall fair to good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The wood with rubbed wear and loss to painted surfaces. The metal with oxidation throughout. One windmill blade loose. The white goose with woodworm to stand.

1024

Overall good condition with tarnishing, light scratches and wear commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Light wear to leather.

1025

Overall good condition with tarnishing, light scratches and wear commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Wear to leather.

1026

Overall good condition with tarnishing, light scratches and wear commensurate with age and use. Discoloration and wear to leather. Slight distortion to leather from storage. One concho with loose attachment thread. Old repair and reconfiguration to leather belt fastenings.

1027

Each in overall good condition with tarnishing, light scratches and wear commensurate with age and use.

1028

Visual: Overall good condition. Not examined out of the frame.

Blacklight: No evidence of restoration.

Frame: 10.75” H x 12.75” W x 1.25” D

1029

Visual: Overall good condition. Surface dirt and grime.

Blacklight: No evidence of restoration.

Frame: 16.5” H x 20.5” W x 1.75” D

1030

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 59.5” H x 84” W x 3” D

1031

Visual: Overall good condition. Craquelure throughout the sky. A stretcher bar crease along the upper edge. Minor frame abrasion along the four edges.

Blacklight: No evidence of restoration.

Frame: 38” H x 26” W x 4” D

1032

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 49.25” H x 37.5” W x 2” D

1033

Visual: Overall good condition.

Blacklight: No evidence or restoration.

Frame: 24.5” H x 28.5” W x 3” D

1034

Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. Part of the unused canvas showing along the left edge.

Blacklight: A 3” horizontal area of touch-up along the lower edge, at center.

Frame: 11” H x 13” W x 2.5” D

1035

Overall good condition. Not examined out of the frame.

Framed under glass: 29” H x 37” W x 1.375” D

1036

Visual: Overall good condition.

Blacklight: Scattered areas of touch-up throughout the upper left section, the largest is dime-sized along the left-side mountain.

Frame: 28.25” H x 36.25” W x 1” D

1037

Visual: Overall good condition. An 11” scratch lower right. Small spots of paint loss upper left, upper right, and right center. Some minor spots of grime.

Blacklight: No evidence of restoration.

Frame: 36” H x 46” W x 2” D

1038

Visual: Overall good condition. Two flecks of pigment loss in the upper left and right corners.

Blacklight: No evidence of restoration.

Framed under glass: 13.75” H x 17.5” W x 1” D

1039

Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age and use. Verdigris throughout on both the interior and the exterior. Corrosion to the underside makes Gustav Stickley die stamp illegible.

1040

Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Issues include but not limited to: minor bending to the rim and foot and heavier verdigris on the interior.

1041

Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Heavier verdigris in the crevasses of the decoration. One sizable area of mar to the finish, about 0.5” long.

1042

Each overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age and use. There is thin crack in the copper plating on the back of the pitcher, beginning at the rim and running vertically down to the handle. As well, there is pitting to the ceramic surface on the interior of the pitcher. Lastly, the pitcher, along with three of the cups, with heavy crazing and discoloration to the glazing on the interior.

1043

Each overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Some wear to the patinated finish on the underside of the tray, exposing the raw copper finish.

1044

Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Slight wear and scratching to the patinated finish of the underside, exposing the raw copper.

1045

Each overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. As well, each with scattered rust, concentrated on the billet bars of the andirons. Likewise, one billet bar appears to be slightly bent and misshapen.

1046

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: slight fading to one side, each side with scattered small yellow spots, a couple of small areas of dye transfer, scattered areas of faint dark staining, and a small area of loose weave to one side edge.

1047

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: slight fading to one end, a few areas of white marks/pale staining, areas of possible dye color variation, and a few scattered areas of loose weave to one short edge, with four scattered areas of old repairs to edges.

1048

Overall good condition with dust accumulation and wear commensurate with age and use. Two single stitch losses to the rim. A few scattered single stitch losses to interior, especially at the base. An area of darkening to exterior base.

1049

Overall fair to good condition with wear and dust accumulation commensurate with age and use, with darkening overall. Scattered scuffs and wear to exterior including base. Breaks to two and three rods at rim, with attendant stitch losses. Further scattered stitch losses to rim.

1050

Each in as-is condition with dust accumulation and heavy wear commensurate with age and use. Large basket with scattered stitch losses and degradation to leather handles. Basketry vase with severe breaks to each rim with attendant distortion and stitch loss.

1051

Overall good condition with dust accumulation and wear commensurate with age and use. Slightly out of round. Lid with two stitch losses to rim at terminal. Finial with damage to stem, and with adhesive residue to interior. A 1.5” split to lid, 1” from top.

1052

Each in overall good condition with dust accumulation and wear commensurate with age and use. Each with slight fading to the front side. The first with split to hanging loop.

1053

Overall good condition with dust accumulation and wear commensurate with age and use.

1054

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered minor staining/soiling to both sides, a 2” x 3” area of hardening and discoloration near one corner visible only to one side, very slight fading to one side, a small area of broken selvage, and one corner with possible reweaving, 1.5” x 2.”

1055

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: very slight fading to one side, a few small areas of dye transfer to one side, a large section of selvage loss to each side edge, scattered older repairs, one hole and a few areas of missing weave.

1056

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered stains/soiling to both sides, light fading to one side, particularly browns, and a small area of loose weave to one corner.

1057

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: slight fading to side A. Side B with a couple of faint marks near long edge, and with attached loop strip to one edge for hanging.

1058

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a couple of large areas of faint yellow staining, and a couple of small dark spots, tightening of weave to corners, with loose weave at one corner, and minor selvage break to same side edge.

1059

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered minor staining/soiling to both sides, and one small hole to one side.

1060

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: side B with random red and black ink marks at each end, fluffiness to weave and with a fabric strip applied to one edge, for hanging method.

1061

Overall good condition with light scratches and wear commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Tests for 14k gold.

1062

Overall good condition with light scratches and wear commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.

1063

Each in overall good condition with tarnishing, light scratches and wear commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Each with added wire ring sizer.

1064

Each in overall good condition with tarnishing, light scratches and wear commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.

1065

Each in overall good condition with tarnishing, light scratches and wear commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Turquoise ring with diagonal hairline fracture.

1066

Each in overall good condition with tarnishing, light scratches and wear commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.

1067

Overall good condition. The sheet with deckled edges. Framed floating and mounted to the back mat. Not examined out of the frame.

Framed under glass: 30.25” H x 38” W x 1.5” D

1068

Overall good condition. Not examined out of the frame.

Frame: 65” H x 54.75” W x 1.75” D

1069

Overall good condition. The sheet with deckled edges. Framed floating and mounted to the back mat. Not examined out of the frame.

Frame under glass: 38” H x 30” W x 1.25” D

1070

Overall good condition. The full sheet with deckled edges. Framed floating and mounted to the back mat. Not examined out of the frame.

Framed under Plexiglas: 40.75” H x 32.25” W x 1.875” D

1071

Overall very good condition. The colors vibrant. There are remnants of yellowed masking tape adhesive measuring .25” in width along all four edges, with a series of staple holes visible along the extreme top edge.

Framed under glass: 28.5” H x 29.5” W x 1.75” D

1072

Condition: Overall very good condition. The colors vibrant. The sheet is adhered to an artist’s mat board under 1” thick masking tape along all four edges, with the artist’s fingerprint covered by approximately .25” of tape on the bottom and right side.

Framed under glass: 26.5” H x 32.5” W x 1.75” D

1073

Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. Wood base with scattered scuffs, scratches, and nicks. Adhesive felt applied to underside of wood base.

1074

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Each with felt feet applied and some scuffing and scratches to undersides.

1075

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With small black scuff to side of vessel and applied felt feet to underside.

1076

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

1077

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use.

1078

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use.

1079

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Measurements approximate; textile not examined out of frame or off of mat.

Frame: 18.375” H x 24.375” W x 0.875” D

1080

Each in overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: Rug with slight fading to one side, and a couple of short breaks to selvage cords on two sides, with minor weave loosening, as well as scattered small spots/stains to each side. The mask with a large chip to the lower lip and soiling and dust verso from age and use. With a plaited grass hanging loop. The box with oxidation and discoloration and scattered marks. Metal slightly distorted at two corners.

1081

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a couple of very faint scattered spots.

1082

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: slight fluffiness to weave on each side.

1083

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: very slight fading to one side and slight fluffiness to weave overall.

1084

Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age. Titled by repute.

1085

Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age. Minor nicking to the edges of the stone base.

1086

Overall good condition with light scratches and wear commensurate with age and use. Stones and shells with scattered light abrasions and surface reaching fractures. Scattered areas of loss to inlay to some birds.

1087

Overall good condition with light scratches and wear commensurate with age and use. Stones and shells with scattered light abrasions.

1088

Overall good condition with light scratches and wear commensurate with age and use. Stones and shells with scattered light abrasions and surface reaching fractures.

1089

Each in overall good condition with light scratches and wear commensurate with age and use. Stones and shells with scattered light abrasions and surface reaching fractures.

1090

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a small spot near one edge.

1091

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: overall slight fugitive red cast to wool, scattered areas of soiling/ staining throughout, two scattered holes, and a small area of loose weave to one corner.

1092

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered light soiling and overall slight fluffiness to weave. One side with attached loop strip for hanging.

1093

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: Scattered dark staining/marks to both sides, a few small holes, areas of loose weave to each end with gaps, one side edge with break to selvage cord 7” L.

1094

Visual: Overall good condition. Occasional specks of grime commensurate with age.

Blacklight: Small flea bite specs that fluoresce at upper right corner. Otherwise, no other visible issues apparent.

Frame: 15.25” H x 17.25” W x 1.25” D

1095

Visual: Overall good condition. Dust accumulation and scattered craquelure commensurate with age. Soft stretcher bar creases along the four sides. Craquelure scattered throughout. Scattered creases in the canvas, mostly through the center.

Blacklight: A 7” H x 1” W diagonal area of touch-up above the figure riding the horse.

Frame: 36” H x 46” W x 1.75” D

1096

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 20” H x 23” W x 1” D

1097

Overall good condition. Minor toning to the paper and colors slightly attenuated. Not examined out of the frame.

Framed under glass: 21.5” H x 27.25” W x 1.5” D

1098

Visual: Overall good condition. Dust accumulation, grime, and slight varnish discoloration commensurate with age. Craquelure scattered throughout. A group of diagonal scratches to the pigment near the upper edge left of center, the largest measuring 1.5”. Areas of rubbing to the pigment throughout the center section of the painting. A pea-sized area of minor pigment loss in the first teepee, at left. The canvas has been strip-lined and backed.

Blacklight: Touch-up throughout and mostly in the sky.

Frame: 41.5” H x 62” W x 4” D

1099

Visual: Overall good condition. A speck of unobtrusive pigment loss in the extreme upper right corner. Minor frame abrasion along the left edge.

Blacklight: No evidence of restoration.

Frame: 22.375” H x 19.5” W x 3” D

1100

Overall good condition. A 9” H x 3.5” W area of restoration on the right side of the background. Two 1” vertical water stains lower center and right center. Small losses, nicks, and tears to the paper scattered along the edges.

Frame: 15.5” H x 13.5” W x 2.5” D

1101

Overall good condition. Not examined out of the frame.

Framed under Plexiglas: 25” H x 19” W x 1” D

1103

Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age.

1104

Overall good condition with wear commensurate with age. One inch indentation to leather of spine on front near “Taos” stamp. With small imperfection to cloth board verso. Includes original shipping packaging from New York Graphic Society/The Ansel Adams Gallery.

1105

Overall good condition with tarnishing, light scratches and wear commensurate with age and use.

1106

Overall good condition with light scratches and wear commensurate with age and use. Stone inlay with scattered abrasions and surface reaching fractures. Scattered minor chips to inlay.

1107

Each in overall good condition with tarnishing, light scratches and wear commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.

1108

Overall good condition with light scratches and wear commensurate with age and use. Stone inlay with scattered abrasions and surface reaching fractures. A few scattered minor chips or fleabites to inlay.

1109

Overall good condition with tarnishing, light scratches and wear commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.

1110

Overall good condition with tarnishing, light scratches and wear commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.

1111

Overall good condition with tarnishing, light scratches and wear commensurate with age and use. Shell with scattered light abrasions and surface reaching fractures.

1112

1102

Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age.

Overall good condition with tarnishing, light scratches and wear commensurate with age and use. Shell beads with scattered abrasions and surface reaching fractures, and natural weathered holes, marks and indentations.

1113

Each in overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: each having one side with Velcro soft loop strip sewn to one edge for hanging.

1114

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a small hole near top edge. A small darkish spot near lower edge. One side with Velcro soft loop strip sewn to one edge for hanging.

1115

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few faint marks and some scattered small holes,

1116

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: slight fading to side A, areas of color variation in yarn, a small selvage break to one side, loose weave to one corner, and to one end. A narrow fabric strip applied to one edge of side B, for hanging method.

1117

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use.

1118

Overall fair to good condition with dust accumulation, soiling, and typical signs of wear commensurate with age and use. Scattered minor areas of bead loss to motifs and edges. Scattered shallow holes to one side of hide front. Calico backing with one 4” tear to one side, and a 13” area of loose stitching to same edge.

1119

Overall good condition with dust accumulation, darkening to hide, and typical signs of wear commensurate with age and use. A few scattered dark marks/stains to one legging. Scattered small areas of loss to quillwork. Scattered areas of insect damage/holes to blue edging. Textile measurements approximate; textile not examined out of frame.

Frame: 21.5” H x 29.5” W x 1.75” D; with dark pen mark to frame face.

1120

Overall good condition with dust accumulation and typical signs of wear/soiling, scattered scuffs, scratches, and nicks commensurate with age. Hide with one small hole verso.

1121

Overall good condition with dust accumulation and wear commensurate with age and use. Some wear and color loss to some elements. One feather with a few tiny holes. Collage measurements approximate; collage not examined out of frame.

Frame: 24.375” H x 30.375” W x 1.75” D; With a large fracture to lower right corner.

1122

Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Scattered flacking, nicks, and minor losses to the glazed surface throughout.

1123

Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. As well, there is fire clouding and several hairline cracks in the rim inherent to the firing process.

1124

Overall good condition with shelf wear, scattered minor scuffs and scratches, and inherent firing flaws commensurate with age. Some scattered white scuffing to the underside.

1125

Overall good condition with scattered minor scuffs, and inherent firing flaws commensurate with age. Scattered minor knicks to the slip glazed surface throughout.

1126

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Scattered small losses to slip paint and minor scattered chips throughout.

1127

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Avanyu pot with tape residue to underside. Chino jars with scattered small losses to slip paint.

1128

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

1129

Visual: Overall good condition. A pinhead-sized area of pigment loss near the upper edge, at center.

Blacklight: Scattered pea-sized or smaller areas of touch-up throughout the foreground.

Frame: 36” H x 46” W x 2” D

1130

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 20.75” H x 27.5” W x 1.5” D

1131

Visual: Overall good condition.

Blacklight: Scattered areas of touch-up in the skAnd the mountains in the background. The largest measuring 7” horizontally along the mountain.

Frame: 28.25” H x 36.25” W x 1” D

1132

Visual: Overall good condition. Not examined out of the frame.

Blacklight: No evidence of restoration.

Frame: 22.75” H x 26.75” W x 1.5” D

1133

Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and indentations commensurate with age. The arms with localized areas of heavier rubbed wear from use.

1134

The bookcase overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Sits slightly wobblAnd the tenon keys are loose. Books overall fair to good condition with wear commensurate with age; issues include, but are not limited to: foxing and toning to pages, tears and wear to dust jackets, moisture staining and warping, some dust jackets with areas of skinning, dust jackets of Vol. V and XIV with large losses, cracked hinges, and bending. Lacking Vol. II. Vol. I-XIV are bound in beige canvas, except Vol. V which is bound in tooled colored leather.

1135

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Issues include, but are not limited to: scattered pinholing to the glaze, surface scuffing, and a 1.5” inherent surface crack to the inner elbow of the figure dating to the time of manufacture.

1136

Each overall good condition with minor shelf wear, scuffs, light scratches, and oxidation commensurate with age. One shade with a small chip to the foot. One with the finial screw detached from lid interior and does not screw on securely, lid is loose. Fraying and wear to the cord. Wiring should be checked by a qualified electrician prior to use.

1137

Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. No evidence of repairs or restorations under blacklight.

1138

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With a quarter-sized hole to bottom, appears to be inherent in the making.

1139

Each overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. One vase with a more pronounced inherent flaw in the green underglaze leaf decoration. Each vase with mounting putty to the underside. No evidence of repairs or restorations under blacklight.

1140

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use.

1141

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fluffiness to weave overall, tight selvage cords to each corner, and one side with Velcro soft loop strip sewn to one edge for hanging.

1142

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: side A with slight fading, darker dust accumulation and fluffiness/pilling to weave, side B with a few tiny shallow holes, and with a narrow fabric strip applied to one edge, for hanging method.

1143

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: very slight fading to side A, a few small scattered spots to both sides, a few small holes to each side, and a 6” break to selvage cords to one side with loosening to weave. Side B with attached loop strip for hanging.

1144

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: slight fading to one side, and a few scattered very light spots. Slight fluffiness to weave on one side.

1145

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: one side with Velcro soft loop strip sewn to one edge for hanging.

1146

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: one side with fluffiness to the weave.

1147

Each in overall good condition with tarnishing, light scratches and wear commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.

1148

Each in overall good condition with light tarnishing, scratches and wear commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.

1149

Each in overall good condition with tarnishing, light scratches and wear commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.

1150

Each in overall good condition with tarnishing, light scratches and wear commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.

1151

Each is in overall good condition with tarnishing, light scratches, and wear commensurate with age and use. Stones with scattered abrasions and surface-reaching fractures.

1152

Each in overall good condition with tarnishing, light scratches and wear commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Wristwatch does not run. Moran’s does not guarantee the working condition of clocks and watches.

1153

Each in overall good condition with tarnishing, light scratches and wear commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.

1154

Each in overall good condition with light scratches and wear commensurate with age and use. Stones and shells with scattered light abrasions and surface reaching fractures.

1155

Overall good condition with tarnishing, light scratches and wear commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Necklace in as-is condition with bead loss and detached wire to each lower section of each inner strand, requires repair.

1156

Each in overall good condition with tarnishing, light scratches and wear commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Two pendants with minor hairline fractures to stone.

1157

Each in overall good condition with tarnishing, light scratches and wear commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.

1158

Each in overall good condition with light scratches and wear commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. One earring lacking pierced hook.

1159

Visual: Overall good condition. Not examined out of the frame.

Blacklight: No evidence of restoration.

Framed under Plexiglas: 14.625” H x 18.625” W x 1.25” D

1160

Visual: Overall good condition. Not examined out of the frame.

Blacklight: No evidence of restoration.

Framed under Plexiglas: 14.875” H x 18.5” W x 1.25” D

1161

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 19.25” H x 23.25” W x 1.5” D

1162

Overall good condition. With a protective paper overlay folded towards the front from the verso with tape. Minor and unobtrusive pinhead-sized or smaller foxmarks near the lower right corner. A pinhead speck of grime near the lower right edge, not affecting the image. Creasing to each of the four extreme corners and outer edges. Residue of old clear tape on three edges of the verso. A vertical tear in the protective paper overlay. The sheet is loose, not matted.

Unframed

1163

Visual: Overall good condition. Specks of grime commensurate with age. A stretcher bar crease along the upper edge.

Blacklight: No evidence of restoration.

Frame: 18.25” H x 22.25” W x 3” D

1164

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: two spots of stiffening from residue, scattered minor losses, one hole, and older repairs to selvage edges.

1165

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: slight fading to one side, a few scattered areas of faint dye transfer, a couple of minor single weave losses, and tightening to one selvage edge.

1166

Each in overall good condition with dust accumulation and wear commensurate with age and use. A few scattered small areas of bead loss. Scattered small stains and soiling to the leather, with stiffening to the hide overall. Women’s pair with distortion to the overall shape. Child’s pair with an added narrow fabric band stitched to the ankle are of each.

1167

Each in overall fair to good condition with dust accumulation and wear commensurate with age and use. Scattered areas of bead loss. Scattered small stains and soiling to the leather, with stiffening to the hide overall. Distortion to the overall shape, with gaps to seams at toes and heels, as well as a hole in one heel.

1168

In overall fair to good condition dust accumulation, metal oxidation and typical signs of wear commensurate with age and use. Exterior with mostly intact beadwork, with a few small areas of bead loss. Some failed stitching holding hide to frame. The interior in as-is condition, with splits and losses overall.

1169

Overall good condition with dust accumulation and wear commensurate with age and use, Issues include but not limited to: slight fading to one side, scattered minor small marks to weave, and a few scattered single pulls to weave overall.

1170

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few scattered shallow holes/ areas of weave loss.

1171

Overall good condition with oxidation, light scratches, faint spots, and wear commensurate with age and use. Stone with scattered abrasions and surface reaching fractures.

1172

Each in overall good condition with tarnishing, light scratches and wear commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.

1173

Overall good condition with tarnishing, light scratches and wear commensurate with age and use. Stones with scattered light abrasions.

1174

Overall good condition with light tarnishing, light scratches and wear commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.

1175

Each in overall good condition with tarnishing, light scratches and wear commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.

1176

Overall good condition with light tarnishing, scratches and wear commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.

1177

Overall good condition with light tarnishing, light scratches and wear commensurate with age and use.

1178

Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Scattered losses and flaking to the slip glaze decoration.

1179

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Some naturally occurring terracotta-colored fire clouding to the buff surfaces.

1180

Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Scattered knicks and hairline cracks throughout.

1181

Each overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. The Paty Ortiz vessel with scattered scuffs and minor losses to the slip decoration.

1182

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The Ponce vessels with minor surface scratching/chips to the slip paint, one with three small surface chips to the rim and a quarter-inch horizontal scratch at the neck. The Oaxacan vessel with three small chips to the rim.

1183

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age.

1184

Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. One sizable crack, approximately 8.5” long, running diagonally through the lower left corner tile.

1185

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The wall unit likely with various restorations and modifications, possibly marrying original panel with newer shelving components and hardware. The back panel with four drilled holes and surface wear with attendant paint loss. The wood with scuffs, rubbed wear to the finish, and scattered nail holes. The extensions with similar surface wear to the wood.

1186

Overall good condition with wear, minor scuffs, and oxidation to bronze commensurate with age. Wiring should be checked by a qualified electrician prior to use. Lamp has been rewired. Moranís does not guarantee the working condition of electronic equipment.

1187

Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Wiring should be checked by a qualified electrician prior to use. Working condition unknown. Lamp has been rewired. Moranís does not guarantee the working condition of electronic equipment.

1188

Overall good condition with scattered scuffs, surface scratches, and oxidation commensurate with age. Wiring should be checked by a qualified electrician prior to use. Has been rewired. Moranís does not guarantee the working condition of electronic equipment.

1189

Overall good condition with shelf wear, minor scuffs, and oxidation to bronze commensurate with age. Approximately two glass panels with crack. The shade sits slightly crooked on the base. Wiring should be checked by a qualified electrician prior to use. Fraying and wear to the cord. Moranís does not guarantee the working condition of electronic equipment.

1190

Overall good condition with shelf wear, minor scuffs, and oxidation to metal commensurate with age. Approximately seven glass panels with cracks. Wiring should be checked by a qualified electrician prior to use.

1191

Overall good condition with wear commensurate with age. The cover with minor handling creases to the outer edges, and a 1” vertical tear along the upper edge, at right, of the front cover. Minor toning throughout each page, and the colors slightly attenuated. A 1” H x 2.5” W pale stain on the description of the first page. Each photograph is tipped in and each page is protected by a piece of glassine.

1192

Overall poor to fair condition with quarter-covered cloth later applied to top and bottom of spine and at corners of boards. Stamped “Property of Mad River Public Schools” to front end paper, title page, and page 99. Library plate adhered to front of first free end paper. Some pencil markings to end papers. Front board detached from binding. Moisture damage, staining, and mold throughout.

1193

Overall good condition. With nicks and losses scattered along the edges, concentrated mainly along the upper edge.

Matted but unframed

1194

Overall good condition. Frame floating and mounted to the back mat.

Framed under glass: 16.75” H x 13.75” W x 1” D

1195

Overall good condition with minor scuffs, and light scratches commensurate with age.

1196

Overall good condition. The colors vibrant. Framed floating and mounted to the back mat. Not examined out of the frame.

Framed under Plexiglas:

1197

Overall good condition with light scratches, scuffs and wear commensurate with age and use. Older restorations evident under blacklight.

1198

Overall good condition with dust accumulation and surface wear commensurate with age. Rubbed wear and scuffs to wood edges. Wear and chipping to each end, with break and loss to bow end. A 4.25” long crack to base.

1199

Overall good condition with wear commensurate with age and use. With attached cord.

1200

Overall good condition with dust accumulation and wear commensurate with age. Rubbed wear to painted surface with losses/fading to black pigment. Two ‘ray’ elements loose in place, with a small fracture to one ray. A previous repair to split verso near joining edge.

1201

Overall good condition with dust accumulation and wear commensurate with age. Scattered light scuffs to paint and imperfections inherent to wood. Wear to feathers and to cedar strips. Stacked elements with added interior plastic stiffener.

1202

Overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. Acrylic plinth in overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. With acrylic feet applied to underside of plinth.

1203

Overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. With a repair to figure’s ankle and possible other repairs to the base that fluoresce under blacklight. Drum and bone drumstick in overall good condition.

1204

Overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. Each foot with Mounted to a metal base with a support bar to the backside. With felt feet applied to underside of base. Figure swivels slightly.

1205

Overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. Lanyard is brittle from age and drying.

1206

Overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. With felt feet to underside.

1207

Overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. With felt feet to underside.

1208

Each overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. The walrus with adhesive felt pads to underside, each with applied stickers to underside.

1209

Overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. With felt feet to underside. Some tape residue to underside near the tail of figure.

1210

Each overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material.

1211

Overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. With felt feet applied to underside.

1212

Each overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material.

1213

Overall good condition. Two pea-sized areas of foxing near the right edge, at center.

Framed under glass: 33” H x 38.25” W x 1.625” D

1214

Overall good condition. Very minor toning to the sheet. Handling creases scattered throughout, primarily in the outer edges. Minor surface skinning along the upper margin edge. The sheet is loose, not matted.

Unframed

1215

Overall good condition. Minor rippling along the upper edge. Scattered specks of foxing. Not examined out of the frame.

Framed under glass: 31” H x 37” W x 1.25” D

1216

Overall good condition. Minor handling creases scattered throughout, primarily visible in a raking light. The sheet is loose, not matted.

Unframed

1217

Overall good condition. Minor rippling along the upper edge. StraAnd unobtrusive black pigment in the upper section of the paper. Not examined out of frame.

Framed under glass: 35.125” H x 45.125” W x 1.625” D

1218

Overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. With felt feet applied to underside.

1219

Overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. With cork feet applied to underside.

1220

Each overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. With felt feet to underside.

1221

Figure in overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. Plinth in overall good condition with felt applied to underside.

1222

Overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. With cork feet to underside.

1223

Overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material.

1224

Overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. The entire underside is lined with adhesive felt, possibly obscuring any markings. Figure is loose on mounting.

1225

Overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. With cork feet applied to underside

1226

Overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. With felt feet to underside. Knife is loose, not secured to figure.

1227

Overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. With felt feet to underside.

1228

Overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. With felt feet to underside.

1229

Overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. A half-inch chip to shoulder of figure verso. Some chipping to bottom foot of figure. Detachable wood plinth in overall good condition, with felt feet applied to underside.

1230

Overall good condition. Handling creases and spots of foxing scattered throughout. Creases in the upper corners due to slipping from the mount. Not examined out of the frame.

Framed under glass: 35.5” H x 42” W x 1” D

1231

Overall good condition. The sheet with deckled edges. A 0.25” tear in the lower right edge, near the date. Pinhead-sized or smaller areas of scattered foxing. Minor handling creases throughout. The sheet is loose, not mounted.

Unframed

1232

Each overall good condition. Specks of occasional grime commensurate with age. Handling marks scattered throughout the sheet. The second sheet has two 0.5” H x 1” W pale stains from old hinging tape along the upper edge. The sheet is loose, not matted.

Unframed

1233

Overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. With felt feet to underside. Scratches to underside.

1234

Overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. With felt feet to underside.

1235

Each overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. One with applied felt feet, one with applied cork feet.

1236

Overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. With felt feet applied to underside.

1237

Each overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. With a hide cord

1238

Overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. With a hide cord.

1239

Each overall good condition. The first with specks of foxing, primarily scattered in the center. Not examined out of the frame.

Each framed under glass: Largest: 28” H x 39.5” W x 1.5” D

1240

Each overall good condition. Very minor handling creases scattered throughout the paper. The third with a 0.5” area of paper loss in the lower right edge. The sheet is loose, not matted.

Unframed

1241

Each overall good condition. Minor toning and specks of unobtrusive scattered foxmarks. Very minor handling marks, mostly visible in raking light. Not examined out of the frame.

One framed under glass; three unframed: Largest: 24.5” H x 28.5” W x 0.75” D

1242

Each overall good condition. Very minor handling creases, primarily visible in raking light. The first not examined out of the frame. Two unframed and the sheet is loose, not matted.

Framed under Plexiglas: 24” H x 29.5” W x 0.75” D

1243

Overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material.

1244

Each overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. Each with felt feet.

1245

Each overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. One with felt feet to underside. One with cork feet to underside.

1246

Each overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. Both with felt feet to underside. The larger with scattered small chips to the feet. The smaller with small chips to the tail.

1247

Overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. With felt feet to underside. With some tape remnants to underside.

1248

Overall good condition with wear and minor scuffs commensurate with age. The bone with naturally occurring imperfections, inclusions, and weathering typical for the material. With large crack spanning from the neck to midsection of figure with attendant smaller cracks throughout.

1249

Overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material.

1250

Each overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. Two with felt feet applied underside. Beaver figure with scattered abrasions to bottom edge.

1251

Each overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. With felt feet to underside. Some scratches and tape residue to underside.

1252

Overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. With cork feet applied to underside.

1253

Overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material.

1254

Overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. With foam feet adhered to underside, dry rotted from age and wear.

1255

Overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. With felt feet to base.

1256

Overall good condition with wear and minor scuffs commensurate with age. The stone with naturally occurring imperfections, inclusions, and weathering typical for the material. With scattered tape ghosts to underside.

John Moran Auctioneers, Inc

SPECIALISTS

President, Auctioneer

Co-Head of Sale, Vice President, Silver, Western, and American Indian Specialist

Silver, Western, & American Indian Cataloguer

Senior Vice President

Fine Art Director

Vice President, Furniture & Decorative Arts Director

Junior Specialist / Senior Fine Art Cataloguer

Fine Art Cataloguer

Fine Art Cataloguer

Senior Fur niture & Decorative Arts Cataloguer

Fur niture & Decorative Arts Cataloguer

Fur niture & Decorative Arts Cataloguer

Fine Art Department Administrator Operations Coordinator

Fur niture & Decorative Arts Department Administrator

Post-War & Contemporary Design Specialist

Post-War & Contemporary Fine Art Specialist

Jewelry Director

CLIENT SERVICES

Office Manager

Client Services

Finance Administrator

Client Services

OPERATIONS

Vice President, Business Director, Auctioneer

Finance & Human Resources Director

Consignment Coordinator

Warehouse Supervisor, Senior Art Handler

Transport Supervisor, Senior Art Handler

Art Handler

Art Handler

Art Handler

MARKETING

Advertising & Marketing Director, Art Design

Brenda Smith

Graphic Designer

PHOTOGRAPHY

Photographer

Photographer

Photographer

TRUSTS & ESTATES

Appraisals Director

Department Administrator

FOUNDERS

Founder

Co-Founder

Jeffrey J. Moran

Maranda Moran

Sally Andrew

Morgana Blackwelder, AAA

Jenny W ilson

Roland Rynkiewicz

Bobby Cullen

Anne Spink

Madison Ari

Shannon Dailey

Sarah Beaver

Grant Stevens

Ian Anderson

Alek Ellis

Matthew Grayson

Hayden Hunt

Mollie Burns Keith, G.J.G

Mario Esquivel

Ella Fountain

Jamie Holthauser

Bryan Ortega

Stephen Swan

Maha Darwish

Jean Rapagna

Richard Corral

Joe Miranda

Joseph Corcoran

Jervey Inglesby

Jacob Baer

Nathan Martinez

PR Manager/Social Media

Brian Olivas

Keith Berson

Madison Torres

Michael Mizerowski

Mariam Whitten, ISA AM

Melissa Brownell

John H. Moran (1942-2017)

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.

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 courtesAnd 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 applAn 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.

LIABILITAnD 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 merchantabilitAnd 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 bAny 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.