Art of the American West — September 12, 2023 | John Moran Auctioneers by johnmoranauctioneers

9.12.2023

SINCE 1969

AUCTIONEERS & APPRAISERS

9.12.2023 Sale 254 145 East Walnut Avenue, Monrovia CA 91016

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Previews:

Friday, September 8th Saturday, September 9th Monday, September 11th 12pm-4pm Daily, or by appointment

Meet the Team Maranda Moran Vice President, Head of Sale Western & American Indian Arts Specialist marandam@johnmoran.com

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

Client Services Mario Esquivel Office Manager mario@johnmoran.com Bryan Ortega Client Services bryan@johnmoran.com

Ella Fountain Client Services ella@johnmoran.com

SINCE 1969

AUCTIONEERS & APPRAISERS

A large Navajo Two Grey Hills rug

Mid-20th century, Diné Woven in cream, grey, black, and ochre wool with a large central diamond motif and multi-layered elaborate border 118” H x 67” W $1,000-1,500

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

A Navajo Two Grey Hills rug

Mid/late 20th century, Diné Woven in grey, black, cream, brown, and rust wool with a central stepped diamond and elaborate border 84” H x 61” W $700-900 Notes: Attached label indicates: Woven by Louise Wartz, Smoke Signal, Crownpoint Rug Weavers Association, Crownpoint, NM

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A Navajo Two Grey Hills rug

Mid/late 20th century, Diné Woven in black, grey, cream, tan, brown, and dark brown wool with a central column of four conjoined diamonds and an elaborate border 78.5” H x 59” W $700-900

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

A Navajo Two Grey Hills rug

Late 20th century, Diné Woven in black, dark brown, grey, and cream wool with central conjoined diamonds and an elaborate border to two sides 57” H x 35.5” W $500-700

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A Navajo Two Grey Hills rug

Early/mid-20th century; Diné A large pictorial rug woven in cream, grey, red, and brown wool with a large central hooked diamond with floating motifs including arrows and a double stepped and meandering border 93.5” H x 52.5” W $500-700

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

A Navajo Two Grey Hills rug

Mid/late 20th century, Diné Woven in black, brown, cream, and grey wool with an elaborate central diamond and a stepped border 44” H x 30” W $300-500

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A Navajo Two Grey Hills rug

Mid/late 20th century; Diné Woven in grey, black, cream, tan, and beige wool with two conjoined diamond motifs with elaborate hooked edge motifs and a sawtooth border 55” H x 45” W $300-500

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

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Allan Houser

(1914-1994, Apache) Standing cloaked figure, 1990 Patinated bronze on a wood plinth Edition: 9/20 Signed, dated, and numbered in the casting: Allan Houser 10” H x 3.5” W x 2.25” D; With base: 11” H x 4.5” W x 4” D $1,000-1,500 Provenance: Private Collection, Southern California

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

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Allan Houser

(1914-1994, Apache) Bust of a mother and child, 1987 Patinated bronze on a wood plinth Edition: 86/100 Signed, dated, and numbered in the casting: Allan Houser 2.625” H x 2” W x 2” D; With base: 3.5” H x 2” W x 2” D $600-800 Provenance: Private Collection, Southern California

Allan Houser

(1914-1994, Apache) “The Stalker” Patinated bronze on a wood plinth Edition: 18/24 Signed and numbered in the casting: Allan Houser 4.75” H x 9.5” W x 4.25” D; With base: 6” H x 10.5” W x 5.5” D $2,000-3,000 Provenance: Private Collection, Southern California

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Allan Houser

(1914-1994, Apache) “Grandmother’s Relief,” 1985 Patinated bronze Edition: 2/15 Signed, dated, and numbered in the casting: Allan Houser ©; with the foundry mark: Art Foundry [AF] 21” H x 19.75” W x 3” D $2,000-3,000 Provenance: Stephen’s: A Consignment Gallery, Santa Fe, NM Private Collection, Southern California, acquired from the above Notes: This lot is sold together with a sales receipt from the gallery stated above.

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A Navajo regional rug

Early 20th century, Diné Woven in cream, natural grey, and dark brown wool with three columns of serrated diamonds 97.5” H x 58” W $1,000-1,500

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

A Navajo double saddle blanket

Early 20th century, Diné Woven in cream, dark brown, and natural light brown wool with two diamond columns 67” H x 32.5” W $400-600

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A Navajo regional rug

Mid-20th century, Diné Woven in red, cream, grey, brown, and dark grey/black wool with a central stepped conjoined diamond and elaborate border to long sides 49.5” H x 36” W $400-600

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

A Navajo Storm Pattern variant rug

Early/mid-20th century; Diné Woven in red, cream, dark brown, and grey wool with a central star motif, water bugs and an elaborate border 77” H x 45” W $700-900

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A Navajo regional rug

Mid-20th century, Diné Woven in grey, cream, red, and brown wool with a central column of sawtooth diamonds 62” H x 36” W $400-600

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

A large Navajo regional rug

Mid-20th century, Diné Woven in red, brown, cream, and black wool with a central serrated diamond and zigzag columns with a complex two-layer border 164” H x 92” W $6,000-8,000

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A Navajo Two Grey Hills Storm Pattern rug

Mid-20th century, Diné Woven in black, grey, yellow, and brown wool in a Storm Pattern motif with stepped borders 61” H x 41” W $600-800 Provenance: Private Collection, Southern California

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

A Navajo regional rug

Mid-20th century, Diné Woven in orange, cream, brown, and grey wool with a central column of four conjoined serrated diamonds 56.4” H x 34.5” W $300-500

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A Navajo regional rug

Early/mid-20th century, Diné Woven in brown, red, cream, and grey wool with multiple cross motifs in positive and negative designs 66.25” H x 38” W $600-800

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A Navajo regional rug

Mid-20th century, Diné Woven in cream, black, red, and orange wool with two central stepped diamonds and a sawtooth border 61” H x 39” W $400-600

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Two Navajo Two Grey Hills textiles

Mid/late 20th century; Diné Comprising two small tapestry weave mats woven in brown, black, grey, and cream wool including a pictorial mat with an elaborate interior panel surrounded by four Yei figures with feathers (20” H x 26.25” W), and a mat with an elaborate central diamond (25.5” H x 20.5” W), 2 pieces $500-700

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

Two Navajo Two Grey Hills textiles

Mid/late 20th century, Diné Comprising a tapestry fine weave mat woven in grey, brown, cream, and black wool with a central hooked diamond and contrasting selvage edging (29” H x 21” W) and a tapestry weave mat with narrow central stepped diamond and stepped hooked corners (35.25” H x 22.75” W), 2 pieces $500-700

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

William S. Seltzer

(b. 1955) “Navajo Riders” Oil on canvas Signed lower left: W.S. Seltzer; titled on a label affixed to frame’s backing board 16” H x 20” W $2,000-3,000

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Russell Case

(b. 1966) “Skies of Autumn,” 2022 Oil on linen laid to Gatorboard Signed lower right: G. Russell Case; signed again, titled, dated, and copyrighted on the verso of the gatorboard as well as on the verso of the frame’s foam backing 20” H x 24” W $5,000-7,000 Exhibited: Los Angeles, CA, Autry Museum of the American West, “35th Masters of the American West,” February 11 - March 26, 2023, no. 9.1

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

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Harry Andrew Jackson

(1924-2011) “Sacagawea II”, 1980 Patinated bronze on marble base Signed, dated, inscribed, and the artist’s thumbprint, all in the casting: © Harry Jackson/ SA II / 11; with foundry mark: WFS/ITALY 18” H x 8” W x 6.75” D; with base: 20” H x 9” W x 6.5” D $1,500-2,500

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Pahponee (b. 20th century, Kickapoo/Potawatomie) A large whiteware micaceous pottery jar, 2007 Signed: 2007 / Pahponee / [cipher] The globular form large jar with narrow flared neck 13’’ H x 14.25” Dia. $1,000-1,500 Provenance: Private Collection, Southern California

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A large Navajo Storm Pattern variant rug

Mid-20th century, Diné Woven in dark brown, cream, grey, and ochre wool with a large central storm motif with interior feathers and stepped borders 102” H x 46.25” W $500-700

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

A Navajo Storm Pattern variant rug

Mid/late 20th century, Diné Woven in grey, cream, rust, orange, and black wool with an elaborate Storm Pattern motif and feathers 71” H x 48” W $700-900

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A Navajo Storm Pattern variant rug

Mid-20th century; Diné Woven in black, grey, cream, and ochre wool with a stylized Storm Pattern motif 61” H x 42.5” W $300-500 Provenance: Private Collection, Southern California

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Alson Skinner Clark

(1876-1949) “California Pioneers” Oil on canvas Signed lower right: Alson Clark; titled on a gallery label affixed to the frame’s backing board 30” H x 38” W $7,000-9,000 Provenance: R. H. Love Galleries, Inc., Chicago, IL

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Carl William Peters

(1897-1980) “Twin Lighthouses” Oil on canvas Signed lower right: Carl W. Peters; titled on a gallery label affixed to the foam board backing 20” H x 24” W $800-1,200 Provenance: The artist Elaine Peters Woodbury, the artist’s daughter, by descent from the above R.H. Love Galleries, Inc., Chicago, IL

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A Navajo Storm Pattern variant rug

Late 20th century, Diné A finely woven narrow pictorial rug woven in black, red, grey, and cream wool in a Storm Pattern with waterbug and feather motifs 47” H x 23” W $500-700 Provenance: Private Collection, Southern California

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A Navajo regional rug

Mid-20th century; Diné Woven in brown, grey, orange, blue, and cream wool with a large hatched concentric X-motif to center and serrated borders 58” H x 32” W $300-500

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A Navajo regional textile

Early 20th century, Diné Woven in cream, grey, brown, black, and red wool with alternating sections of various stacked diamond motifs and a zigzag border 79” H x 44” W $400-600

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A Navajo regional rug

Early/mid-20th century; Diné Woven in grey, brown, cream, and red wool with a conjoined, open cross motif and serrated key border 73” H x 36” W $700-900 Provenance: Private Collection, Southern California 46

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

A Navajo regional rug

Mid-20th century; Diné Woven in dark brown, cream, and ochre wool with two conjoined serrated diamonds and serrated borders 87” H x 57.5” W $700-900

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Mark Thompson

(b. 1947) Still life with buffalo skull Tempera on panel Signed lower right: S. Mark Thompson © 45” H x 38” W $3,000-5,000

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

Kee Bitsinnie (b. 20th century, Diné)

A monumental polychrome Navajo wedding basket, 2008 An extra-large coiled basketry tray with concentric star motifs and red banding 5” H x 40.25” Dia. $800-1,200 Exhibited: Gallup Inter-Tribal Indian Ceremonial, Gallup, NM, 2008 Notes: This lot accompanied by a Third Prize Ribbon from Gallup Inter-Tribal Indian Ceremonial, Gallup, NM, 2008, naming Kee Bitsinnie as maker.

A fossilized bison skull

Circa 1st century BCE or later; North America A well-preserved fossilized skull of an American bison, also mistakenly known as an American buffalo 27” H x 28” W x 8” D $1,000-1,500 Notes: The bison is an undisputed icon of the American West with a wide, heavy face, prominent eye sockets, and curved horns that project horizontally. A member of the bovine family, the bison diverged from a common ancestor with the water buffalo and African buffalo around 5 to 10 million years ago. During the late Middle Pleistocene, around 195,000-135,000 years ago, the bison migrated across the Bering land bridge from Eurasia into North America, eventually becoming the American bison we know today. Collector’s notes indicate found in North Dakota.

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A Navajo Ganado rug

Mid/late 20th century, Diné Woven in red, light grey, dark grey, cream, and black wool with two elaborate conjoined diamonds and complex border 76.5” H x 49.5” W $500-700 Notes: with attached label denoting attribution to Rita Attaki.

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

A Navajo Ganado rug

Late 20th century, Diné Woven in red, cream, black, and grey wool with four central stacked hooked motifs 71” H x 53” W $700-900 Provenance: Private Collection, Southern California

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A Navajo regional rug

Mid-20th century, Diné Woven in black red, and grey wool with a central elongated stepped diamond and a sawtooth border 58.5” H x 42.5” W $500-700 Provenance: Private Collection, Southern California

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

A Navajo Ganado rug

Late 20th century, Diné Woven in red, black, grey, and cream wool with an elaborate central diamond 58” H x 36” W $400-600 Provenance: Private Collection, Southern California

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A Navajo Ganado rug

Mid/late 20th century, Diné Woven in red, black, cream, grey, and brown wool with an elaborate central diamond motif and elaborate borders 56” H x 41.5” W $400-600

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

A Navajo Ganado textile

Mid/late 20th century, Diné A small rug woven in red, black, grey, and cream wool with a central hooked diamond and stepped motifs to corners 31.25” H x 22” W $200-300

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A Navajo Ganado regional rug

Mid/late 20th century, Diné Woven in red, grey, brown, and cream wool with an elaborate central stepped diamond 66” H x 42” W $400-600 Provenance: Private Collection, Southern California Notes: Collector’s notes indicate Sara Begay, Hunters Point AZ as weaver.

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A Navajo regional rug

Late 20th century, Diné Woven in red, black, grey, and cream wool with banded motifs 49” H x 39” W $400-600 Provenance: Private Collection, Southern California

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A Navajo Crystal rug

Mid-20th century; Diné Woven in brown, natural brown, cream, and orange wool with a large central stepped diamond 61” H x 38.5” W $500-700 Provenance: Private Collection, Southern California

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A Navajo regional textile

Early/mid-20th century Finely woven in red, brown, cream, and dark grey wool with a central stepped diamond band and multiple stepped bands with manta-style positive and negative motifs 70” H x 50.5” W $800-1,200 Provenance: Private Collection, Southern California Notes: A smaller example of this textile sold at John Moran Auctioneers in 2021. That example was woven by Sarah Norcross with attached Hubbell Trading Post, Gandado, AZ label.

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A Navajo regional rug

Mid/late 20th century; Diné Woven in dark brown, red, grey, and cream wool with stacked diamond columns and narrow borders 68” H x 46.5” W $600-800 Provenance: Private Collection, Southern California

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A Navajo eyedazzler textile

Late 20th century, Diné A small mat woven in brown, white, black, and tan wool in an all-over eyedazzler style with three stacked central diamonds 38” H x 23.75” W $300-500 Provenance: The Estate of Eleanor Koffler

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A pair of Al Furstnow “wooly chaps”

Al Furstnow (1862-1925) A pair of leather and hair-on-hide black sheep/goatskin curly wool “woolies,” late 19th/early 20th century Stamped to belt: AL. Furstnow / Miles City, Mont. The wooly chaps with tooled floral motif to belt including tooled monogram: AWH, and with patched canvas and denim lining Inseam: 34”; waist: 42”; Each leg: 10” W at narrowest part $1,000-2,000 Notes: Al Furstnow was born around 1862 in Fond Du Lac, Wisconsin. He learned the saddlery business from his father and worked for Collins’ Saddlery in Cheyenne, Wyoming, in 1881. Al’s family came from being saddle and harness makers in Germany, and it was a skill he mastered and made a name for himself in the United States. Furstnow went to Miles City, Montana, about 1883 where he worked for about a year. He then moved around to Nebraska, Wyoming, and California for several years, coming back to Miles City about 1892. Albert was said to have made outfits for the Buffalo Bill’s Wild West Show for the Paris Exposition while he was employed in Omaha, Nebraska. In August of 1894, Furstnow opened his own shop. In December 1894, he gained a partner and two years later, Furstnow and Coggshall bought out the stock of a couple other saddle makers, and soon became the only major saddlery between Billings, Montana, and Dickinson, North Dakota and “a lot of people were sitting in saddles in those days!” Saddle makers also made all the accessories including chaps, saddle bags, gun belts and any other leather needs the cowboys or town folk had. Wooly chaps such as these are likely to have been made fairly early in Miles City’s history, as “woolies” were popular for riding ranges with lots of brush and brambles on them. This tended to be more so in the early days and decreased as ranges were cleared and fenced. In March 1899 Furstnow & Coggshall split up, forming a rivalry that apparently lasted well into the 20th century. Around 1910, AI Moreno, a highly talented stamper from California, joined Furstnow, who was then turning out about 800 saddles per year. Al Furstnow went to California around 1922 where he built saddles for some of the actors in Hollywood. He died in California around 1925, about 62 or 63 years old. Al Furstnow’s Saddlery in Miles City, Montana continued until 1982, run by his son-in law, Al Moreno, carrying the Furstnow name for around 88 years. Reference: Fritz Rehbein, “Furstnow Made the Saddle That Made Miles City Famous,” (Agri-News, Billings, MT, September 25, 1997); montanakids.com

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Reinhard Schnauder

(1856-1923) Woman on a horse, 1920 Patinated bronze Signed and dated in the casting: R Schnauder Jr; foundry mark: Guss v. Pirner & Franz Dresden 28.5” H x 11” W x 23.5” D $800-1,200

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Two Navajo regional textiles

Mid/late 20th century, Diné Comprising a banded saddle blanket woven in red, black, cream, and grey wool (39.25” H x 28” W), and a small Crystal rug in red, cream, grey, and tan wool with three central conjoined diamonds and a stepped border, possibly woven by Marie Lee (b. 20th century, Diné; 36.25” H x 30.5” W), 2 pieces $400-600 Notes: The Crystal textile with a tag: “From the Foutz Collection/Red rug from the Crystal area woven by Marie Lee”

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Two Navajo regional rugs

Mid/late 20th century, Diné Comprising two rugs woven in black, ochre, grey, and cream wool, the first with a central column of three serrated diamonds (54.75” H x 31” W), and the second with four narrow stacked serrated diamonds with zigzag columns radiating either side and a sawtooth border (54.5” H x 36” W), 2 pieces $500-700

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Two Navajo regional rugs

Mid-20th century; Diné Comprising a narrow rug woven in cream, red, brown, blue, grey, and yellow wool in a stem variant design with figural motifs (46.75” H x 27.25” W), and a regional rug woven in cream, grey, brown, and red wool with a large central stepped diamond (51” H x 34.5” W), 2 pieces $300-500

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A Navajo textile

Early/mid-20th century, Diné Woven in brown, grey, tan, and cream wool with rows of serrated banding 62” H x 48” W $200-400

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A Navajo textile

Early 20th century; Diné A small pictorial mat woven in orange, brown, green, and cream wool with three central stacked diamonds alternating with arrow motifs 28.5” H x 20.5” W $300-500

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A Navajo Burntwater rug

Late 20th century; Diné Woven in tan, brown, grey, red, cream, magenta, and black wool with a central column of serrated diamonds and an elaborate sawtooth border 64” H x 34.5” W $400-600 Notes: Attached label from Bill Foutz Rugs, Farmington, NM, denotes Lucy King as weaver.

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Three Navajo textiles

Mid/late 20th century, Diné Comprising three weavings in gold, orange, brown, black, cream, and tan wool in various styles and designs including a small regional mat with central diamond and stepped borders (35” H x 25” W), a small narrow runner rug with central serrated diamonds and waterbug motifs with a black border (37.5” H x 20.75” W), and a large Crystal style rug with four bands of double serrated diamonds (60.5” H x 36.25” W), 3 pieces $500-700

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

A Navajo double saddle blanket

Early 20th century, Diné A double saddle blanket woven in cream, light brown, and dark brown wool with a “ghost center” and hooked border 39” H x 54” W $400-600

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S. Keleiam

(20th century) American Indian warrior, circa 1970 Patinated bronze Signed in the casting: S. Keleiam 33” H x 21” W x 10” D $1,000-1,500

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Dave McGary

(1958-2013) “Iron that Walks,” 1991 Polychrome-painted bronze and metal on a wooden swivel plinth Edition: 65/75 Signed, dated, and numbered in the casting and to the underside: Dave McGary; titled on a plaque affixed to the wooden plinth 14.25” H x 11” W x 9.25” W; with base: 22” H x 11.5” W x 12.25” D $2,000-3,000 Provenance: Private Collection, Southern California

Art of th e A me ric an We st l Tu e sd ay, September 12, 2023

Dave McGary

(1958-2013) “When Lightning Strikes - Man Each: Polychrome-painted bro plinth Edition of each: 47/75 Each: Signed, dated, and num and to the underside: Dave M plaque and affixed to the plin Figure: 8” H x 13” W x 14” D; x 11” D $1,000-1,500

Provenance: Private Collection

n & Horse,” 1991 onze and metal on a

mbered in the casting McGary; titled on a nth ; Horse: 7.5” H x 4” W

Dave McGary

(1958-2013) Study for “A Kings Ransom,” 1988 Patinated bronze on a wood plinth Edition 26/40 Signed, dated, and numbered in the casting: Dave McGary 11.75” H x 7.5” W x 5.5” D; With base: 17.75” H x 7.5” W x 6.5” D $500-800

n, Southern California

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A Navajo Third Phase chief’s blanket

Late 19th/early 20th century, Diné Woven in red, brown, tan, and cream wool with striped banding and diamond columns and a central diamond with crosses 52” H x 66” W $1,500-2,500

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A Navajo Third Phase variant chief’s style blanket

Early 20th century, Diné Woven in brown, cream, black, red, yellow, and green wool with striped banding and stacked stepped diamonds 55” H x 62” W $800-1,200

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A Navajo child’s wearing blanket

Late 19th century; Diné Woven in red, cream, and indigo wool with banding throughout 53.5” H x 30.75” W $5,000-7,000

A rt of th e America n West l Tuesda y, September 12, 2023

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Glenna Goodacre

(1939-2020) “Pueblo Girl” Patinated bronze on a wood plinth Edition: 6/20 Signed and numbered in the casting: Glenna Goodacre 16.5” H x 8” W x 4.5” D; With base: 18.25” H x 8” W x 4.5” D $2,000-3,000 Provenance: Private Collection, Southern California

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William Pacheco (b. 20th century, Santo Domingo Pueblo)

A Santo Domingo polychrome pottery dinosaur jar, 1993 Incised to underside: William Andrew Pacheco / 1993 August; further signed: WP 1993 A large globular three-color jar with various dinosaur motifs 9.5” H x 12” W x 11.325” D $800-1,200 Provenance: Private Collection, Southern California Exhibited: Santa Fe, NM, “SWAIA 72nd Annual Santa Fe Indian Market,” 1993. Notes: This pot won the “Honorable Mention” ribbon at “SWAIA 72nd Annual Santa Fe Indian Market, Santa Fe, NM, August 19, 1999.

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A large Santo Domingo Pueblo pottery dough bowl

Late 19th/early 20th century Unmarked The three-color, black and white on red dough bowl featuring a banded geometric motif 8.5” H x 16” Dia. $2,000-3,000

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Rafaelita Aguilar (b. 1937, Kew

A Santo Domingo pottery dough b Signed to base: Rafaelita Aguilar [a The large polychrome bowl with wit motifs and a terracotta wash 6.25” H x 14” Dia. $400-600

Provenance: Private Collection, Sou

Darrin Aguilar (b. 20th century, Kewa/Santo Domingo Pueblo)

A Santo Domingo pottery dough bowl, late 20th/21st century Signed to base: Darrin Aguilar / SDP / [star and crescent moon] A large polychrome dough bowl with burnished red interior and white on black curvilinear and geometric banding 6.25” H x 14” Dia. $300-500 Provenance: Private Collection, Southern California

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wa/Santo Domingo Pueblo)

bowl, mid/late 20th century artist’s address] th black on white floral and geometric

uthern California

A Santo Domingo Pueblo polychrome pottery jar

Mid-20th century Unmarked The three-color wide jar with black and red avian and leaf motifs on a white ground 10.5” H x 13” Dia. $800-1,200 Provenance: Private Collection, Southern California

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Robert Tenorio (b. 1950, Kewa/Santo Doming

A large Santo Domingo polychrome pottery jar, late 2 Signed to base: Robert Tenorio / Santo Domingo Pue A olla form jar with an avian and floral motif panel fla motifs and banding to neck, with a red base $1,000-1,500 Provenance: Private Collection, Southern California

Paulita Pacheco (1943-2008, Santo Domingo Pueblo)

A Santo Domingo polychrome pottery dough bowl, mid/late 20th century Incised to underside: Paulita Pacheco / [corn cipher] The black and red on white bowl, the interior decorated with an allover avian motif, the exterior with banded design 4.875” H x 11.325” Dia. $800-1,200 Provenance: Private Collection, Southern California

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go Pueblo)

20th/21st century eblo anked by curvilinear

A Santo Domingo Pueblo pottery dough bowl

Early 20th century Marked in felt pen to underside: MZC; additionally etched to the side: P.C. The polychrome dough bowl with black-on-white geometric banded motif above a red base 4.75” H x 9.5” Dia. $600-800 Provenance: Private Collection, Southern California

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A Santo Domingo Pueblo chili bowl

Early 20th century Etched near the base: LC etched on base The bowl with black on white banded geometric motif a wash 4.5” H x 8.25” Dia. $400-600 Provenance: Private Collection, Southern California

Two Puebloan pottery chili bowls

Mid-20th century Each appears unsigned Comprising two polychrome Pueblo bowls including a Santo Domingo Pueblo low bowl with black on buff geometric motifs and a red base (4.25” H x 8” Dia.), and a Zia Pueblo redware low bowl with slip-painted geometric band to sides (3.5” H x 8.5” Dia.), 2 pieces $500-700 Provenance: Private Collection, Southern California

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above a terracotta

A Santo Domingo Pueblo pottery jar

Late 19th/early 20th century Unmarked The black on white jar with banded geometric motif and a terracotta wash near the indented base 7.325” H x 9.5” Dia. $400-600 Provenance: Private Collection, Southern California

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Paulita Pacheco (1943-2008, Santa Domingo Pueblo)

A Santo Domingo polychrome pottery bowl, late 20th/early 21st century Incised to underside: Paulita Pacheco The low bowl with black and red on white turtle figure decoration to interior and banded geometric motif to exterior 2.325” H x 7.875” Dia. $400-600 Provenance: Private Collection, Southern California

A Santo Domingo Pueblo olla jar

Early 20th century Unmarked, attributed to the Aguilar (CatÉ) sisters by repute The black and grey jar with banded geometric motifs 9” H x 9.5” Dia. $600-800 Provenance: Private Collection, Southern California

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A Santo Domingo Pueblo pottery handled bowl

Early 20th century Unmarked The black on buff oval bowl with an applied handle to one side decorated with horizontal stripes and with foliate motifs to the exterior 3.25” H x 10.75” Dia. $600-800 Provenance: Private Collection, Southern California

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Rafaelita Aguilar (b. 1937, Kewa/Santo Domingo Pueblo) A Santo Domingo blackware pottery jar Signed: Rafaelita Aguilar / Santo Domingo Pueblo A large storage jar with two rows of geometric banding 13” H x 11.5” Dia. $600-900 Provenance: Private Collection, Southern California

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Rafaelita Aguilar (b. 1937, Kewa/Santo Domingo Pueblo)

A Santo Domingo blackware pottery jar, late 20th century Signed to base: Rafaelita Aguilar / Sta Doming Pueblo A large olla storage jar with two painted bands of curvilinear motifs 12” H x 14” Dia. $500-700 Provenance: Private Collection, Southern California

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Kathleen Wall (b. 20th Century, Jemez Pueblo)

A Jemez Koshare storyteller pottery sculpture Signed: KATHLEEN WALL A large polychrome slip painted fired clay figure holding two pottery drums and with corn husk bunches to ears and leather clothing, seated on a stacked stone bench 17.75” H x 12” W x 9.5” D approximately; stone bench: 3” H x 14.5” W x 7” D assembled $1,000-1,500 Provenance: Private Collection, Southern California

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Kathleen Wall (b. 20th Century, Jemez Pueblo)

A Jemez Koshare storyteller pottery sculpture Signed: KATHLEEN WALL A polychrome seated figure holding watermelon, with corn husk decorations and leather clothing, and accompanied by an additional polychrome pottery bowl with three pieces of watermelon, seated on a stacked stone bench 10” H x 4.25” W x 4.75” D approximately; stone bench: 2.5” H x 6.5” W x 5.5” D, assembled $300-500 Provenance: Private Collection, Southern California

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Phyllis Madalena Tosa (b. 20th century, Jemez Pueblo)

A large black-on-white seed pot, late 20th century Signed to the underside: Phyllis M. Tosa / T.M. / Jemez, N.M. With an allover intricate geometric motif, along with a metal stand 11.5” H x 9.5” Dia.; with stand: 82” H x 9.5” Dia. $800-1,200 Provenance: Private Collection, Southern California

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Bob Scriver

(1914-1999) “The Dakota Bull”, 1991 Patinated bronze on a wood base Edition: 31/48 Signed, titled, dated, and numbered in the casting: © Bob Scriver 7.5” H x 4.5” W x 10” W; with base: 9” H x 6.5” W x 11” W $800-1,200

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James Gruzalski

(b. 1938) “Brave Wolf,” 1975 Patinated bronze on a wood plinth Edition: 2/33 Signed, dated, and numbered in the casting: Gruzalski 18.5” H x 12” W x 9.5” D; with base: 20.5” H x 12” W x 10.5” D $500-700

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Charlene Laughing (b. 20th century, Diné)

A Navajo Moki Revival textile, late 20th/21st century, Crystal, New Mexico Woven in blue, black, red, and cream wool with stepped banded motifs and with Spider Woman crosses to center 27” H x 33” W $400-600 Notes: With attached tag denoting weaver and title: Charlene Laughing / Crystal, NM / Chief’s Blanket

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A Navajo Late Classic-style full dress

20th century, Diné The two pieces woven in black and red wool with stepped banding to ends, joined with shoulder and side seams 35” H x 22” W $1,000-2,000

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A Navajo regional rug

Early 20th century, Diné Woven in red, cream, and blue, and black wool with an overall sawtooth chevron motif 77” H x 41.5” W $300-500

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A Navajo Transitional eyedazzler blanket

Early 20th century, Diné Woven in red, purple, orange, and cream wool with multiple conjoined sawtoooth diamonds in an all-over eyedazzler pattern 94” H x 71” W $300-500

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A San Ildefonso/Tesuque Pueblo po

Late 19th century, New Mexico A black and red globular jar with painted base 8.5” H x 10.5” Dia. $2,000-3,000

Provenance: Private Collection, Southern

Maria Poveka Montoya & Julian Martinez (1887-1980 and 1879-1943, San Ildefonso Pueblo) A lidded blackware bowl, early/mid-20th century Signed to underside: Maria + Julian The bowl with a feather band issuing from the rim and a polished gunmetal finish 4.625” H x 5.25” Dia. $600-800 Provenance: Private Collection, Southern California

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ottery jar

d motifs and indented

n California

Maria Poveka Montoya Martinez (1887-1980, San Ildefonso Pueblo) A San Ildefonso blackware bowl, mid-20th century Signed to underside: Maria Poveka The polished blackware globular bowl 3.75” H x 5.325” Dia. $400-600 Provenance: Private Collection, Southern California

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Maria Poveka Montoya Martinez (1887-1980, San Ildefonso Pueblo) A San Ildefonso lidded blackware bowl, early 20th century Signed to underside: Marie The burnished finish lidded bowl with geometric and meandering motifs 4” H x 4.875” Dia. $500-700 Provenance: Private Collection, Southern California

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100

Maria Poveka Montoya Martinez (1887-1980, San Ildefonso Pueblo) A San Ildefonso glazed blackware pottery bowl, early/mid-20th century Incised signature to underside: Maria Poveka A burnished glazed pottery bowl 2.5” H x 8” Dia. $500-700 Provenance: Private Collection, Southern California

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101

Maximiliana “Anna” Montoya Martinez (1885-1955, San Ildefonso Pueblo) A San Ildefonso blackware pottery jar, circa 1930 Incised to underside: anna The jar with geometric feather design to shoulder 6.75” H x 8.25” Dia. $400-600 Provenance: Private Collection, Southern California

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102

Cynthia Starflower (b. 1959, San Ildefonso Pueblo)

A San Ildefonso painted blackware pottery jar, late 20th/21st century Signed: Cynthia Starflower / San Ildefonso Pueblo A tall blackware jar with slip painted geometric motifs 8.75” H x 7” Dia. $300-500 Provenance: Private Collection, Southern California

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103

Paul Surber

(b. 1942) Sioux encampment by a river Gouache on paper Signed lower right: Paul Surber Sight: 5.75” H x 9.75” W $700-900

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104

Paul Surber

(b. 1942) Sioux encampment with cooking fires Gouache on paper Signed lower left: Paul Surber Sight: 5.5” H x 9.75” W $700-900

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105

Patricia Dobson

(b. 1947) “Sunrise on the Cheyenne,” 1992 Oil on canvas Signed lower right: Patricia Dobson; titled, dated and with the © on the canvas attached to the upper stretcher, verso 50” H x 36” W $10,000-15,000

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L S A g 2

107

Samuel Manymules (b. 1963, Diné)

A Navajo polished redware pottery jar, late 20th/21st century Signed to underside: SM / Dine The large olla-form polished jar with black fire clouds and a shallow incised ring near the base 12.75” H x 13.625” Dia. $400-600 Provenance: Private Collection, Southern California

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106

A large Pueblo-style pottery vessel

Late 20th century Signed to base: AndrÉs Orfebre / 1985 A monumental polychrome olla with bands of geometric and curvilinear motifs 21.75” H x 26” Dia.

$800-1,200

Provenance: Private Collection, Southern California

108

Alice Cling (b. 1946, Diné)

A Navajo redware pottery jar, late 20th/21st century Signed to base: Alice Cling A polished redware jar with fire clouds 7.75” H x 5.75’’ Dia. $300-500 Provenance: Private Collection, Southern California

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109

A Navajo Yei pictorial textile

Early/mid-20th century, Diné Woven in grey, orange, tan, black, green, blue, red, and cream wool with eleven Yei dancers and sawtooth diamond borders 45” H x 83” W $2,000-3,000

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110

Preston Singletary (b. 1963, Tlingit)

An orange glass bottle with stopper, 1996 Etched signature and date to underside A tall bottle with narrow neck and multicolored glass stopper 15.25” H x 4.325” Dia. $800-1,200 Provenance: The Estate of Eleanor Koffler

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111

Preston Singletary (b. 1963, Tlingit)

A white glass bottle with stopper, 1996 With etched signature and date to underside A tall bottle with multicolored glass stopper 12.75” H x 4.75” Dia. $800-1,200 Provenance: The Estate of Eleanor Koffler

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112

John ‘Yellowbird” Samora (b. 20th century, Taos Pueblo) A Pueblo micaceous pottery jar, 2008 Incised to underside: Y Samora / 2008 The globular and flared neck jar of burnished micaceous clay 11.5” H x 13.5” Dia. $600-800 Provenance: Private Collection, Southern California Notes: This lot accompanied by a copy of a purchase acknowledgement letter from SWAIA, November 2009

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113

Peter McIntyre

(1910-1995) “Vancouver from Stanley Park” Tempera and ink on paper laid to board Signed lower right: Peter McIntyre; titled on a gallery label affixed to the stretcher 26” H x 29” W $2,000-4,000

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114

A Navajo Yei pictorial textile

Mid/late 20th century; Diné A fine tapestry weave textile woven in grey, tan, green, black, brown, cream, and pink wool with five Yei dancers and a wide elaborate border 49” H x 55” W $700-900

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115

A Mexican Yei-style pictorial textile

Mid/late 20th century Woven in cream, dark brown, grey, and dark pink wool with ten Yei dancers and two flanking figures and a stepped border within sawtooth edges 56” H x 87” W $1,000-1,500

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116

A Navajo Yei pictorial textile

Mid/late 20th century; Diné Woven in grey, pink, blue, purple, red, green, black, and cream wool with seven Yei figures and an elaborate border 39” H x 56.5” W $600-800

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117

A Navajo Yei pictorial textile

Mid/late 20th century; Diné Woven in brown, beige, black, red, pink, blue, green, grey, and yellow wool, with four standing Yei figures with arrows and corn 33” H x 57” W $300-500

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118

A Navajo Yei pictorial textile

Early/mid-20th century, Diné Woven in red, orange, brown, and grey wool with six Yei figures and a zigzag border 52” H x 81” W $500-700 Provenance: Private Collection, Southern California

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119

Donald “Putt” Putnam (1926-2007) “Morning Braid” Oil on canvas Signed lower left: Putt 36” H x 24” W $800-1,200

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120

Donald “Putt” Putman

(1926-2007) “Bareback” Acrylic on illustration board Signed lower right: Putt; titled verso 20” H x 30” W $800-1,200

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121

Donald “Putt” Putman

(1926-2007) “Apache Deer Dance” Acrylic on paper laid to Masonite Signed lower left: Putt; titled verso 19.875” H x 24.125” W $600-800

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122

Donald “Putt” Putman

(1926-2007) “Roper” Acrylic on paper laid to illustration board, watermark Mi-Teintes Canson Signed near the left edge, at center: Putt 20” H x 24” W $500-700

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123

Donald “Putt” Putman

(1926-2007) Winter landscape with a hunter in a canoe and moose Oil on canvas Signed lower right: Putt 29.75” H x 39.75” W $800-1,200

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124

Dorothy Sklar

(1906-1996) “Earth Primeval” Oil on panel Signed lower left: Dorothy Sklar; signed again, titled, and numbered, verso: 1194 24” H x 36” W $600-800

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125

Karen Benjamin

(b. 20th century) “Indigo Reflections,” 1998 Wool tapestry Attributed, dated, and titled to fabric tag verso: Indigo Reflections / © 1998 / Hand dyed & woven by Karen Benjamin 54” H x 33” W $500-700 Provenance: The Estate of Eleanor Koffler Notes: Attached label denotes: Navajo Churro, Handspun & Plied Wool on Cotton

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126

Donna Lopez

b. 20th century “Illusion,” 2002 Wool tapestry Attributed, dated, and titled to attached tag verso: 2/2002; Donna M. Lopez, Taos New Mexico 41.75” H x 36.25” W $300-500 Provenance: The Estate of Eleanor Koffler Notes: Attached label denotes: Fibers Hand Dyed by Artist

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127

Attributed to Donna Lopez

b. 20th century “Red and black abstract weaving,” 21st century Wool tapestry unsigned 47.5” H x 29.5” W $300-500 Provenance: The Estate of Eleanor Koffler Notes: Collector’s notes indicate artist’s attribution.

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128

Mike Kawaguchi

(1916-1999) Desert landscape with rocks Gouache on paper Signed lower right: Mike Kawaguchi Sight: 14.5” H x 19.5” W $500-700 Notes: Exhibition pamphlet stored in plastic sleeve affixed to the frame’s backing board. Mike Kawaguchi was born in 1916 in the United States and quickly developed a love and aptitude for artmaking. He joined the Walt Disney Company in the late 1930s and signed up for military service when the United States was drawn into World War II. While serving, his family back in the United States were interred, and he spent his furlough time sketching and documenting life in the Japanese internment camps. Kawaguchi is most known for his work with Hannah-Barbara as a background artist and art director for shows such as Scooby-Doo and Johnny Quest. w w w. j o h n m o r a n . c o m 1 4 1

129

Marco Zim

(1880-1963) “Titans” Oil on canvas Signed lower right: Zim; title carved into the lower frame edge, at center 50” H x 42.5” W $1,200-1,800

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130

Andy Dagosta

(1923-2009) “Canyon Walls,” 1975 Oil on canvas Signed and dated lower right: Dagosta, and with the artist’s device; titled on a label affixed to the frame 12.125” H x 9.125” W $300-500

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131

Jack Jordan

(1928-2018) “Sitting Bear” Oil on canvas Signed lower right, and with the artist’s device: Jordan; titled on the frame plaque 16” H x 12” W $600-800 Provenance: Royal Crest Auctioneers, Gardena, CA, April 12, 2015, Lot 300 Notes: This lot is accompanied by biographical label about Sitting Bear.

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132

20th Century American School

Portrait of a Native American man in full regalia Oil on a wooden disk mounted to a black-painted wooden panel Unsigned Diameter: 8.375”; Support panel: 10.375” H x 9.625” W $400-600

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133

Lisa Danielle

(b. 1958) “Apache Trails” Oil on board Signed lower right: Lisa Danielle ©; titled on the frame plaque 24” H x 24” W $1,500-2,500

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134

An Anasazi Tularosa pottery jar

Pre-1500 AD With overall black on white zigzag geometric motif and stepped banding to neck 13” H x 16.5” Dia. $3,000-5,000 Provenance: Jackson Street Gallery, Ltd., Seattle, WA, 2004

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135

An Anasazi Tularosa pottery seed jar

Pre-1500 AD A large wide pottery jar with swirl design in black on white 7.5” H x 12” Dia. $3,000-5,000 Provenance: Private Collection, Southern California

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136

A Gila/Tonto polychrome pottery jar

Pre-1500 AD With black and white curvilinear and geometric banding, with red base and interior 10.5” H x 13” Dia. $800-1,200

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137

A Chaco black-on-white pottery bowl

Pre-1500 AD With a geometric stepped motif to the interior rendered in black slip on a white ground 5.5” H x 10.75” Dia. $300-500 Provenance: Private Collection, Southern California

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138

An Anasazi snowflake black-on-white pottery bowl

Pre-1500 AD With a geometric maze motif in black slip on a white ground 4” H x 9.5” Dia. $400-600 Provenance: Recovered in Apache County, Arizona, Private Collection Private Collection, Southern California, acquired from the above, 1999 Notes: This lot is accompanied by an attestation of legal acquisition from private land in Apache County, Arizona, dated February 22, 1999 and includes details of the restoration of the ceramic post-excavation.

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139

A Mimbres red-on-white pottery bowl

Pre-1500 AD The red clay bowl, the interior painted-over with cream-colored slip, decorated with fine line geometric motifs centering a fish 2.5” H x 6” Dia. $700-900 Provenance: Private Collection, Southern California

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140

A large Mojave pottery beer jar

Early 20th century, Southern California A tall red-on-buff globular olla jar with three bands of geometric motifs with rounded base 10.25” H x 10.5” Dia. $500-700 Provenance: Private Collection, Southern California

141

A Mimbres red-on-white pottery bowl

Pre-1500 AD With rectilinear motifs to the interior rendered in red slip on a white ground 5.5” H x 10” Dia. $500-700 Provenance: Private Collection, Southern California

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142

A Salado polychrome pottery bowl

Pre-1500 AD; Southwestern United States A small intact corrugated pottery bowl with buff geometric banding and a smudged and polished black interior 2.75” H x 4.5” Dia. $300-500 Provenance: Private Collection, Southern California

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143

Marjorie Lee Eaton

(1901-1986) Seated girl with books Oil on canvas Signed verso: M. Eaton 26” H x 22” W $4,000-6,000 Provenance: Private collection of the grandson of Andrew Saks, Founder of Saks 5th Ave Notes: Marjorie Lee Eaton was an accomplished artist and actor, known for her modernist depictions of Native Americans in New Mexico. Born and raised in Palo Alto, California, Eaton studied at The Art Institute of Boston, and spent time honing her craft in Florence and Paris. In the early 1930s Eaton moved to Taos, New Mexico, and spent time with Diego Rivera and Frida Kahlo at their home in northern Mexico. Eaton turned from painting to acting, landing roles in Mary Poppins and as the costumed figure of Emperor Palpatine in Star Wars: The Empire Strikes Back. 1 5 8 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, S e p te mb e r 1 2 , 2 0 2 3

144

Marjorie Lee Eaton

(1901-1986) Woman with headscarf and fish Oil on canvas Signed verso: M Eaton 26” H x 22” W $4,000-6,000 Provenance: Private collection of the grandson of Andrew Saks, Founder of Saks 5th Ave Notes: Marjorie Lee Eaton was an accomplished artist and actor, known for her modernist depictions of Native Americans in New Mexico. Born and raised in Palo Alto, California, Eaton studied at The Art Institute of Boston, and spent time honing her craft in Florence and Paris. In the early 1930s Eaton moved to Taos, New Mexico, and spent time with Diego Rivera and Frida Kahlo at their home in northern Mexico. Eaton turned from painting to acting, landing roles in Mary Poppins and as the costumed figure of Emperor Palpatine in Star Wars: The Empire Strikes Back. w w w. j o h n m o r a n . c o m 1 5 9

145

A Plains beaded hide “Strike-aLight” bag Late 19th/early 20th century A brain-tanned hide bag with blue, white, yellow, and red beads and a tin cone fringe 4.5” H x 3.25” W $600-800

146

A Sioux beaded purse

Late 19th/early 20th century A small metal frame purse with fully beaded exterior with multicolored geometric motifs on a white field, with hide fringe, fabric lining, and fully beaded fabric strap 7” H x 8.25” W; fringe: 1.75” L; handle drop: 5.5” $400-600

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147

A Sioux beaded ball

Early 20th century With polychrome geometric motifs on a white field and with a red turtle motif to one end 2.75” Dia. $300-500

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148

A pair of Plains beaded hide moccasins

Early/mid-20th century Each hide moccasin with geometric motifs in orange, white, green, black, and red beads to front and side edges, with decorative tongue and hide soles, 2 pieces Each: 12.75” L x 3.25” H x 4” W $200-400

149

A group of Plains beaded hide moccasins

Late 19th/early 20th century Comprising three pairs of hide moccasins with multicolored beaded geometric motifs including a small pair with a cross motif in green beads (each: 7.5” L x 3” H x 3” W), a medium pair with green beads and diagonal bands to tops (each: 7.75” L x 3.25” H x 3.25” W), and a large pair with blue and red beaded bands and motifs to front and side edges (10.5” L x 3.5” H x 4” W), 6 pieces $300-500

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150

A pair of Plains beaded hide moccasins

Early/mid-20th century Each hide moccasin with geometric motifs in blue, light blue, white, green, and red beads to front and side edges with beaded tongue and stiff hide soles, 2 pieces Each: 10.5” L x 2.5-3” H x 4” W $300-500

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151

An Acoma Pueblo polychrome pottery olla

Late 19th century A pottery jar with a checkerboard motif to rim and four-color geometric motifs below, with a recessed 7.325” H x 8.5” Dia. $800-1,200 Provenance: Private Collection, Southern California

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152

An Acoma Pueblo polychrome wedding vase

Early 20th century Unmarked The vase with triple-twisted handle and three-color, black on orange kiva step and geometric motifs on a white ground 8.75” H x 8” W x 7.125” D $600-800 Provenance: Private Collection, Southern California

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153

An Acoma Pueblo polychrome pottery bowl

Mid-20th century Inscribed to underside: Acoma / N. Mex.; attributed to Lucy M. Lewis by repute The bowl with black on white rainbird motifs and a stamped rim 4.25” H x 6.325” Dia. $700-900 Provenance: Private Collection, Southern California Notes: Collector’s notes indicate attributed to Lucy M. Lewis by repute. “A life-long resident of Acoma Pueblo, located on a high plateau near Albuquerque, New Mexico, Lucy Martin Lewis continued centuries-long traditions of pottery making. American Indian pottery making is predominantly handed down through the matrilineal line, with women learning techniques and approaches from their mothers, grandmothers, and aunts. Lewis’s distinctive aesthetic is characterized by fine, linear geometric patterns in black on a white (kaolin) ground. After gathering clay and pigments for her pots from Acoma lands, Lewis built up forms from coils of clay and then scraped and smoothed them into thin-walled vessels. With astonishing precision, she painted designs on her pots freehand, devising patterns to fit the shape of each vessel. Originally, Pueblo pottery was used for ritual purposes or for practical needs, such as holding food or water. It was only within Lewis’s lifetime that pottery came to be appreciated as art, and potters began to sign their pots to identify themselves as artists. Lewis began to sign her work in 1950. Because Acoma Pueblo potters traditionally did not sign their names, hers was an act of independence, and it generated controversy within the community.” Lucy Lewis’s pottery first became known outside the pueblo in 1950, when she received a blue ribbon at the Annual Inter-Tribal Indian Ceremonial in Gallup, New Mexico. During the 1980s and 1990s Lewis received awards from the American Crafts Council, the College Art Association, the state of New Mexico, and the Honolulu Academy of Fine Arts. Her work is part of the permanent collection of the Smithsonian Institution. Reference: National Museum of Women in the Arts/nmwa.org/Lucy M. Lewis

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154

Marie Zieu Chino (1907-1982, Acoma Pueblo)

A polychrome pottery jar, mid/late 20th century Signed to underside: Acoma N.M. / M. Chino The jar with red and brown avian and geometric motifs on white 4.875” H x 6.25” Dia. $400-600 Provenance: Private Collection, Southern California

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155

Rachel Aragon (b. 1938, Acoma Pueblo)

An Acoma polychrome jar, late 20th/early 21st century Signed to underside: Rachel Aragon / Acoma, N.M. The three-color, black and red on white buff glaze jar with repeating avian motif to shoulder above geometric and kiva step motifs 6.875” H x 8.325” Dia. $400-600 Provenance: Private Collection, Southern California

156

Grace Chino (1929-1994, Acoma Pueblo)

An Acoma polychrome jar, mid/late 20th century Signed to underside: Grace Chino / Acoma, NM. The four-color orange, yellow, and black on white buff jar decorated with avian and floral motifs 6.25” H x 8” Dia. $400-600 Provenance: Private Collection, Southern California

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157

Rose Chino Garcia (1928-2000, Acoma Pueblo) An Acoma polychrome pottery jar, Mid/late 20th century Signed to the underside: [cipher] / Rose Chino Garcia / Acoma, N.M. With a repeating heartline deer motif surrounded by geometric motifs rendered in tricolor slip glaze 8.25” H x 9.25” Dia. $800-1,200 Provenance: Private Collection, Southern California

158

Shyatesa White Dove (b. 1956, Acoma Pueblo)

An Acoma polychrome pottery olla jar, 2005 Signed and inscribed to underside: 2005 / Shyatesa White Dove / Traditional Acoma Water Olla / w/ Polychrome Parrot & Floral Motif / Acoma, NM The six-color jar with parrot and foliate motifs on a blue-washed white buff and an indented base 7.5” H x 11.625” Dia. $500-700 Provenance: Private Collection, Southern California

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159

Felisha Patricio (b. 1997, Acoma Pueblo)

An Acoma polychrome pottery olla jar, 2014 Signed to underside: Acoma, NM / F. Patricio / “2014” The four-color jar with red, orange, and black parrot and floral motifs on a white buff ground above a terracotta wash 8.5” H x 9.5” Dia. $600-800 Provenance: Private Collection Southern California Exhibited: Santa Fe, NM, “SWAIA 93rd Annual Santa Fe Indian Market,” 2014. Notes: This pot won the “First Place Youth Division C” ribbon at “SWAIA 93rd Annual Santa Fe Indian Market,” Santa Fe, NM, 2014. This lot is accompanied by a sales receipt from the artist, dated August 23, 2001 [sic]

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160

An Acoma Pueblo pottery olla

Mid/late 20th century, New Mexico Marked to underside: L.T. / Acoma A polychrome pottery olla with six repeating columns of stacked geometric motifs in red and black slip glaze on a white slip ground with a band of red slip to foot and to interior rim 8.25” H x 10.25” Dia. $300-500 Exhibited: Pasadena, CA, “The Original American Indian & Western Relic Show,” March, 1983 Notes: This lot accompanied by a First Place ribbon from “The Original American Indian & Western Relic Show,” Pasadena, CA, dated March 1983

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161

Michael Atkinson

(b. 1946) “Daughter of Acoma” Patinated bronze on a marble plinth Edition: 19/36 Signed and numbered in the casting: Atkinson 33.5” H x 13” W x 14” D $1,000-1,500 Provenance: Private Collection, Southern California

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162

An Acoma Pueblo pottery vessel

Mid-20th century Appears unsigned A polychrome jar with geometric and rain motifs, with a red base with slight indentation 6.5” H x 7.75” Dia. $300-500 Provenance: Andrea Fisher Fine Pottery, Santa Fe, New Mexico. Private Collection Southern California, acquired from above, 2016. Notes: This lot accompanied by a Certificate of Authenticity from Andrea Fisher Fine Pottery, Santa Fe, New Mexico, dated August 18, 2016.

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163

Lucy Martin Lewis (1895ñ1992, Acoma Pueblo)

An Acoma polychrome pottery dough bowl, mid/late 20th century Signed: Lucy M. Lewis A large dough bowl with overall black and white Chaco-style painted geometric motifs and a red “Pie Crust” rim 5.325” H x 9.25” Dia. $800-1,200 Provenance: Private Collection, Southern California Notes: “A life-long resident of Acoma Pueblo, located on a high plateau near Albuquerque, New Mexico, Lucy Martin Lewis continued centuries-long traditions of pottery making. American Indian pottery making is predominantly handed down through the matrilineal line, with women learning techniques and approaches from their mothers, grandmothers, and aunts. Lewis’s distinctive aesthetic is characterized by fine, linear geometric patterns in black on a white (kaolin) ground. After gathering clay and pigments for her pots from Acoma lands, Lewis built up forms from coils of clay and then scraped and smoothed them into thin-walled vessels. With astonishing precision, she painted designs on her pots freehand, devising patterns to fit the shape of each vessel. Originally, Pueblo pottery was used for ritual purposes or for practical needs, such as holding food or water. It was only within Lewis’s lifetime that pottery came to be appreciated as art, and potters began to sign their pots to identify themselves as artists. Lewis began to sign her work in 1950. Because Acoma Pueblo potters traditionally did not sign their names, hers was an act of independence, and it generated controversy within the community.” Lucy Lewis’s pottery first became known outside the pueblo in 1950, when she received a blue ribbon at the Annual Inter-Tribal Indian Ceremonial in Gallup, New Mexico. During the 1980s and 1990s Lewis received awards from the American Crafts Council, the College Art Association, the state of New Mexico, and the Honolulu Academy of Fine Arts. Her work is part of the permanent collection of the Smithsonian Institution. Reference: National Museum of Women in the Arts/nmwa.org/Lucy M. Lewis w w w. j o h n m o r a n . c o m 1 7 5

164

An Acoma Pueblo polychrome pottery bowl Early 20th century Appears unsigned A shouldered bowl with three bands of black on white motifs and a red base 4” H x 6” Dia. $400-600 Provenance: Private Collection, Southern California

165

Eric Lewis (b. 1978, Acoma Pueblo) An Acoma pottery seed jar, 21st century Signed to base: Eric Lewis A globular form jar with black and white swirl design 5.5” H x 6.5” Dia. $300-500 Provenance: Private Collection, Southern California

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166

Rebecca Lucario (b. 1951, Acoma Pueblo)

A group of Acoma fine-line pottery vessels, late 20th/early 21st century Each signed: Acoma NM / R. Lucario Comprising a miniature handled pitcher with a lizard motif, a small plate with geometric and lizard motifs and a miniature plate with a fine line star centering a feather motif border 3 pieces Largest plate: 0.875” H x 5.5” Dia.; pitcher: 3.125” H x 2.75” W x 2.5” D $400-600 Provenance: The Estate of Eleanor Koffler

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167

Jerry McKellar

(b. 1944) “The Bow Stringer,” 1993 Patinated bronze and wood Edition 26/28 Signed, titled, numbered, and dated to the base: J McKellar / © 93 35.5” H x 22.5” W x 18.25” D $2,000-4,000

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168

Edward Borein

(1872-1945) “Navajos” Etching and drypoint in brown ink on paper Signed in pencil in the lower margin, at right: Edward Borein; with the artist’s remarque in pencil in the lower margin, at left Plate: 9.25” H x 12.125” W; Sight: 10” H x 12.625” W $800-1,200 Provenance: Arlington Gallery, Santa Barbara, CA Literature: Galvin 183

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169

Edward Borein

(1872-1945) “Walpi” (aka “Walpi, Arizona”) Etching and drypoint in brown ink on paper Appears unsigned Plate: 8” H x 13.875” W $500-700 Literature: Galvin 215

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170

A Hopi Pueblo redware pottery bowl

Mid-20th century A large Hopi tapered footed bowl with black key banding and crimped rim and foot 6.5” H x 9.625” Dia. $400-600 Provenance: Private Collection, Southern California

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171

Patricia Honie (1919-2001, Hopi-Tewa Pueblo)

A large Hopi pottery bowl, mid/late 20th century Signed to base: Patricia Honie A polychrome tall bowl with two stepped handles to rim and banded geometric motifs to interior and exterior 6” H x 9.25” Dia. $600-800 Provenance: Private Collection, Southern California

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172

Calvin Analla Jr. (b. 1960, Laguna Pueblo)

A Laguna marbled pottery vase, 2016 Signed to underside: C Analla Jr. / Paguate, N. Mex. / Pueblo of Laguna / 16 The jar with black geometric motifs on a marbled mixture of Hopi and Laguna clays 6.5” H x 6.125” Dia. $600-800 Provenance: Private Collection, Southern California

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173

Garrett Maho (b. 20th century, Hopi-Tewa Pueblo)

A large Hopi Pueblo Kachina (katsina) bowl, early 21st century Signed to underside: Garrett Maho / -HopiThe brown and black on terracotta wash bowl featuring a band of various tawa faces and figures and a repeating bird motif, surmounted by a sculptural corn maiden 13” H x 10” Dia. $600-800 Provenance: Private Collection, Southern California Exhibited: Santa Fe, NM, “SWAIA 87th Annual Santa Fe Indian Market,” 2008. Notes: This pot won the “First Place,” “Best of Division E Pottery,” and “Helen Naha Memorial Award in Excellence in Traditional Hopi Pottery” ribbons at “SWAIA 87th Annual Santa Fe Indian Market,” Santa Fe, NM, August 22, 2008.

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174

Rachel Sahmie Nampeyo (1956-2022, Hopi-Tewa Pueblo) A Hopi pottery seed jar, late 20th/21st century Incised and signed to underside: R / Nampeyo / Koo Loo The large, flat-shouldered pot with black on red avian motifs 5.75” H x 14.75” Dia. $800-1,200 Provenance: Private Collection, Southern California Notes: Hopi-Tewa Pueblo artist Rachel Sahmie Nampeyo Koo Loo descended from an influential lineage of well-known Hopi potters. The Sikyatki Revival traditional shapes and designs re-introduced by her great-greatgrandmother, Nampeyo of Hano greatly influenced her work, as she specialized in red-on-white body and black-andred on yellow-body and black-body ceramics. A great-granddaughter of Annie Healing Nampeyo, Rachel learned her pottery making skills from her mother, Priscilla Namingha Nampeyo, along with her sister potters Jean Sahmie, Nyla Sahmie, Finkle Sahmie and Bonnie Chapella. An active potter since 1970, she also produced some Ancestral Puebloan-style corrugated pottery.

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175

Ramona Ami (b. 1929, Hopi Pueblo)

A Hopi polychrome pottery seed jar, 2001 Signed to underside: Hopi / Ramona Ami / ‘01 The low-shouldered jar with banded geometric and feather motifs and alternating with moth motifs 4.25” H x 11.25” Dia. $500-700 Provenance: Artist’s studio, Polacca, AZ Private Collection, Southern California, acquired from the above, August 18, 2001 Notes: This lot accompanied by a sales receipt from the artist dated August 18, 2001.

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176

177

A Hopi large handled pottery vessel, late 20th/early 21st century Signed to underside: Nyla / [corn ciper] / Nampeyo The wide pot with opposed handles and decorated with avian motifs 6.875” H x 11” Dia.

A Hopi seed pot, late 20th/early 21st century Signed to underside: Karen Abeita The pot with brown and black avian and geom 4.325” H x 7.75” Dia.

Nyla Sahmie Nampeyo (b. 1954, Hopi-Tewa Pueblo)

Karen Abeita (b. 1960, Hopi-Tewa Pueb

$600-800

$400-600

Provenance: Private Collection, Southern California

Provenance: Private Collection, Southern Califo

Exhibited: Santa Fe, NM, “SWAIA 78th Annual

Notes: This pot won the “Second Place” ribbo Market, Santa Fe, NM, August 19, 1999.

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blo)

metric motifs on a terracotta wash ground

178

Rachel Sahmie Nampeyo (1956-2022, Hopi-Tewa Pueblo) A large Hopi polychrome pottery jar, late 20th/early 21st century Incised to underside: R Nampeyo [with conjoined RN] The three-color jar with flared neck and four figural motifs 12” H x 10.5” Dia. $800-1,200

ornia

Provenance: Private Collection, Southern California

l Santa Fe Indian Market,” August 1999.

Notes: Hopi-Tewa Pueblo artist Rachel Sahmie Nampeyo Koo Loo descended from an influential lineage of well-known Hopi potters. The Sikyatki Revival traditional shapes and designs re-introduced by her great-great-grandmother, Nampeyo of Hano greatly influenced her work, as she specialized in red-on-white body and black-and-red on yellow-body and black-body ceramics. A great-granddaughter of Annie Healing Nampeyo, Rachel learned her pottery making skills from her mother, Priscilla Namingha Nampeyo, along with her sister potters Jean Sahmie, Nyla Sahmie, Finkle Sahmie and Bonnie Chapella. An active potter since 1970, she also produced some Ancestral Puebloan-style corrugated pottery.

on at “SWAIA 78th Annual Santa Fe Indian

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179

Two Hopi Pueblo polychrome pottery jars Two works:

Leila Mutz (b. 20th century, Hopi) A globular jar, mid/late 20th century Signed to underside: Leila Mutz The brown and red on tan jar with allover geometric and batwing motifs 6.625” H x 6.5” Dia. Verna Nahee (b. 1940, First Mesa Hopi-Tewa) A low-shoulder jar, late 20th/early 21st century Signed to underside: Verna Nahee / Tewa Village / Polacca Ariz. The yellowware jar with black and red geometric motifs to the shoulder and banded scrolling motif below 4” H x 7.625” Dia. 2 pieces $600-800 Provenance: Private Collection, Southern California

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180

Steve Lucas (b. 1955, Hopi-Tewa Pueblo)

A Hopi pottery seed jar, late 20th/21st century Signed: S Lucas / [Mudhead and corn ciphers] A polychrome low jar with four panels of geometric motifs to top 3.25” H x 6” Dia. $600-800 Provenance: Private Collection, Southern California

181

Steve Lucas (b. 1955, Hopi-Tewa Pueblo)

A Hopi pottery bowl, late 20th/21st century Signed to base: S Lucas / [Mudhead and corn cipher] A polychrome globular bowl with eagle tail drop design 5” H x 6” Dia. $600-800 Provenance: Private Collection, Southern California Notes: This lot accompanied by a photograph of the artist.

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182

Steve Lucas (b. 1955, Hopi-Tewa Pueblo)

A Hopi pottery jar, late 20th/21st century Signed: S Lucas / [Mudhead and corn ciphers] A tall polychrome globular jar with a complex band of dynamic geometric motif sections 6.5” H x 5.75” Dia. $600-800 Provenance: Private Collection, Southern California

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183

Delmar Polacca (b. 1959, Hopi-Tewa Pueblo)

A Hopi polychrome pottery seed pot, late 20th/early 21st century Signed to underside: Delmar Polacca The flat-shouldered pot with carved and painted Shalako Mana design on a marbled red and light clay ground 1.875” H x 7” Dia. $300-500 Provenance: Private Collection, Southern California

184

Gloria Mahle (b. 20th century, Hopi-Tewa Pueblo)

A Hopi yellowware pottery seed pot, mid/late 20th century Signed: Gloria Mahle [ciphers] The polychrome flat-shouldered pot with geometric motifs 5.25” H x 9.5” Dia. $500-700 Provenance: Private Collection, Southern California

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185

Gloria Mahle (b. 20th century, Hopi-Tewa Pueblo)

A Hopi yellowware lidded jar, late 20th/early 21st century Signed to underside: Gloria Mahle [leaf cipher] [another cipher] The polychrome tall jar with two opposed handles, decorated with geometric bird motifs, the lid with a sculptural corn finial 11” H x 9.5” W x 7.75” D $500-700 Provenance: Private Collection, Southern California

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186

Gloria Mahle (b. 20th century, Hopi-Tewa Pueblo)

Two Hopi polychrome pottery vases, late 20th century Each signed to base: Gloria Mahle / [feather cipher] Comprising a tall neck jar with geometric banding and a key motif band to neck (6.5” H x 5.5” Dia.), and a second tall neck jar with geometric banding and feather motifs to base of neck (7 “ H x 6” Dia.), 2 pieces $300-500 Provenance: Private Collection, Southern California

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187

A Hopi Pueblo polychrome pottery jar

Mid/late 20th century Unmarked The tall yellowware jar with two red and black parrot motifs 7.325” H x 6.75” Dia. $300-500 Provenance: Private Collection, Southern California Notes: Collector’s notes indicate this lot attributed to Sadie Adams (1905-1995, HopiTewa).

188

Two Hopi Pueblo polychrome pottery parrot jars Two works:

Sadie Adams (1905-1995, Hopi-Tewa) A tall pottery jar, mid-20th century Signed to underside with her signature flower cipher The jar featuring two black and brown parrot spirit figures and alternating corn motifs 7.5” H x 8.25” Dia. Edith Nash (b. early 20th century, Hopi-Tewa) A small jar, mid-20th century Signed to underside: Edith Nash [corn cipher] The miniature yellowware jar featuring two black and red parrot spirit figures 3.325” H x 3” Dia. 2 pieces $500-700 Provenance: Private Collection, Southern California 1 9 6 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, S e p te mb e r 1 2 , 2 0 2 3

189

Eunice “Fawn” Navasie (1920-1992, Hopi Pueblo )

A large Hopi polychrome jar, mid/late 20th century Signed to underside: Fawn The wide, flat-shouldered jar decorated with four brown and orange alternating avian motifs on a white slip 6.5” H x 12” Dia. $600-800 Provenance: Private Collection, Southern California

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190

Fannie Nampeyo (1900-1987, HopiPueblo)

A Hopi pottery jar, mid/late 20th century Signed: Fannie Nampeyo [corn cipher] The jar with red and black migration motif line geometric field 5” H x 6.25” Dia. $300-500 Provenance: Private Collection, Southern

191

Vernida Polacca Nampeyo (b. 1955, Hopi-Tewa Pueblo)

A Hopi polychrome seed pot, late 20th/early 21st century Signed to underside: Vernida Polacca Nampeyo The red and brown on white buff glaze pot decorated with moth and kiva motifs and a banded geometric motif 3.25” H x 9” Dia. $600-800 Provenance: Private Collection, Southern California

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f on a fine-

California

192

Larson Goldtooth (b. 1969, Hopi-Tewa Pueblo)

A large Hopi polychrome bowl, late 20th century Signed to base: Larson Goldtooth / Tewa-Hopi / [cipher] The low bowl with a tricolor avian motif to the interior on a buff micaceous slip glaze 3.5” H x 10.75” Dia. $300-500 Provenance: Private Collection, Southern California

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193

A large Hopi Pueblo polychrome pottery bowl

Late 20th century Unmarked With tri-color avian motifs to the interior and an all-over micaceous slip 3.5” H x 9” Dia. $400-600 Provenance: Private Collection, Southern California

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194

A Hopi Pueblo polychrome pottery bowl

Early/mid-20th century Unmarked The yellowware bowl with a three-color polychrome avian motif interior 4.325” H x 10” Dia. $400-600 Provenance: Private Collection, Southern California

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195

A Hopi Pueblo polychrome pottery bowl Early 20th century Unmarked The bowl with a three-color avian motif to the interior 3.5” H x 11” Dia. $300-500 Provenance: Private Collection, Southern California

196

Garnet Pavatea (1915-1981, First Mesa Hopi-Tewa Pueblo)

A Hopi polychrome pottery dough bowl, mid/late 20th century Signed to underside: Garnet Pavatea The three-color bowl with red and black on buff avian motif 3.875” H x 10.5” Dia. $500-700 Provenance: Private Collection, Southern California

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197

Claudia Grover James (b. 20th century, Hopi-Tewa Pueblo)

A Hopi pottery bowl, 1996 Signed and dated to base; further signed: Tewa Village A low charger-form redware bowl with central Shalakomana figure in black slip 2.25” H x 10.75” Dia. $200-400 Provenance: Private Collection, Southern California

198

A Hopi Pueblo piki bread bowl

Mid/late 20th century Unmarked The yellowware wide bread bowl used for blue cornmeal bread 5.875” H x 12.875” Dia. $400-600 Provenance: Private Collection, Southern California

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199

Nona Naha (1958-2021, Hopi-Tewa Pueblo)

Five Hopi pottery vessels, late 20th/early 21st century Each signed: Nona Naha [corn cipher] The slip glazed vessels comprising three seed pots and a vase, each with allover fine line designs and geometric motifs and a canteen featuring opposed handles and decorations depicting a Hopi figure, kiva steps, and tadpoles, with fine line designs and geometric motifs, 5 pieces Largest: 5.325” H x 4.625” Dia.; smallest: 2” H x 4.625” Dia. $500-700 Provenance: The Estate of Eleanor Koffler

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200

Nona Naha (1958-2021, Hopi-Tewa Pueblo)

Four Hopi pottery items, late 20th/early 21st century Each signed to underside: Nona Naha [corn cipher]; one signed possibly for the artist’s husband Terry: [sic] erry Naha [corn cipher] Comprising a flat-topped seed pot featuring paired lizard and corn motifs centering a banded meandering pattern, a seed pot with batwing motifs on a terracotta wash ground, a conical seed pot with fine-line concentric star motif centering a banded meandering pattern, and a small tile with parrot motifs, 4 pieces Largest: 1.625” H x 5.325” Dia.; smallest: 1.875” H x 3.625” Dia. $200-400 Provenance: The Estate of Eleanor Koffler

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201

Two Hopi Pueblo polychrome pottery vessels Two works:

Irene Shupla (b. 20th century, Hopi-Tewa) A polychrome Hopi pottery vase, mid/late 20th century Signed to base with floral cipher for Irene Shupla A tall vase with curvilinear geometric avian motifs 6.5” H x 5.25” Dia. A polychrome Hopi pottery jar Mid-20th century Appears unmarked A flat-shouldered tapered jar with curvilinear geometric avian motifs 4.5” H x 6.5” Dia. 2 pieces $400-600 Provenance: Private Collection, Southern California

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202

Two Hopi Pueblo polychrome pottery bowls Two works:

Attributed to Zella Cheeda aka “Antelope Woman” (1901-1997, First Mesa, Hopi) An open pottery bowl, mid-20th century Unmarked The yellowware bowl with red and black geometric bird design to the interior 2.125” H x 7.75” Dia. Josephine Kachinmana (b. 20th century, Hopi) A polychrome pottery bowl, late 20th century Signed to underside: Josephine Kachinmana The yellowware bowl with black and red geometric avian motif to the interior 3.325” H x 8.325” Dia. 2 pieces $400-600 Provenance: Private Collection, Southern California Notes: Collector’s notes attribute first pot to Zella Cheeda aka “Antelope Woman.”

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203

Paul Surber

(b. 1942) Tipis along a snowy river bank Gouache on paper Signed lower left: Paul Surber 5” H x 10.5” W $500-700

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204

Thomas Kinkade

(1958-2012) “Half Dome,” 1990 Oil on canvas laid to Masonite Signed, dated, and with the artist’s device lower right: Thomas Kinkade ©; titled in ink on the artist’s label affixed verso 8” H x 10” W $3,000-5,000

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205

Clark Kelley Price

(b. 1945) “Working Alone,” 2008 Oil on canvas Signed, dated, inscribed, and with the artist’s device, lower right: © C K Price / CA; titled on an exhibition label affixed to the frame, verso 11” H x 14” W $1,500-2,000 Exhibited: Prescott, Arizona, Phippen Museum, “Phippen Museum Minature Masterpieces,” 2008

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206

Martin Grelle

(b. 1954) Rancher with cattle after a rainstorm, 1982 Acrylic on linen Signed, dated, and indistinctly inscribed lower left: Martin Grelle [presumably with his abbreviation for the Cowboy Artists of American organization]; signed, dated, and inscribed again, and with the artist’s copyright, all verso 18” H x 24” W $15,000-25,000

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207

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 $2,000-4,000

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208

Daryl Candelaria (b. 1970, San Felipe Pueblo)

A San Felipe polychrome pottery jar, late 20th/early 21st century Signed: Daryl Candelaria / San Felipe, NM The wide jar with red and brown on white foliate and geometric motifs 7.25” H x 12.25” Dia. $600-900 Provenance: Private Collection, Southern California

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209

Eudora Montoya (1905-1996, Santa Ana Pueblo)

A Santa Ana polychrome pottery jar, mid-20th century Signed to underside: Eudora Montoya / Santa Ana Pueblo The three-color brown and red on white buff jar with banded geometric and checkered motifs 6.625” H x 7.5” Dia. $500-700 Provenance: Private Collection, Southern California

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210

Ansel Adams

(1902-1984) “Maynard Dixon, Tucson, Arizona,” 1945 Gelatin silver print on paper mounted to illustration board, as issued From the edition of unknown size, printed later, presumably circa 1960 Signed in pencil on the support board, lower right: Ansel Adams Image/Sheet: 9.375” H x 7” W; Support board:18” H x 14” W $4,000-6,000 Provenance: Edith Hamlin, wife of the artist John Dixon, the artist’s son, gifted from the above Private collector, acquired from the above Notes: There is a pencil notation in the lower left corner of the support board, verso: DDL459

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211

Maynard Dixon (1875-1946)

“Book of Wisdom,” c. 1940s 28 ink manuscript pages, 10 of which include small ink sketches, in-text, on various papers, plus the title page, all contained in a varnished file folder titled in ink The file folder inscribed in pencil: “by M. D. in MS.” at upper center below the title, and “D.D.” in the lower left corner Sheet of each: 11” H x 8.5” W $6,000-8,000 Provenance: Edith Hamlin, the artist’s third wife, by descent from the artist John E. Dixon, the artist’s son, gifted from the above Lee Dixon, by descent from the above Private collector, by descent from the above Notes: According to the first page of this work, “This new looseleaf readjustible[sic] Book of Wisdom was first compiled about the middle of the XMth[sic] Century by San Maynardo. It is now rearranged, with numerous additions, & edited by Prof. Dixon, P. E. M., & is presented in the hope that it may serve as a guide & sometimes a solace to ardent souls who feel an urge to mix in affairs of Government, Education, Economies, Matrimony, Finance, the Mooney Case & other hard matters out in the cold world.” The last image in the book is a self-portrait of the artist as a wizard.

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212

Maynard Dixon (1875-1946)

“The Education of Egbert: The Making of a Man in the School of Experience,” circa 1940 9 ink drawings of individual characters on wove paper, plus typed title page and variant title page, synopsis, character list, and 109 scene descriptions for this western screenplay on numerous sheets of wove paper, some of the typed pages with pencil or ink annotations by the artist/author, and beige paper with metal clasp outer storage envelope of the period inscribed in pencil: “Writings -- Ideas for movies etc” 10” H x 8” W $7,000-9,000 Provenance: The artist Edith Hamlin, the artist’s third wife, by descent from the above John E. Dixon, the artist’s son, gifted from the above Lee Dixon, by descent from the above Private collector, by descent from the above Notes: The variant title page reads: “The Education of Egbert: The Making of a Man in the School of Experience; A Comedy of Arizona and New York, with a Serious Meaning”

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213

Maynard Dixon (1875-1946)

“Chindih,” 1944 32 typed manuscript pages, which include a main title page and annotations in pencil and ink, in the hand of the artist; a half-sheet of thin paper inscribed in pencil, and attached with a paper clip to the front of the original typed manuscript: Navajo Burial / Ganado trading post stood like a / fort against the evening sky; a fort / was meant to be at need, for before the automobiles / came, that uses steel remote county; a carbon copy of the 32 typed manuscript pages with a pencil notation on the title page, in the upper left corner: about 1943; two pencil sketches in the hand of the artist, the first with a blueprint of the Ganado trading post with descriptive annotations, and the second with a rendering of the Ganado trading post, each with blue ink notations in the hand of Edith Hamlin: By Maynard Dixon - 1944; all contained in a file folder titled in graphite The file folder titled, at center, and numbered in the upper left corner: 1 Sheet of each: 11” H x 8.5” W $2,000-4,000 Provenance: Edith Hamlin, the artist’s third wife, by descent from the artist John E. Dixon, the artist’s son, gifted from the above Lee Dixon, by descent from the above Private collector, by descent from the above

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214

After Maynard Dixon

(1875-1946) Sunset Magazine Print, 1906 Two printed magazines Unsigned Largest: 10” H x 7.25” W $500-700

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215

Edward Borein

(1872-1945) “Cowboy with Blue Shirt on Bucking Bronc” Watercolor on paper Signed in India ink lower right: Edward Borein; titled on a label affixed to the frame’s cardboard backing Sheet: 7.25” H x 5.75” W $4,000-6,000 Provenance: Norby Gallery Fine American Art, Los Olivos, CA Treasured Estates, Solvang, CA Notes: This lot is sold together with a letter from Harold G. Davidson and sent to Gallery De Silva, stating, “I have examined this painting and, in my opinion, it is the work of Edward Borein.” Signed in blue pen by Harold G. Davidson, and dated August 15, 1980. The imagery, romance, and mythology of the American West has been painted, filmed, and written about for generations, but often by those who never experienced it. Few artists lived the harsh and unrelenting life of the cowboys and vaqueros they depicted. Few rode along the lonely dust filled roads in stagecoaches and wagons across desolate landscapes. Or witnessed the culture and customs of the Native American nations of the West firsthand. One of those few that did was Edward Borein. The West was in Boreinís blood from the beginning. Born in 1872 in San Leandro, California, Borein grew up in the final decades of the Old West to a family of ranchers. The work of the cowboy came naturally to Borein, who by age twelve was driving cattle. While working with the cattle and horses on the ranch, Borein began to sketch. Aged 18 and bored of school, Borein left to travel up and down California, working as a cowboy on ranches throughout the state, all the while capturing the life of the ranchers in drawings. After returning to northern California for a month-long stint at the Art School of the San Francisco Art Association, Borein was encouraged by classmate Maynord Dixon to pursue art as a career. Borein left school again and found work at the Rancho Jesus Maria, and there began to send sketches out to magazine publishers. After leaving the harsh conditions and grueling labor of Rancho Jesus Maria, Boreinís life became the epitome of the greatest legends of the Old West. Borein set out for Mexico, learned Spanish, and journeyed from ranchero to ranchero through central Mexico. Making his way north and back to the United States, Borein spent time among the Native American nations of the American Southwest. All the while Borein feverishly documented the life of the people and communities around him, continuously sending off drawings and illustrations to be published. At 30 Borein boarded a train for New York City and left behind the life of the cowboys for a professional artist. Longing for the life he left behind, Borein adorned his Manhattan studio with artifacts and trappings from California and Mexico. He entertained luminaries such as Buffalo Bill Cody, Will Rogers, and his old friend from art school, Maynard Dixon. Borein also befriend another figure who found meaning and purpose in the West, then-president Theodore Roosevelt. Longing for the Western life he left behind, Edward Borein returned to California in 1921. He set up his own studio in Santa Barbara, California, and began producing etchings and paintings of the colorful characters he lived and worked with. Already a thriving artistic center, Santa Barbara would be home to Borein for the rest of his life. He immersed himself in the city, helping to establish the Fiesta Parade and holding court with notable artists and creatives like Leo Carrillo, Walt Disney, and friend Will Rogers. Edward Borein died in Santa Barbara in 1945, hailed as one of the most authentic artists of the American West. While originally an ink and oil artist, Edward began to study etching while in New York City. Never feeling confident in the mediums of oil or watercolor painting, etching became Boreinís specialty. This sale compiles a wide range of subject matter dear to Edward Borein, from cowboys and vaqueros on the range to California missions. The frenetic linework of these etchings and quality of their impressions bring to life and instill the energy of the long-ago world of the Old West.

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216

Edward Borein

(1872-1945) Cowboy on horseback Watercolor on paperboard Signed in pencil lower right: Edward Borein Image: 2.25” H x 2.25” W (approx.); Sheet: 3.625” H x 5.75” W $1,000-2,000

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217

Edward Borein

(1872-1945) “Trail Boss” Etching and drypoint in brown ink on paper Signed in pencil in the lower margin, at right: Edward Borein; first state Plate: 8” H x 8.5” W; Sight: 8.5” H x 9.25” W $1,500-2,500 Literature: Galvin 85

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218

Edward Borein

(1872-1945) “The Maverick” Etching and drypoint in brown ink on paper Signed in pencil in the lower margin, at right: Edward Borein Plate: 5.75” H x 8.75” W; Sight: 6.375” H x 9.25” W $800-1,200 Literature: Galvin 126

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219

Edward Borein

(1872-1945) “Emigrant Train” Etching and drypoint on wove paper Signed in pencil in the lower margin, at right: Edward Borein Plate: 5.875” H x 14.125” W; Sight: 6.625” H x 14.625” W $800-1,200 Literature: Galvin 148

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220

221

(b. 1936) “Rodeo Horses Donít Laugh Grandpa,” 1986 Oil on canvas Signed near the right edge, at center: Venus; titled and dated verso 24” H x 30” W

(b. 1936) “Calving Season” Oil on canvas Signed lower left: Venus; titled on a frame plaq 30” H x 24” W

Joseph Venus

$500-700

Joseph Venus

$600-800

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222

Joseph Venus

(b. 1936) “After the Chores” Oil on canvas Signed near the right edge, at center: Venus; titled on a frame plaque 34” H x 40” W $600-800

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223

Darren Vigil Gray

(b. 1959) Cow and UFO Mixed media on thick black paper Signed lower right: Darren 39.5” H x 27.5” W $500-700

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224

A polychrome Hopi Pueblo turtle basketry tray

Late 20th century, Southwest United States A coiled pictorial tray with turtle figure with domed turtle shell center and corn wands to border 3” H x 16” Dia. $700-900

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225

Two polychrome Hopi Pueblo turtle basketry plaques

Mid/late 20th century; Southwest United States Two coiled pictorial trays including a round turtle tray with domed center and black rim (2.25” H x 11.5” Dia.) and an oval tray with central turtle figure (12.375” H x 10.25” W), 2 pieces $600-800

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226

Attributed to Joyce Ann Saufkie (b. 20th century, Hopi Pueblo)

A polychrome Hopi pictorial basketry plaque Late 20th century A large Second Mesa coiled tray with elaborate Shalako Mana katsina figure 23” Dia. $1,000-1,500

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227

Attributed to Elene Atokuku (b. 20th century, Hopi Pueblo) A polychrome Hopi pictorial basketry plaque Late 20th/21st century A coiled plaque with a sea turtle figure and central bear claw motif 13” Dia. $400-600

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228

Attributed to Regina Kagenveama (b. 1956, Hopi Pueblo)

A polychrome Hopi pictorial basketry plaque Late 20th/21st century A coiled Second Mesa tray with four cradle katsina figures, with raised and overlay stitch details 16” Dia. $500-700

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229

Attributed to Alice Kabotie (b. 20th century, Hopi Pueblo) A polychrome Hopi pictorial basketry plaque Late 20th century A coiled tray with central Hilili katsina figure 17” Dia. $800-1,200

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230

Lorraine Black (b. 1970, Diné)

A large polychrome Navajo pictorial basket, 2004 A coiled “Sandpainting” pictorial tray basket with four horses, directional figures, corn, squash, and arrows, and a center figure, all with overlay stitched detail elements 3.75” H x 21” Dia. $1,000-1,500 Exhibited: Arizona, Celebration of Basketry & Native Foods Festival, 2004 Notes: This lot accompanied by a First Place Ribbon from “Celebration of Basketry & Native Foods Festival,” 2004. This lot accompanied by a Twin Rocks Trading Post informational sheet.

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231

A polychrome Hopi Pueblo pictorial basketry plaque

Mid/late 20th century, Southwest United States A large coiled plaque with a katsina figural face with dark patterned dress and stepped tableta, all with overstitch detail accents 2.5” H x 19” Dia. $300-500

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232

Kay Wauneka (b. 20th century, Hopi Pueblo)

A polychrome Hopi pictorial basketry plaque Late 20th century A coiled plaque with Mudhead and antelope head motifs with large central yellow star 13.5” Dia. $200-400 Notes: This lot accompanied by a photograph of the weaver holding the basket.

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233

A polychrome Hopi Pueblo pictorial basketry plaque Mid/late 20th century, Southwest United States A coiled plaque with central Shalako Mana katsina figure 11.75” Dia. $200-400

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234

A polychrome Hopi Pueblo pictorial basketry plaque

Mid/late 20th century, Southwest United States A large coiled plaque with a katsina figure with patterned dress and stepped starburst tableta, all with overstitch detail accents 16.5” Dia. $400-600

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235

A polychrome Hopi Pueblo pictorial basketry plaque

Mid/late 20th century, Southwest United States A coiled plaque with central Twin War Gods katsina figures, with overlay stitched details 15” Dia. $400-600

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236

A polychrome Hopi Pueblo pictorial basketry plaque Mid/late 20th century, Southwest United States A coiled plaque with Shalako Mana katsina figure to center 11.5” Dia. $200-400

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238

A polychrome Hopi pictorial basketry plaque, late 20th century A large coiled tray with central katsina figure surrounded by a stepped tableta, with raised stitch details 16.75” Dia.

(b. 1954) Cowboy lighting a cigarette, 1 Oil on canvas Signed and dated lower right copyright information, verso 24” H x 36” W

Attributed to Retta Lou Adams (b. 1940, Hopi Pueblo)

$300-500

Alfredo Rodriguez

$2,000-3,000

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1980

t: A. Rodriguez ©; signed and dated again with

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239

A retrofitted tiller coffee table

Late 19th/early 20th century The wood and metal farm equipment with three axels, each with toothed circular metal blades, the wood finished and sealed to be repurposed as a low table 20” H x 34” W x 37” D $600-800

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240

A retrofitted tiller coffee table

Late 19th/early 20th century The wood and metal farm equipment with two axels, each with five toothed circular metal blades, the wood painted and finished to be repurposed as a low table 15.75” H x 40.75” W x 33.25” D $600-800

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241

Joe De Yong

(1894-1975) “Indians on Horseback,” 1937 Watercolor on paperboard Signed lower left: Joe De Yong Image: 10” H x 15.25” W; Sheet: 15” H x 20” W $4,000-6,000 Provenance: Sold: Butterfield & Butterfield, Los Angeles, CA, “American Paintings,” December 9, 1992, Lot 4000 Notes: This lot is sold together with a sales invoice from Butterfields & Butterfields, dated December 14, 1992.

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242

Joe De Yong

(1894-1975) “Manana” Watercolor and gouache on paperboard Signed and titled in blue and black ink, in the lower edge: Joe De Yong, and with the artist’s device, lower right; inscribed in ink, verso: Return To: / Joe De Yong / P.O. Box 2894 / Hollywood-28 / California Image: 9.25” H x 12.5” W; Sheet: 14” H x 17” W $1,500-2,500

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243

A group of polychrome Hopi Pueblo eagle basketry plaques

Mid/late 20th century; Southwest United States Three coiled pictorial trays with central eagle figures including a finely coiled small tray/plaque with red check motifs to rim (10” Dia.), a larger tray with an eagle set within star motif and polychrome stepped motifs to black rim (14.25” Dia.), and a large tray with stepped motifs to rim (14.5” Dia), 3 pieces $400-600

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244

A group of polychrome Hopi Pueblo Mudhead basketry plaques

Mid/late 20th century, Southwest United States Three coiled pictorial trays with Mudhead “Koyemsi” figures including a small tray with central standing figure and black rim (9.5” Dia.), a medium tray with Mudhead figure and antelopes with raised stitched details (13.5” Dia.), and a large tray with central standing Mudhead, antelope heads, and elaborate stepped motif to edges (16.75” Dia.), 3 pieces $400-600

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245

A polychrome Hopi Pueblo basket

Mid/late 20th century, Southwest United States A large coiled bowl with an elaborate stepped five-pointed star to center 4” H x 14.75” Dia. $200-400

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246

A group of polychrome Hopi Pueblo basketry plaques

Mid/late 20th century, Southwest United States Three coiled pictorial trays with figural motifs with over-stitch accents including a small tray with a Shalako Mana katsina figure with black and white dress (13.75” Dia.), a medium tray with alternating Mudhead and katsina figures (15” Dia.) and a large tray with central sun head katsina figure (19.5” Dia.), 3 pieces $300-500

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247

A group of polychrome Hopi Pueblo basketry plaques

Mid/late 20th century, Southwest United States Four coiled pictorial plaques with various star, floral, and katsina motifs, 4 pieces Largest: 12.5” Dia.; smallest: 9.5” Dia. $300-500

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248

Two polychrome Hopi Pueblo baskets

Mid/late 20th century; Southwest United States Comprising two coiled plaques including a Second Mesa coiled basket with central turtle motif, by Mary Francis Susunkewa (12.5” Dia.), and a coiled tray with a central star motif and stepped exterior band (11.75” Dia.), 2 pieces $300-500 Notes: Turtle plaque with inventory tag denoting weaver.

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249

Tillman Goodan

(1896-1958) Cowboy with hat on a bucking bronco Mixed media on brown paper Signed in red pencil, lower left: Till Goodan Image: 15.25” H x 12” W; Sight: 17.625” H x 13.625” W $700-900

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250

Tillman Goodan

(1896-1958) Cowboy in red on a bucking bronco Mixed media on brown paper Signed in red pencil, lower right: Till Goodan Sight: 17.625” H x 13.625” W $700-900

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251

John Fawcett

(b. 1952) “Shattered Hopes” Oil on canvas laid to foamboard Signed and inscribed lower right: Fawcett © / LL 18” H x 24” W $2,000-3,000

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252

Suzanne Baker

(b. 1939) “Grand Entry,” 1995 Oil on canvas Signed and dated lower right: S. Baker ©; titled in pen on the stretcher 26” H x 30” W $2,000-3,000

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253

Peggy Rock Black (b. 20th century, Diné)

A Navajo coiled basket, late 20th/21st century A coiled tray basket with stepped bicolor maze motif 1.75” H x 16.25” Dia. $300-500 Provenance: Case Trading Post, Wheelwright Museum of the American Indian, Santa Fe, NM Private collection, acquired from the above, 2002 Notes: This lot is accompanied by a purchase receipt from Case Trading Post, Wheelwright Museum of the American Indian, Santa Fe, NM dated August 21, 2002.

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254

Two polychrome Hopi Pueblo basketry plaques

Mid/late 20th century; Southwest United States Comprising two Second Mesa coiled plaques inclduing a small plaque woven by G. Takala, with a central radiating geometric design ( 8.5” Dia.) and a large plaque woven by Gertrude Fred with alternating black and yellow sections with geometric motifs (14.75” Dia.), 2 pieces $300-500 Notes: Each accompanied by a label from Hopi Arts and Crafts, 2nd Mesa, Arizona, denoting maker.

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255

Three polychrome Hopi Pueblo baskets

Mid-20th century; Southwest United States Comprising two coiled trays with star/flower motifs (Larger: 10.25” Dia.; smaller: 9.5” Dia.) as well as a coiled double-handled bowl with six checkerboard columns to walls and four armed motif to base (4.75” H x 9.625” Dia.), 3 pieces $300-500

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256

Two polychrome Hopi Pueblo basketry plaques

Mid/late 20th century; Southwest United States Two coiled plaques including a Second Mesa plaque woven by Marlene [Koreeh] with a central Shalako katsina figure (11” Dia.), and a large coiled wedding plaque by Gertrude Fred, with central radiating motifs and a stepped checkered band (15.5” Dia.), 2 pieces $300-400 Notes: Each accompanied by a label from Hopi Arts and Crafts, 2nd Mesa, Arizona, denoting maker.

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257

A large polychrome Hopi Pueblo basket

Mid-20th century, Southwest United States A coiled tall conical form basket with stepped bands alternating with a band of crosses 9.5” H x 13.375” Dia. $300-500

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258

Nicholas S. Firfires

(1917-1990) Horses pulling a stagecoach Oil on canvas Signed and inscribed lower right: Nicholas S. Firfires © / CA 8” H x 10” W $1,000-1,500 Notes: The Cowboy Artists of America is an exclusive organization of artists that was founded in 1965 by four prominent Western artists, Joe Beeler, Charlie Dye, John Hampton, and George Phippen.

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259

Gene Speck

(b. 1937) “Waiting in the Snow,” 2004 Oil on Gessobord Signed and dated lower left: Gene Speck; signed again and titled in pencil on the frame’s backing paper; titled again on the frame plaque 11” H x 14” W $1,000-2,000

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260

John G. Bourke

(1846-1896) “The Snake-Dance of The Moquis of Arizona,” 1884 Bourke, John G. “The Snake-Dance of The Moquis of Arizona.” New York: Scribner’s, 1884 Hardcover book First edition The octavo with gilt-stamped title and illustrations to front and spine on moss green cloth boards, blind-stamped to verso, illustrated with thirty-one plates, sixteen of which are in color, including a folding plate $200-300

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261

A group of polychrome Hopi Pueblo wicker plaques

Mid/late 20th century, Southwest United States Three woven wicker plaques in multicolored geometric designs, with various styles of multicolored banding and motifs including a small tray with multicolored bands and an orange center (10” Dia.), a wicker plaque with central stylized butterfly motif (12.5” Dia.), and a large plaque with a red center and yellow and multicolor points (15.75” Dia.), 3 pieces $700-900

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262

A group of polychrome Hopi Pueblo wicker items

Mid/late 20th century, Southwest United States Comprising four woven wicker items in multicolored geometric designs, with various styles of multicolored banding and motifs including a Hopi wicker katsina figure in multicolor and black and white (8” H x 6.75” W), a small wicker tray with red center and red and green bands (9.5” Dia.), a large flared wicker bowl with red center and multicolored staggered columns (4.25” H x 13.5” Dia.), and a wicker bowl with orange center and multicolored staggered columns (3.75” H x 11.25” Dia.), 4 pieces $400-600

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263

A group of Hopi Pueblo wicker plaques and a rattle

Mid/late 20th century Comprising six polychrome wicker plaques with varying motifs including two with katsina figures (15” Dia and 12.5” Dia.), one with a turtle motif (11” Dia.), one with an oval center and multiple bands (13” Dia.), one with a swirl motif (13.75” Dia.) and one with a band of four directional figures (12” Dia.), together with a painted gourd and wood Hopi-style dance rattle (12” H x 4.25” W x 4.25” D), 7 pieces $500-700 Provenance: The Estate of Eleanor Koffler

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264

A Knox Oil Co. “Famous Oklahoma Indians” beverage set

Circa 1959 Each illustration with a printed signature: Blue Eagle The promotional beverage set designed by by Acee Blue Eagle for Knox Oil Company comprising a frosted pitcher and eight glasses, each bearing illustrations by Blue Eagle of “Famous Oklahoma Indians” including Quanah Parker, Ruling His Sun, and Hen-toh, along with a custom carved wood tray with pyrography of Native American symbols, 10 pieces Tray: 4” H x 27.25” W x 7” D; pitcher: 9” H x 6.25” Dia.; each glass: 6.75” H x 2.75” Dia. $300-500 Notes: Acee Blue Eagle (1909-1959) was born Alex McIntosh near Anadarko, Oklahoma and was known by several names during his childhood. A nickname “Ah-Say” became “Acee” when he entered school. Although he had shown an interest in drawing at an early age, it was at the University of Oklahoma that he developed as a serious artist under the guidance of a professor, Dr. Oscar B. Jacobson. He received a Bachelor of Fine Arts degree in 1932, traveled abroad to England to lecture at Oxford in 1935, and returned to Oklahoma the following year where he accepted a teaching appointment at Bacone College until 1938. Following three years of military service during World War II, Blue Eagle joined the art staff of Oklahoma State University Technological School in Okmulgee. He was in residence there until his death on June 18, 1959. Blue Eagle’s work is found today at the Gilcrease and Philbrook museums in Tulsa, the Creek Indian Museum in Okmulgee, Bacone College in Muskogee, the University of Oklahoma in Norman, the Oklahoma Historical Society in Oklahoma City, the Museum of New Mexico and the Institute of American Indian Art in Santa Fe, and the Bureau of Indian Affairs in Washington, D.C. A similar set to this one is part of the permanent collection at the Gilcrease Museum, Thomas Gilcrease Institute of American History and Art in Tulsa, OK.

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265

A Pima basket

Early/mid-20th century; Akimel O’odham, Southwest United States A large coiled basketry bowl with central black center and concentric radiating bands 4” H x 15.5” Dia. $800-1,200

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266

A Pima basket

Early/mid-20th century; Akimel O’odham, Southwest United States A coiled basketry tray with dark center and large geometric key motif band to sides 3” H x 13” Dia. $400-600

267

A large Pima basket

Early/mid-20th century; Akimel O’odham, Southwest United States A coiled tray with five stepped arms radiating from black center 4” H x 17.25” Dia. $700-900

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268

A Pima basket

Early/mid-20th century; Akimel O’odham, Southwest United States A large coiled basketry bowl with dark center and radiating dark and light bands 4.25” H x 18” Dia. $800-1,200

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269

A large Pima basket

Early/mid-20th century; Akimel O’odham, Southwest United States A coiled tray with three panels of graduated squares and alternating floating elements 5” H x 19.25” Dia. $800-1,200

270

A Pima basket

Late 19th/early 20th century; Akimel O’odham, Southwest United States A coiled tray with three hooked arms radiating from black center 4” H x 15.25” Dia. $600-800

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271

A small Pima basket

Mid-20th century, Akimel O’odham, Southwest United States A coiled two-color bowl with large zigzag band overall 4” H x 6.6” Dia. $200-400

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272

Verona Burkhard

(1910-2004) “Pueblos - The Peaceful People” Oil on panel Unsigned; titled on a frame plaque; titled again on a gallery label affixed to the frame, verso 11.75” H x 27” W $2,500-3,500 Provenance: Schwarz & Son, Philadelphia, PA Notes: According to a label affixed verso this is a “sketch of mural for Immigration and Naturalization Station, Los Angeles, California.”

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273

A Santa Clara Pueblo pottery olla

Late 19th/early 20th century A large blackware olla with three bear paw motifs and crimped rim 11.75” H x 14.5” Dia. $3,000-5,000 Provenance: Jackson Street Gallery, Seattle, WA Private collection, acquired from the above, 2004

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274

Margaret Tafoya (1904-2001, Santa Clara Pueblo)

A carved Santa Clara redware pottery vase, mid/late 20th century Signed to base: Margaret Tafoya / Santa Clara A tall carved jar with an avian motif 9” H x 7” Dia. $2,000-3,000 Provenance: Private Collection, Southern California

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275

Margaret Tafoya (1904-2001, Santa Clara Pueblo)

A Santa Clara blackware pottery jar, mid/late 20th century Incised to underside: Margaret Tafoya / Santa Clara Pueblo / N. Mex The tapered jar with deeply carved geometric designs 5.875” H x 5.75” Dia. $1,000-1,500 Provenance: Private Collection, Southern California

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276

Margaret Tafoya (1904-2001, Santa Clara Pueblo)

A Santa Clara blackware pottery jar, mid-20th century Signed to underside: Margaret Tafoya / Santa Clara Pue / N Mex A globular carved pottery jar with geometric motifs 5” H x 7.125” Dia. $1,000-1,500 Provenance: Private Collection, Southern California

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277

Lu Ann Tafoya (b. 1938, Santa Clara Pueblo)

A Santa Clara blackware pottery jar, late 20th/early21st century Signed: Lu Ann Tafoya / Santa Clara Pue / N.M. A tall vase form jar with a bear paw motif 7.25” H x 6.5” Dia. $800-1,200 Provenance: Private Collection, Southern California

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278

Virginia Garcia (b. 1963, Santa Clara Pueblo)

A Santa Clara redware pottery vessel, late 20th/21st century Signed to underside: Virginia Garcia / Santa Clara / San Juan The pottery jar with an allover burnished red slip glaze 7.5” H x 8” Dia. $300-500

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279

Vickie Martinez Tafoya (b. 1967, Santa Clara Pueblo)

A Santa Clara redware pottery jar, late 20th/early 21st century Incised to underside: Vickie Martinez Tafoya / Santa Clara Pueblo The deeply carved jar with Avanyu design and cloud motif to the rim 6.5” H x 8.125” Dia. $300-500 Provenance: Private Collection, Southern California

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280

Three Santa Clara Pueblo pottery vessels Three works:

Ron Suazo (b. 1954, Santa Clara Pueblo) Two blackware pottery vessels, late 20th/early 21st century Each signed: Ron Suazo / Santa Clara Pueblo, N.M. Comprising a flat-shouldered jar with allover sgraffito bear paw and feather motifs with an inset turquoise accent (2” H x 4.5” Dia.), and a flat-shouldered seed pot with sgraffito repeating bear paw tracks surrounding a concentric circle feather motif, featuring accents of inlaid turquoise and coral (2.875” H x 4” Dia.), 2 pieces Robert Naranjo (b.1943, Santa Clara Pueblo) A globular blackware pottery vessel, 1994 Incised to underside: Robert Naranjo / NN [bear paw] / Santa Clara Pueblo / 8-94 The flat-topped vessel featuring a sgraffito bear mask centering a paw print motif 2.5” H x 4” Dia. 3 pieces total

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281

Edna Romero (b. 1936, Santa Clara/Taos Pueblo)

A Pueblo micaceous pottery jar, late 20th/early 21st century Signed to underside: Edna Romero The olla-form brownware jar with a micaceous slip 8.25” H x 8.625” Dia. $300-500 Provenance: Private Collection, Southern California

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282

A Santa Clara Pueblo blackware pottery olla Early 20th century Unmarked A burnished glaze vase-form pottery olla 9.625” H x 8.625” Dia. $400-600

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283

Joy Cain (b. 1947, Santa Clara Pueblo)

A Santa Clara blackware pottery bowl, late 20th century Incised to underside: Joy Cain / Santa Clara Pueblo The deeply carved bowl with Avanyu motif 4.75” H x 7.875” Dia. $300-500 Provenance: Private Collection, Southern California

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284

Two Santa Clara Pueblo blackware pottery vessels Two works:

Teresita Naranjo (1919-1999, Santa Clara Pueblo) A blackware pottery bowl, mid/late 20th century Incised to underside: Teresita Naranjo / Santa Clara Pueblo The bowl with deeply carved Avanyu motif 4.325” H x 7.75” Dia. Mary Cain (1915-2010, Santa Clara Pueblo) A blackware pottery jar, mid/late 20th century Incised to underside: Mary Cain / Santa Clara Pueblo The jar with deeply carved Avanyu motif 4.75” H x 4.625” Dia. 2 pieces $400-600 Provenance: Private Collection, Southern California

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285

Two Santa Clara Pueblo blackware pottery bowls Two works:

Celes and Evelyn Tafoya (1931-2011 and b. late 20th century, Santa Clara Pueblo) A small carved blackware bowl, mid/late 20th century Signed: Celes / Evelyn / [likely Santa Clara Pueblo] A globular bowl with carved Avanyu motif 3” H x 3.875” Dia. A small carved blackware bowl, late 20th century Incised to underside: Sandra Suazo / Santa Clara Pueblo The tapered bowl with carved rain cloud motifs 3.75” H x 5.5” Dia. 2 pieces

$300-500 Provenance: Private Collection, Southern California

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286

Tammy Garcia

(b. 1969, Santa Clara Pueblo) “Songbird” Patinated bronze plaque Edition of 35 Appears unsigned 7.75” H x 7.75” W x 0.75” D $1,000-1,500 Provenance: Blue Rain Gallery, Santa Fe, NM Private Collection, Southern California, acquired from the above, 2008 Notes: This lot is sold together with a copy of the Blue Rain Gallery payment receipt dated August 22, 2008.

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287

Donald Ricks

(1929-1996) “Camped in Trees,” 1978 Gouache on paper laid to board Signed and dated lower right: Don Ricks; titled verso 14” H x 20” W $2,000-3,000 Notes: An artist biography sheet is wrapped on the hanging wire. A sheet of past auctions for other Don Ricks pieces is taped to the frame’s backing paper.

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288

Steven Lang

(b. 1960) “Wak-A-Dah-Ha-Heeís Rain Medicine” Oil on canvas Signed lower left: Lang; titled on the frame plaque 24” H x 16” W $2,000-3,000 Exhibited: Prescott, AZ, Phippen Museum’s Marley Gallery, “Early West Storyteller,” March 2- July 7, 2023 Notes: According to an information sheet affixed verso, this piece draws inspiration from George Catlin’s book “Letters and Notes on the North American Indians,” detailing an account that took place during a particular visit.

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289

Barbara Peets

(b. 1943) “Duel of Kings” Patinated bronze on a wood base Edition: 13/20 Signed, titled, and numbered in the casting: © b peets 17.5” H x 33” W x 16” D; with base: 19.5” H x 34.25” W x 17” D $1,000-1,500 Notes: The inspiration for this sculpture is from a painting based upon the “Buffalo Book” by David A. Dary. The book recounts how Dr. W. A. Allen was watching a small herd of buffalo and their encounter with a bear.

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290

Fritz Scholder

(1937-2005) “Man and Dog K,” 1992 Monotype in colors on paper, watermark BFK Rives Signed and titled in pencil in the lower margin: Scholder; inscribed in pencil in the lower margin, at left, verso: Fritz Scholder / Rezvani Workshop / (Shahrokh Rezvani) / Scottsdale, AZ, U.S.A. / Fri. Oct. 23/1992 / 1:00 P.M. - 3:30 P.M.; with an unidentifed blindstamp in the lower margin, at center; titled again and dated on a gallery label affixed to the frame’s backing paper Plate: 24” H x 17.75” W; Sheet: 30” H x 22.5” W $1,000-2,000 Provenance: Riva Yares Gallery, Scottsdale, Arizona and Santa Fe, New Mexico

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291

Michel Bayne (b. 1959)

A pottery sculpture, early 21st century Stamped: BM / NC The glazed ceramic head decorated with feathers and ear jewelry, surmounted by a crow figure 18.75” H x 9.5” W x 8” D $1,500-2,500

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292

Lonnie Vigil (b. 1949, Nambé Pueblo)

A Nambé micaceous olla jar, late 20th/early 21st century Incised to underside: Vigil / Nambe The gunmetal black olla-form jar with micaceous slip 9.75” H x 8.5” Dia. $800-1,200 Provenance: Private Collection, Southern California

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293

A Santa Clara Pueblo blackware pottery bowl

Early/mid-20th century Appears unmarked The black burnished deep oval bowl with opposed sculptural fox handles 5.5” H x 11.375” W x 5.75” D $800-1,200 Provenance: Private Collection, Southern California Notes: Collector’s notes indicate this lot possibly attributed to Serafina Tafoya (1863-1949).

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294

Michel Bayne (b. 1959)

A large Folk Art pottery jug, late 20th/21st century Incised to side: Bayne / Maker/ SC The ovoid stoneware jug with dual portraits of Native American men rendered in colorful glazes to either side 25” H x 13” Dia. $2,000-3,000

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295

Michel Bayne (b. 1959)

Three glazed ceramic sculptures, late 20th century One incised: Bayne / Maker / SC; two stamped: B M Comprising one coin bank in the form of a lady holding a fan with rubber plug to underside, one cardinal bird figure, and one blue bird figure, 3 pieces Largest: 9” H x 4.625” Dia.; smallest: 6.25” H x 3” W x 6.5” D $1,000-1,500

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296

Two Puebloan pottery olla jars Two works:

Melissa Antonio (b. 1965, Acoma Pueblo) An Acoma pottery olla jar, circa 1980s Signed to underside: Acoma, N.M. / M.C. Antonio The water jar with allover red and black on white geometric motif 7.325” H x 7.325” Dia. Phyllis Tosa (b. 20th century, Jemez Pueblo) A Jemez black and white pottery olla jar, late 20th/early 21st century Signed to underside: Phyllis M. Tosa / Jemez NM / T.M. The water jar with allover black on white floral repeating motif 6.875” H x 8” Dia. 2 pieces $600-900 Provenance: Private Collection, Southern California

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297

Gene Kloss

(1903-1996) “Here Come the Singers,” 1944 Etching, drypoint, and aquatint on paper Artist’s proof, aside from the edition of 50 Signed, titled, and inscribed Artist’s Proof in pencil in the lower margin: Gene Kloss Plate: 11” H x 14” W; Sight: 11.5” H x 14.5” W $500-700 Provenance: The Owings Gallery, Santa Fe, NM

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298

Gene Kloss

(1903-1996) “Little Hoop Dancer” Conte crayon on paper Signed lower right: Gene Kloss; titled in ink, presumably in another hand, on the frame’s backing paper Sight: 10.75” H x 8.875” W $600-800

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299

Edward Borein

(1872-1945) “Reps” Etching and drypoint in brown ink on wove paper Signed in pencil in the lower margin, at right: Edward Borein; second state Plate: 5.75” H x 8.625” W; Sheet: 10.25” H x 12.5” W $1,000-1,500 Literature: Galvin 52

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300

Edward Borein

(1872-1945) “Concord Coach” Etching and drypoint in brown ink on paper Signed in pencil in the lower margin, at right: Edward Borein Plate: 4.875” H x 6.875” W; Sight: 5.5” H x 7.5” W $800-1,200 Provenance: Altermann Galleries and Auctioneers, Santa Fe, NM Literature: Galvin 141

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301

Edward Borein

(1872-1945) “On Their Way” Etching and drypoint on paper Signed in pencil in the lower margin, at right: Edward Borein Plate: 5” H x 7.875” W; Sight: 5.75” H x 8.5” W $800-1,200 Provenance: 17 E La Guerra Studios, Santa Barbara, CA Literature: Galvin 11

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302

Edward Borein

(1872-1945) “Grass Hunters No. 1” Etching and drypoint in brown ink on wove paper Signed in pencil in the lower margin, at right: Edward Borein Plate: 7.875” H x 9.875” W; Sheet: 8.75” H x 10.75” W $1,000-1,500 Literature: Galvin 28

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303

Donna Lopez

b. 20th century “Illumination II,” 2001 Wool tapestry Attributed, dated, and titled to attached tag verso: Illumination II; 9/2001; Tapestry by Donna M. Lopez, Taos New Mexico 47.5” H x 30” W $500-700 Provenance: The Estate of Eleanor Koffler Notes: Attached label denotes: Hand Dyed Wool/Cotton Warp

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304

Gregory Lomayesva (b. 1971)

A standing kachina figure sculpture, 1994 Signed to upper body verso: Gregory Lomayesva / 94 [faint] A tall figure with painted wood mask and tableta with multicolored feathers and painted canvas body, mounted to painted wooden base. 35.5” H x 13.25” W x 7.5” W $500-700 Provenance: Private Collection, Southern California Notes: Gregory Lomayesva is an internationally recognized painter, sculptor and mixed media artist who lives and works in Santa Fe, New Mexico. A painter since his mid-teens, Lomayesva’s career began when he combined his woodworking skills with the classical imagery of his Hopi heritage to create unique sculptures and paintings at the cutting edge of contemporary American folk art. Beginning with the masks and dolls that are staples of his historical folk art tradition, Lomayesva quickly built a recognizable visual lexicon all his own that he eventually brought to large-scale works of wood, bronze, and steel: fusion artifacts that rapidly developed a strong collector base and wide acclaim. The Kachina styled figures are representative of his Hopi roots but not representative of actual Kachina figures. The feathers used are moulted parrot feathers that add rich coloration to each work. Although Lomayesva draws on aspects of both his Hispanic and Hopi heritage, he says: “I don’t identify myself too much with either culture because I don’t want to be pigeon-holed. I think that doing art based on ethnicity limits the playing field, so I try to express myself as an artist whose playing field is the world.” References: Bryans Gallery, Taos, NM; Rainbow Man, Santa Fe, NM

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305

Gregory Lomayesva (b. 1971)

A butterfly katsina sculpture/doll, 2000 Signed verso: Gregory Lomayesva / 00 A polychrome painted wood butterfly figure with elaborate headdress and wings, crowned with multicolored feathers 24.75” H x 17” W x 10” D $500-700 Provenance: Private Collection, Southern California Notes: Gregory Lomayesva is an internationally recognized painter, sculptor and mixed media artist who lives and works in Santa Fe, New Mexico. A painter since his mid-teens, Lomayesva’s career began when he combined his woodworking skills with the classical imagery of his Hopi heritage to create unique sculptures and paintings at the cutting edge of contemporary American folk art. Beginning with the masks and dolls that are staples of his historical folk art tradition, Lomayesva quickly built a recognizable visual lexicon all his own that he eventually brought to large-scale works of wood, bronze, and steel: fusion artifacts that rapidly developed a strong collector base and wide acclaim. The Kachina styled figures are representative of his Hopi roots but not representative of actual Kachina figures. The feathers used are moulted parrot feathers that add rich coloration to each work. Although Lomayesva draws on aspects of both his Hispanic and Hopi heritage, he says: “I don’t identify myself too much with either culture because I don’t want to be pigeon-holed. I think that doing art based on ethnicity limits the playing field, so I try to express myself as an artist whose playing field is the world.” References: Bryans Gallery, Taos, NM; Rainbow Man, Santa Fe, NM

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306

Gregory Lomayesva (b. 1971)

A Hopi Shalako-style katsina mask, 2007 Signed verso: Lomayesva / 07 A polychrome painted wood mask in green and red with an openwork tableta headdress and multicolored feathers 15.75” H x 20 “ W x 6.5” D $500-700 Provenance: Private Collection, Southern California Notes: Gregory Lomayesva is an internationally recognized painter, sculptor and mixed media artist who lives and works in Santa Fe, New Mexico. A painter since his mid-teens, Lomayesva’s career began when he combined his woodworking skills with the classical imagery of his Hopi heritage to create unique sculptures and paintings at the cutting edge of contemporary American folk art. Beginning with the masks and dolls that are staples of his historical folk art tradition, Lomayesva quickly built a recognizable visual lexicon all his own that he eventually brought to large-scale works of wood, bronze, and steel: fusion artifacts that rapidly developed a strong collector base and wide acclaim. The Kachina styled figures are representative of his Hopi roots but not representative of actual Kachina figures. The feathers used are moulted parrot feathers that add rich coloration to each work. Although Lomayesva draws on aspects of both his Hispanic and Hopi heritage, he says: “I don’t identify myself too much with either culture because I don’t want to be pigeon-holed. I think that doing art based on ethnicity limits the playing field, so I try to express myself as an artist whose playing field is the world.” References: Bryans Gallery, Taos, NM; Rainbow Man, Santa Fe, NM

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307

Eli Levin

(b. 1938) “Three Cultures Women,” 1991 Tempera on Masonite Signed and dated lower right: Eli Levin 18” H x 24” W $800-1,200

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308

A Zuni Pueblo polychrome pottery olla

Early 20th century, New Mexico A large olla with heartline deer motifs and curvilinear and geometric banding, and an indented base 10” H x 13” Dia. $2,000-3,000

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309

A Zuni Pueblo polychrome pottery jar

Late 19th/early 20th century, New Mexico Unmarked The pottery bowl with black on white frog and tadpole motifs, banded black and red kiva step motifs, and an indented base 6” H x 8.5” Dia. $500-700 Provenance: Private Collection, Southern California

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310

A Zuni Pueblo pottery bowl

Early 20th century, New Mexico Unmarked The polychrome frog jar with opposing applied frog handles and all-over slip decoration of geometric motifs flanking depictions of the Knifewing God 5” H x 7” Dia. $700-900 Provenance: Private Collection, Southern California

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311

A Zuni Pueblo pottery frog jar

Late 19th/early 20th century, New Mexico Unmarked The three-color, red and brown on white jar with banded scalloped design to the rim and featuring four painted frogs with sculptural high-relief heads 5.5” H x 6.875” Dia. $600-800 Provenance: Private Collection, Southern California

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312

A Zuni Pueblo polychrome pottery frog jar

Late 19th/early 20th century, New Mexico Unmarked The three-color jar decorated with four raised spotted frogs interspaced with painted cross motifs 5.625” H x 8.325” Dia. $700-900 Provenance: Private Collection, Southern California

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313

A Zuni Pueblo terraced pottery bowl

Late 19th/early 20th century, New Mexico Unmarked The bowl with black on white bi-color motifs of a spotted toad and tadpoles to interior with a three-step terraced rim 4.5” H x 8” Dia. $600-800 Provenance: Private Collection, Southern California

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314

A Zuni Pueblo terraced pottery bowl

Late 19th/early 20th century, New Mexico Unmarked A flat bottomed bowl with a four step terraced rim and featuring black on white frog and tadpole motifs 2.5” H x 6.25” Dia. $500-700 Provenance: Private Collection, Southern California

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315

A Zuni Pueblo terraced handled pottery bowl

Late 19th/early 20th century, New Mexico Appears unmarked A stepped footed bowl with handle and with black-on-buff painted motifs of frogs, dragonflies and tadpoles 4” H x 7.5” Dia. $500-700 Provenance: Private Collection, Southern California

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316

A Zuni Pueblo terraced handled pottery bowl

Late 19th/early 20th century, New Mexico Appears unmarked A small stepped footed bowl with handle and with brown-on-buff painted motifs of frogs and tadpoles 5” H x 6” Dia. $500-700 Provenance: Private Collection, Southern California

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317

Two Puebloan pottery owls Two works:

An Acoma Pueblo pottery owl, late 20th century Marked to base: M. B. / Acoma NM A large footed owl with brown slip feathers and red features 9” H X 6” Dia. A Zuni Pueblo pottery owl, early 20th century Appears unmarked With painted and sculpted features and a heavy base 7” H x 5.25” Dia. 2 pieces $600-800 Provenance: Private Collection, Southern California

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318

A group of Zuni Pueblo pottery owls

Early/mid-20th century Each appears unsigned Comprising five polychrome pottery owls with slip-painted features and formed beaks and ears, including one small owl mounted to a wooden base, 5 pieces Largest: 6” H x 4.5” W x 4” D; smallest: 2.625” H x 2” Dia. $400-600 Provenance: Private Collection, Southern California Notes: Label affixed to base of black wood stand reads: “I’m full blooded ZUNI. Used in every Zuni household god of good fortune (like Minerva). I am used at tribal dances with a worm inside (dead & dry). No all American household should be without me particularly if its head collects owl. [From Ruth Mendenhall]”

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319

A group of Puebloan pottery owls Early/mid-20th century Five works:

Nellie Bica (1905-1998, Zuni Pueblo) A small Zuni Pueblo pottery owl Signed to base: N.B. A diminutive polychrome pottery owl with brown and orange on buff painted slip features 2.375” H x 2” Dia. Three Zuni Pueblo pottery owls One marked: E Each polychrome owl with brown-on-buff painted features and sculpted beaks, the largest with a beak “handle” and mouth opening Largest: 6.75” H x 5.5” Dia. 3 pieces

An Acoma Pueblo pottery owl Marked to base: Acoma / N.M. A polychrome pottery owl with black and orange features on white 4” H x 3.25” Dia. 5 pieces total $600-800 Provenance: Private Collection, Southern California

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320

Two Acoma Pueblo pottery owls Two works:

Mary Antonio Garcia (b. 20th century, Acoma Pueblo) A large polychrome Acoma pottery owl, late 20th century Marked to base: M.G / Acoma / N.M. An owl with a shaped orange beak, open mouth and baby owls attached to wings to each side 6” H x 7.5” W x 5.25” D An Acoma pottery owl Early 20th century Marked to base: Acoma / N.M. With slip painted features and a narrow white beak with hatched line details 6.5” H x 5.25” Dia. 2 pieces $400-600 Provenance: Private Collection, Southern California 3 5 4 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, S e p te mb e r 1 2 , 2 0 2 3

321

Three Zuni Pueblo pottery vessels

Late 19th/early 20th century, New Mexico Each appears unmarked Three polychrome on white buff glaze vessels, comprising a handled jar featuring opposed sculptural kiva step protrusions and decorated with a moth motif, a pot with sculptural frog-form accents and alternating bird motif, and an ashtray with floral and avian motifs centering a geometric rim, 3 pieces Largest: 5.25” H x 6.25” W x 4.325” D; smallest: 3” H x 4.125” Dia. $600-800

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322

A Chemehuevi basket

Mid-20th century; Great Basin/Southwest United States A coiled basketry tray/low bowl with seven columns of stepped arrow motifs 3” H x 12” Dia. $800-1,200

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323

A Chemehuevi basket

Early/mid-20th century; Great Basin/Southwest United States A coiled low bowl/tray with overall scattered diamond motifs arranged in a subtle star pattern 2.75” H x 11.5” Dia. $800-1,200

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324

A Chemehuevi basket

Mid-20th century; Great Basin/Southwest United States A coiled basketry low bowl tray with five radiating stepped motifs 2.75” H x 11.25” Dia. $800-1,200

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325

A Chemehuevi basket

Late 19th/early 20th century; Great Basin/Southwest United States A small coiled basketry tray with rim ticking and floating motifs to sides 1.75” H x 7.875” Dia. $500-700 Notes: Invnetory label indicates Serrano; collected about 1900.

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326

A Chemehuevi basket

Late 19th/early 20th century; Great Basin/Southwest United States A coiled shallow bowl with zigzag banding to sides 3.25” H x 10.5” Dia. $800-1,200

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327

A Chemehuevi basket

Late 19th/early 20th century; Great Basin/Southwest United States A coiled low bowl/tray with two zigzag bands and dark center 2.75 “ H x 10.5 “ Dia. $600-800

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328

A Chemehuevi basket

Mid-20th century; Great Basin/Southwest United States A coiled basketry low bowl/tray with two bands of sawtooth motifs and a dark center with six radiating arms 3.5” H x 11” Dia. $800-1,200 Notes: Inventory label indicates: Panamint/Chemehuevi.

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329

A Chemehuevi basket

Early/mid- 20th century; Great Basin/Southwest United States A coiled basketry tray with rim ticking, interlocked zigzag banding and a star motif center 3” H x 11.5” Dia. $800-1,200 Notes: Inventory label indicates Serrano.

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330

A Zia Pueblo polychrome pottery olla

Early 20th century A large olla with repeated curvilinear motifs, with a red band and black scallop edging to neck, with a red base 15” H x 18” Dia. $3,000-5,000 Provenance: Collection of Alf Museum, Webb Schools, Claremont, CA. Flurry & Co, Seattle, WA. Private collection, acquired from the above, 2012 Notes: Provenance indicated by collector.

331

A Zia Pueblo polychrome pottery olla

Late 19th/early 20th century, New Mexico Unmarked The three-color jar with black and red on white foliate motifs and an indented base 8” H x 9.5” Dia. $800-1,200 Provenance: Private Collection, Southern California

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332

Sofia and Lois Medina (b. 1932 and 1959, Zia Pueblo)

A large Zia polychrome pottery olla jar, late 20th/early 21st century Signed near the base: Sofia + Lois Medina / Zia The four-color jar featuring black, orange, and red hummingbird and roadrunner motifs centering kiva step and geometric motifs on a white buff 10” H x 11.75” Dia. $700-900 Provenance: Private Collection, Southern California

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333

Sofia Medina (1932-2010, Zia Pueblo)

A Zia polychrome pottery olla jar, late 20th/early 21st century Signed: Sofia Medina / Zia The four-color jar with red, orange, and black avian and foliate motifs on a white buff ground 8.125” H x 9.75” Dia. $500-700 Provenance: Private Collection, Southern California

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334

A Zia Pueblo pottery jar

Early 20th century, New Mexico Unmarked A small polychrome shouldered bowl with oval banding to center and curved banding to upper and lower edges 4.75” H x 6” Dia. $300-500 Provenance: Private Collection, Southern California

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335

An Apache basket

Mid/late 19th century; Southwest United States A finely woven coiled basketry bowl with central swirled hook motifs and three large cross motifs to sides 15” H x 15.25” Dia. $800-1,200 Notes: Original inventory label to base indicates: White Mountain Apache; collected 1859.

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336

An Apache basket

Early 20th century; Southwestern United States A large coiled tray with six stepped rays issuing from center 5” H x 16.75” Dia. $600-800

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337

A polychrome Apache basket

Early/mid-20th century; Southwestern United States A coiled low bowl/tray with central star motif and alternating radiating columns of zigzags and diamonds 2.75” H x 11.375” Dia. $700-900

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338

A Panamint basket

Early/mid-20th century; Central California A coiled basketry bowl with banded center and six floating sawtooth bands to sides 2.25” H x 9” Dia. $600-800

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339

A Panamint basket

Mid-20th century; Central California A coiled olla form basket in a fine tight weave with swirling stepped columns and a banded neck 4.75” H x 6.5” Dia. $600-800

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340

A large polychrome Pomo basket

Early/mid- 20th century; Northern California A large twined storage basketry bowl with a checkered rim and multiple geometric bands 10.5” H x 14” Dia. $700-900 Notes: Inventory label indicates basket origin as Pomo Bam Tush.

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341

Edward Borein

(1872-1945) “Los Charros” Etching and drypoint in brown ink on laid paper, watermark F.J Head & Co. Signed in pencil in the lower margin, at right: Edward Borein Plate: 9’’ H x 14.875’’ W; Sheet: 11.5” H x 18.375” W $800-1,200 Literature: Galvin 268

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342

Edward Borein

(1872-1945) “Mexican Charro” Etching and drypoint in brown ink on paper Signed in pencil in the lower margin, at right: Edward Borein Plate: 6.25” H x 5.375” W; Sheet: 11” H x 8” W $1,000-1,500 Literature: Galvin 267

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343

Edward Borein

(1872-1945) “Mexican Carreta” Etching and drypoint in brown ink on paper Signed in pencil in the lower margin, at right: Edward Borein Plate: 3.5” H x 10.125” W; Sight: 4.5” H x 10.875” W $700-900 Literature: Galvin 149

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344

Edward Borein

(1872-1945) “The Bell Mare” Etching and drypoint on wove paper Signed in pencil in the lower margin, at right: Edward Borein; titled in pencil in the lower margin, at left, presumably in another hand Plate: 9.875” H x 11.75” W; Sheet: 12.5” H x 17.5” W $2,000-3,000 Literature: Galvin 50

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345

Edward Borein

(1872-1945) “Going to Town No. 2” Etching and drypoint in brown ink on wove paper Signed in pencil in the lower margin, at right: Edward Borein Plate: 8” H x 9.875” W; Sheet: 11.625” H x 13.5” W $1,500-2,000 Literature: Galvin 23

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346

Edward Borein

(1872-1945) “Arizona Cowpunchers” Etching and drypoint on wove paper Signed in pencil in the lower margin, at right: Edward Borein Plate: 4.75” H x 9” W; Sheet: 6.625” H x 10.75” W $1,500-2,000 Literature: Galvin 40

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347

Edward Borein

(1872-1945) “Point Riders,” 1922 Etching and drypoint in brown ink on wove paper, watermark Umbria Italia Signed and dated in the plate lower left: Edward Borein; with the artist’s remarque in pencil in the lower margin, at left Plate: 7.25” H x 11.75” W; Sheet: 10.125” H x 14.875” W $800-1,200 Literature: Galvin 92

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348

Edward Borein

(1872-1945) Cowboy with herd of cattle India ink on paper Signed in ink lower right: Borein Sight: 6.25” H x 10.75” W $800-1,200

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349

Edward Borein

(1872-1945) “Pack Outfit” Etching and drypoint in brown ink on paper Signed in pencil in the lower margin, at right: Edward Borein Plate: 7.125” H x 8.75” W; Sheet: 8.875” H x 10.75” W $1,000-1,500 Provenance: 17 De La Guerra, Santa Barbara, CA Arlington Gallery, Santa Barbara CA Literature: Galvin 13 Notes: An Arlington Gallery label is affixed to the frame’s backing board. Also affixed to the frame’s backing board is an original Borein Studios label. Edward Borein opened his studio at 17 De La Guerra in Santa Barbara in 1921 after returning from years spent living in Mexico and working as a cowboy throughout the Southwest United States. Also affixed to the frame’s backing board is a Harold G Davidson Custom Picture Framing label. Harold Davidson worked with Borein, framing his etchings of the Western lifestyle, and would later go on to publish biographies of Borein and champion his work as a dealer.

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350

A polychrome Hupa/Yurok/Karuk basket

Mid-20th century; Northern California A large twined basketry bowl with three imbricated geometric panels and sawtooth band to top 6.25” H x 9.5” Dia. $600-800

351

A Hupa/Yurok/Karuk basket

Mid-20th century; Northern California A bi-color twined basket with imbricated floating geometric motifs 4.75” H x 7.5” Dia. $300-500

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352

A polychrome Hupa/Yurok/Karuk lidded basket

Early/mid-20th century; Northern California A twined lidded basketry bowl in a rounded shape with three imbricated stepped “House Ladder” or “Lumber Cut” motifs, and a lid with finial with possible stylized geometric “crab claw” or crab motifs, 2 pieces 6” H x 5.625” Dia. $400-600

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353

A polychrome Hupa/Yurok/Karuk basketry hat

Early 20th century; Northern California A twined basket hat with stepped geometric motifs and banded rim 3.375” H x 6.875” Dia. $400-600

354

A polychrome Hupa/Yurok/Karuk basketry hat

Early 20th century; Northern California A twined basket hat with three stepped geometric motifs and banded rim 3.5” H x 6.25” Dia. $400-600

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355

A polychrome Whilkut basketry hat

Late 19th/early 20th century; Northern California A twined basket hat with three stepped geometric motifs and banded rim 4’ H x 6.875” Dia. $400-600 Notes: The stepped geometric motif is sometimes known as “grizzly bear’s paw” design.

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356

Two polychrome Hupa/Yurok/Karuk baskets

Late 19th/early 20th century; Northern California Two twined bowls, one a small bowl with openwork lattice bands alternating with twined overlay bands (3.125” H x 4.375” Dia.) and the other a larger bowl with four floating stepped geometric motifs and a banded rim (3.5” H x 6” Dia.), 2 pieces $500-700

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357

A Hupa/Yurok/Karuk basketry cradle

Mid-20th century; Northern California With shell and bead accents and a narrow band of twined imbricated geometric motifs to reverse at top 7.5” H x 12.5” W x 27” D $300-500

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358

359

Late 19th/early 20th century; Northern California An openwork rumitsek-style twined utility basket with handles and with a twined diagonal twill imbricated band below the rim, woven with bear grass, hazel sticks and maiden hair (five finger) fern 8.25” H (with handles) x 11.5” Dia.

Late 19th/early An extra-large c band of diagon Approximately

A Hupa/Yurok/Karuk basket

$800-1,200

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A large Hupa

$400-600

a/Yurok/Kurok burden basket

20th century; Northern California conical twined basket with V-shaped stepped sawtooth motifs and a nal stepped ladder motifs to the top 19” H x 22” Dia.

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360

362

(b. 1945) “Dakota Sioux Campfire,” 2023 Oil on canvas Signed and with the artist’s device, lower left: HF Wackermann; signed and with artist’s device again, and dated, verso; titled on stretcher 18” H x 24” W

(b. 1945) “Summer Evening, Crow,” 2023 Oil on canvas Signed and with the artist’s device, lower right: © H Wackermann; signed and with the artist’s device aga titled, and dated, in pencil, all verso 18” H x 24” W

Hubert Wackermann

$700-900

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HF ain,

361

Hubert Wackermann

(b. 1945) “Cheyenne Winter Camp,” 2023 Oil on canvas Signed and with the artist’s device, lower left: © HF Wackermann; signed again and dated, verso; titled on the stretcher 24” H x 30” W $800-1,200

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363

Hubert Wackermann

(b. 1945) “Miniconjou Lakota,” 2017 Oil on canvas Signed and with the artist’s device, lower left: © HF Wackermann; signed and with the artist’s device again, and titled, and dated in pencil, all verso 14” H x 11” W $500-700

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364

Hubert Wackermann

(b. 1945) “Cree Hunter,” 2023 Oil on canvas Signed and with the artist’s device, lower right: © HF Wackermann; signed and with the artist’s device again, and titled, and dated in pencil, all verso 12” H x 9” W $500-700

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365

366

(1872-1945) “Arizona Roundup” Etching and drypoint on paper Appears unsigned Plate: 6.5” H x 14.25” W; Sight: 7” H x 14.75” W

(1872-1945) “Running Wild Horses” Etching and drypoint in brown ink on paper Unsigned Plate: 6.75” H x 11” W; Sheet: 11” H x 15” W

Edward Borein

$500-700

Literature: Galvin 95

Literature: Galvin 49

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367

Edward Borein

(1872-1945) “Race to the Wagon, No. 2” Etching on off-white paper, watermark Umbria Italia Edition: A rare, possibly unique, impression that appears to be an unrecorded proof prior to the first state (of two). Unsigned Image/Sheet: 4.875” H x 6.875” W $300-500 Provenance: Private Collection, Goleta, CA Literature: cf. Galvin 43 Notes: A pencil annotation on the verso of the sheet reads “Apparently unrecorded.”

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368

Martha Mirabal (b. 1946, Santa Clara Pueblo)

A Santa Clara lidded blackware canteen, late 20th century Signed to base: Martha Mirabal A small globular upright canteen with heartline bear stopper lid and added hide strap 6.25” H x 5” W x 3.75” D $400-600 Provenance: Private Collection, Southern California

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369

Than Tsidéh / Erik Fender (b. 1970, San Ildefonso Pueblo)

A San Ildefonso blackware pottery canteen, late 20th/21st century Signed to base: Than Tsidéh A globular canteen with splayed lug handles, green slip geometric motifs and a beaded neck with green and micaceous clay sections, with a plaited suede strap and attached corn husk stopper 7.5” H x 8.5” W x 5.5” Dia. $300-500 Provenance: Private Collection, Southern California

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370

Rose Cata Gonzales (1900-1989, Ohkay Owingeh/San Ildefonso Pueblo) A San Ildefonso blackware pottery canteen, mid/late 20th century Signed to base: Rose A large flat-backed canteen with peaked center and added carved wood stopper 8.25” H x 8.25” W x 4.75” D $200-400 Provenance: Private Collection, Southern California

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371

Eva Histia (1914-2005, Acoma Pueblo)

A large Acoma double-lobed pottery canteen, late 20th century Signed to the underside: E. Histia / Acoma / N. Mex. The tall canteen with a polychrome avian motif to top lobe and overall geometric motifs 13” H x 9” Dia. $600-800 Provenance: Private Collection, Southern California

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372

An Acoma Pueblo pottery canteen

Early 20th century, New Mexico Marked to base: L.L. / Acoma / Sky City, N.M. With black and white fineline overall geometric motifs to front, sides, lugs, and spout, with a red base and added woven handle 7.75” H x 6.5” W x 6” D $400-600 Provenance: Private Collection, Southern California

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373

A group of Acoma Pueblo pottery canteens Three works:

A polychrome Acoma pottery canteen Mid-20th century Appears unmarked An upright canteen with a large central flower to each face 5.5” H x 4.5” W x 4” D An Acoma black on white pottery canteen Early 20th century Appears unmarked With faded fineline geometric design and added fabric cord 5” H x 4” Dia.

A polychrome Acoma canteen Mid-20th century Marked: Acoma, NM With fineline pinwheel center and geometric banding and added hide strap 4” H x 3” Dia. 3 pieces $800-1,200 Provenance: Private Collection, Southern California

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374

Juana Leno (1917-2000, Acoma Pueblo)

An Acoma triple lobe canteen, circa 1998 Signed and dated to the base: J. Leno / Acoma, NM / 1998 With fineline geometric motifs, contrasting red handles, and a braided white leather strap 4.5” H x 12” W x 4.5” D $600-800 Provenance: Private Collection, Southern California

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375

Rose Leno-Chavez (b. 1943, Acoma)

An Acoma polychrome triple-lobed pottery canteen, late 20th/early 21st century Signed to underside: Acoma / RLC The three-compartment canteen with two terracotta braided handles and featuring a fine-line geometric design 3.125” H x 9.5” W x 3” D $500-700 Provenance: Private Collection, Southern California

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376

377

Mid/late 19th century, Southwest United States A rough canteen with ochre wash, two lug handles and flat bottom 5.25” H x 6” W x 7” D

Three works:

A Hopi Pueblo pottery canteen

$800-1,200

A group of Puebloan pottery canteens

A large polychrome Zia Pueblo canteen Early/mid-20th century A wide-mouth canteen with central four-quarter flora motif, fire clouding verso, and large side lugs, with a leather strap 6.5” H x 7.5” Dia.; 8.5” W with lugs

An Acoma Pueblo pottery canteen Early 20th century Marked verso: Acoma / Sky City A flat canteen with black on white central curvilinear motif and scalloped/tabbed edge, with added leathe 6” H x 6” Dia

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al and geometric an added heavy

geometric er cord

A large Pueblo polychrome micaceous pottery canteen Mid-20th century With painted and slipped front in a floral/sunburst motif, and with an added macramÉ yarn strap and added cork stopper 6.5” H x 6” Dia 3 pieces $800-1,200 Provenance: Private Collection, Southern California

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378

Three Southwest pottery canteens Three works:

Lorraine Williams (b. 20th century, Diné) A Navajo pottery canteen Late 20th/21st century Signed to base: Lorraine Williams / LW A large red canteen with black fireclouding and with diagonal banded motif 7” H x 7.25” Dia. A Zia Pueblo redware pottery canteen Late 20th/21st century Signed to lugs: EPG / Zia A large heavy canteen with black line bird and foliate motif, with added plaited leather strap 7.5” H x 7.25” Dia 4 1 0 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, S e p te mb e r 1 2 , 2 0 2 3

A Maricopa redware pottery canteen Mid-20th century A flat triple loop canteen with black fineline motifs to each face and added leather cord 7.5” H x 6.25” Dia. 3 pieces $500-700 Provenance: Private Collection, Southern California

379

A Maricopa pottery canteen

Late 19th/early 20th century, Southwest United States Appears unmarked A Fred Harvey-era black on red canteen with lug handles and turtle motifs to each side, with terracotta string strung through the three handles 7.75” H x 7.25” W x 2.5” D $800-1,200

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380

Robert Tenorio (b. 1950, Kewa/Santo Domingo Pueblo)

Four Santo Domingo polychrome pottery canteens, late 20th/21st century Each signed to base: Robert Tenorio; further variously signed: Kewa NM / Santo Domingo Pueblo Comprising a large canteen with turtle motif and wave motif banding (6” H x 5.5” Dia.), two canteens each with a central antelope motif (larger: 5.5” H x 5” Dia.; smaller: 5” H x 4.5” Dia.), and a miniature canteen with avian and floral motif (2.5” H x 2” Dia.), 4 pieces $300-500 Provenance: Private Collection, Southern California

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381

A San Ildefonso Pueblo pottery canteen

Appears unmarked Early 20th century A polychrome canteen with two bands of geometric motifs on buff and with a flat base to back 4.25” H x 7.25” W x 6.25” D $300-500 Provenance: Private Collection, Southern California

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382

A group of Puebloan pottery canteens Three works:

Vera Chino (b. 1943, Acoma Pueblo) An Acoma pottery canteen, late 20th century Marked to base: V. Chino / Acoma NM A polychrome globular canteen with curvilinear motif to front and bird motif verso, with rope twist lugs and added carved wood stopper 6” H x 5” Dia. Juana Leno (1917-2000, Acoma Pueblo) An Acoma pottery canteen, mid/late 20th century Marked: Leno / Acoma NM A polychrome globular canteen with floral and geometric motifs to center front and shoulders verso, with added leather cord and cork stopper 5” H x 5.75” Dia. Carol Pecos (b. 1934, Jemez Pueblo) A Jemez pottery canteen, late 20th/21st century Marked: Carol Pecos / Jemez, NM A polychrome globular canteen with a geometric motif with multiple feathers to front and stepped motif verso 5” H x 4.5” Dia. 3 pieces $400-600 Provenance: Private Collection, Southern California

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383

Edward Borein

(1872-1945) “Mission San Antonio de Padua, No. 2” Etching and drypoint in brown ink on wove paper Signed in pencil in the lower margin, at right: Edward Borein; third (final) state Plate: 8.375” H x 14.5” W; Sheet: 9.5 x 15.875 $1,000-2,000 Literature: Galvin 257 iii/III

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384

Edward Borein

(1872-1945) “Mission Santa Cruz” Etching and drypoint in brown ink on cream wove paper Signed in pencil in the lower margin, at right: Edward Borein Plate: 7.875” H x 13.75” W; Sheet: 11.625” H x 17.875” W $1,000-2,000 Provenance: Nedra Matteucci Galleries, Santa Fe, NM Literature: Galvin 259

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385

Edward Borein

(1872-1945) “Mission Dolores, No. 2” Etching and drypoint on wove paper, watermark indistinct Signed in pencil in the lower margin, at right: Edward Borein Plate: 8.625” H x 16.25” W; Sheet: 10” H x 17.75” W $2,000-3,000 Literature: Galvin 261

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386

Edward Borein

(1872-1945) “An Old Time Christmas - Mission Santa Barbara” Etching and drypoint on wove paper Signed in pencil in the lower margin, at right: Edward Borein; with the artist’s remarque in pencil in the lower margin, at left Plate: 9.625” H x 7.625” W; Sight: 10.625” H x 8.5” W $800-1,200 Literature: Galvin 251

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387

Edward Borein

(1872-1945) “Mission Santa Barbara No. 2” Etching and drypoint in brown ink on wove paper Signed in pencil in the lower margin, at right: Edward Borein Plate: 7.75” H x 10.75” W; Sheet: 12.5” H x 18.875” W $2,000-3,000 Provenance: 17 De La Guerrera Studios, Santa Barbara, CA Literature: Galvin 249 Notes: Affixed to the frame’s backing board is an original Borein studios label. Edward Borein opened his studio at 17 De La Guerra in Santa Barbara in 1921 after returning from years spent living in Mexico and working as a cowboy throughout the Southwest United States. Also affixed to the frame’s backing board is a Harold G Davidson Custom Picture Framing label. Harold Davidson worked with Borein, framing his etchings of the Western lifestyle, and would later go on to publish biographies of Borein and champion his work as a dealer.

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388

Sandra Victorino (b. 1958, Acoma Pueblo)

Three Acoma pottery vessels, early 21st century Each signed: Sandra Victorino; one further marked: Acoma N.M. Comprising a seed pot with allover fineline geometric and kiva step motifs (5.325” H x 6.625” Dia.), a vase-form vessel (7.5” H x 6.75” Dia.), and a globular bud vase with allover fineline geometric and kiva step motifs (6.625” H x 4.325” Dia.), 3 pieces $500-700 Provenance: The Estate of Eleanor Koffler

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389

Sandra Victorino (b. 1958, Acoma Pueblo)

A group of small Acoma seed pots and a jar, late 20th/early 21st century Five signed: Sandra Victorino / Acoma NM; three signed: Sandra Victorino; one signed: SV; one dated: 1999 Nine works comprising five black and red on white glaze seed pots with fine-line geometric motifs, three black on white seed pots with geometric and repeating kiva step motifs, and one black on white jar with checkered motif, 9 pieces Largest: 4.25” H x 4.25” Dia.; smallest: 1” H x 1.5” Dia. $500-700 Provenance: The Estate of Eleanor Koffler

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390

Sandra Victorino (b. 1958, Acoma Pueblo)

A group of small Acoma seed pots and a vase, late 20th/early 21st century Most signed: Sandra Victorino / Acoma NM; three signed: S. Victorino The black on white glaze vessels with fine-line designs of geometric, kiva step, checkered, and floral motifs, two featuring red banded repeating Kokopelli figures, 8 pieces Largest: 3.125” H x 4.625” Dia.; smallest: 1.325” H x 1.5” Dia. $500-700 Provenance: The Estate of Eleanor Koffler

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391

Sandra Victorino (b. 1958, Acoma Pueblo)

A group of miniature Acoma seed pots, late 20th/early 21st century Four signed to underside: S. Victorino / Acoma, NM; two signed: Sandra Victorino; one signed: S.V.; one unmarked The group of fine-line black on white seed pots, one with attenuated neck, each with kiva step, feather, checkered, or geometric motifs, 9 pieces Largest: 2.625” H x 3.75” Dia.; smallest: 1.5” H x 1.75” Dia. $400-600 Provenance: The Estate of Eleanor Koffler

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392

Rebecca Lucario (b. 1951, Acoma Pueblo)

Four Acoma pottery vessels, late 20th/21st century Each signed to underside: Acoma NM / R Lucario; one with Kokopelli cipher Comprising a plate with black fine line geometric motif centering two lizard figures on a terracotta wash ground, two bowls, and a diminutive vase, each with conformingly designed geometric motifs, two with terracotta washed bases, 4 pieces Largest: 5” H x 7” Dia.; smallest: 1.875” H x 1.75” Dia. $800-1,200 Provenance: The Estate of Eleanor Koffler

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393

Two Acoma Pueblo polychrome pottery jars

Early 20th century The smaller marked to underside: Acoma Comprising a four-color olla jar with geometric fauna motifs and an indented base (6.25” H x 7.25” Dia.), and a three-color olla jar with geometric designs (4.625” H x 7” Dia.), 2 pieces $500-700 Provenance: Private Collection, Southern California

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394

Gladys Sratyu’we Paquin (1936-2020, Laguna Pueblo)

A Laguna polychrome pottery olla jar, late 20th/early 21st century Signed to underside: Sratyu’we / G. Paquin / Laguna The jar with a banded checkered rim and allover four-color geometric motif 9.25” H x 9.25” Dia. $600-800 Provenance: Private Collection, Southern California

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395

Thomas Natseway (b. 1953, Laguna Pueblo)

A group of Laguna polychrome micro-miniature pottery vessels, late 20th century Each marked for Thomas Natseway Eleven diminutive pots in various colors shapes and designs, including three with lids, 14 pieces Largest: 0.75” H x 0.75” Dia.; smallest: 0.5” H x 0.5” Dia. $600-900 Provenance: The Estate of Eleanor Koffler Notes: Thomas Natseway is an award-winning Laguna Pueblo miniature potter with examples ranging from Acoma fine line to Mimbres, Anasazi, Hohokam, and Siky·tki.

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396

A large group of black-on-red Puebloan pottery Nine works:

Roberta Youvella Silas (1939-2009, Hopi) Two Hopi Pueblo redware pottery bowls, late 20th century Each signed to base Comprising a tall bowl with black geometric motifs (4.75” H x 7.75” Dia.) and a low bowl with a band of geometric motifs (2.875” H x 5.25” Dia.), 2 pieces Laura Tomasi (b. 20th century, Hopi) A Hopi Pueblo redware pottery bowl, mid-20th century Signed to base A small low bowl with black slip key banding 2.5” H x 4” Dia. An Acoma Pueblo redware pottery jar Mid-20th century Marked to base: Thundercloud / Acoma, NM A small cylindrical jar with black slip curvilinear banding 3” H x 3.25” Dia. Five Hopi Pueblo redware pottery vessels Mid/late 20th century Each appears unmarked Five works with black on red geometric motifs including a small Hopi black on red canteen (2.25” H x 3.75” W), a small low bowl (2.125” H x 5” Dia.), and three tall pottery vases in various shapes (Largest: 5.75” H x 3.25” Dia.; smallest: 4.25” H x 4” Dia.), 5 pieces 9 pieces total $600-800 Provenance: Private Collection, Southern California

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397

A group of Southwest pottery salt and pepper shakers Early/mid-20th century Eleven sets:

Reyes Madalena (b. 1938, Jemez Pueblo) A set of Jemez pottery shakers One marked to base: Reyes Madalena / Jemez Pueblo / N. Mex Each with slip painted geometric figures Each: 3.125” H Three sets of Hopi Pueblo pottery shakers One set marked: Teuwa Largest: 5.25” H; smallest: 2” H Two sets of Maricopa black on red pottery shakers One set marked: L.M. Each: 3.125” H Two sets of Acoma Pueblo style shakers, one pair with black on white banding and red tops, and one tall near-pair with polychrome motifs Each smaller marked: Acoma Largest: 4” H; smallest: 2.5” H Two sets of Santa Clara Pueblo shakers, one set in redware with polychrome slip motifs, the other a set of carved blackware shakers Appear unmarked Largest: 3.125” H; smallest: 2.75” H A three-piece Santa Clara Pueblo pottery shaker set with handled holder Appears unmarked With geometric polychrome slip motifs Each shaker: 2” H; holder: 4” H x 5.5” W x 3” D 23 pieces total $800-1,200 Provenance: Private Collection, Southern California

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400

Steven

(b. 196 “Napa Oil on Signed frame p 16” H x

$800-1

Notes: from th Hand.” for a fri paragra of appr

398

Steven Lang

(b. 1960) “The Mandans” Oil on canvas Signed lower right: © Lang 19” H x 15.125” W $1,000-1,500 Exhibited: Prescott, AZ, Phippen Museum, “Early West Storyteller,” March 2 - July 7, 2013 Notes: A label detailing the history of the Mandan people is affixed to the frame’s backing paper.

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n Lang

60) Sica” canvas d and inscribed lower left: © Lang / OPA; titled on the plaque x 12” W

1,200

According to an information sheet, “Napa Sica” is he Lakota people and his name translates to “Bad ” Steven Lang expresses that this was a “warrior name iend of mine named Miles Terry.” Lang concludes the aph by saying, “This painting of him is my expression reciation for his friendship.”

399

Steven Lang

(b. 1960) “Chiricahua Sentry” Oil on canvas Signed and inscribed lower right: © Lang / OPA; titled on the frame plaque 12” H x 9” W $1,000-1,500

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401

Bob Boomer

(b. 1944) “The Eagle Clan,” 1995 Carved manzanita on a marble and wood base With the incised signature and date: Bob Boomer © 13” H x 14” W x 4” W; with base: 18” H x 14” W x 4” W $300-500

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402

Bob Boomer

(b. 1944) Fishing for salmon Carved manzanita on a marble and wood base Unsigned 23” H x 6” W x 11” W; with base: 24.5” H x 8” H x 11” W $300-500

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403

Adee (Adolph) Bittany Dodge

(1911-1992, American/Navajo) “Jet Cloud,” 1959 Casein on gray paper Signed together with the artist’s device, and dated, lower left: Adee; titled on the frame’s backing paper Sight: 9” H x 7.5” W $300-500 Provenance: Private Collection, Southern California

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404

Harrison (Haskay Yahne Yah) Begay

(1917-2012, Navajo/Dine) “Navajo Girl and Pet Baby Burro” Casein on beige paper Signed near the lower edge in English and Navajo: Harrison Begay / Haskay Yahne Yah; titled on the frame’s backing paper Sight: 13” H x 10.625” W $400-600 Provenance: Private Collection, Southern California

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405

Beatien Yazz

(1928-2012, Navajo/Dine) Deer in a landscape Gouache on blue paper Signed lower right: B. Yazz Sight: 14.5” H x 11” W $500-700

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406

Don Luis Perceval

(1908-1979) Cowboy on a bucking horse with a cowgirl Watercolor and ink on illustration board Signed lower right: Don Perceval Sight:18.375” H x 17.125” W $600-800

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407

Gloria Kahe (b. 1951, Diné)

Three Navajo pottery vessels, late 20th/early 21st century Each signed to underside: G. Kahe Each polychrome slip glazed vessel with a terra cotta washed ground, comprising a globular vase with kiva step motif (6.25” H x 5.25” Dia.), a taller vase with opposed avian motifs ( 8” H x 5.625” Dia.), and a low bowl/vase with allover geometric and kiva step motifs (4.75” H x 6.5” Dia.), 3 pieces $300-500 Provenance: The Estate of Eleanor Koffler

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408

Gloria Kahe (b. 1951, Diné)

Three pottery vessels, late 20th century Each signed to underside: G. Kahe; seed pot dated: 9-92 Each polychrome slip glazed vessel with a terra cotta washed ground, comprising a bottleneck vase with kiva step and moth motifs above a geometric band, a conical vase with geometric and kiva step motifs surmounting a detached wooden base, and a low shouldered seed pot with moth and geometric motifs, 3 pieces Largest: 7” H x 8.325” Dia.; smallest: 2” H x 4.875” Dia. $300-500 Provenance: The Estate of Eleanor Koffler

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409

Lonnie Vigil (b. 1949, Nambé Pueblo)

A Nambé micaceous pottery seed jar, late 20th/21st century Signed to base: Lonnie Vigil / Nambé Pueblo A large seed jar with red painted geometric key motif to shoulders 5” H x 7.5” Dia. $700-900 Provenance: Private Collection, Southern California

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410

Percingula Romero Tosa (1923-1996, Jemez Pueblo)

A Jemez polychrome pottery olla jar, mid/late 20th century Incised to underside: Percingula R. Tosa / Jemez The three-color painted water jar with allover geometric banded motif 7” H x 7” Dia. $300-500 Provenance: Private Collection, Southern California

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411

A large Zuni Pueblo turquoise pottery jar

Late 20th century Appears unsigned A large olla form jar encrusted with turquoise chips, with eight attached carved antler and stone fetishes with feather accents, and a hole to one side 7.25” H x 10.5” Dia. (with fetishes) $600-900 Provenance: Private Collection, Southern California

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412

Elwood G. Jacobs III (b. 1955, Tuscarora Iroquois)

A carved bear sculpture, 1994 Incised to base: EG Jacobs III / Tuscarora / © 8-94 / Maryland Soapstone The carved soapstone bear with a wampum belt design along figure’s spine 7.325” H x 10.5” W x 3.5” D $300-500 Provenance: The Estate of Eleanor Koffler

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413

Elwood G. Jacobs III (b. 1955, Tuscarora Iroquois) Two works:

A carved soapstone sculpture, 1993 Incised: EG Jacobs III / © 5-93 / Maryland / soapstone The carved sculpture of a sea bird on top of a turtle in a struggle over food 6.25” H x 9” W x 4” D A carved soapstone sculpture, 1993 Incised: EG Jacobs III / © 5-93 / Maryland / steatite The carved sculpture depicting a man carrying a basket of food next to a turtle surmounted by a tree, all taken under an eagle’s wing; verso with incised and painted geometric and symbolic concentric circles around a carved design of a campfire 10.75” H x 6.5” W x 2.5” D 2 pieces $500-700 Provenance: The Estate of Eleanor Koffler

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414

Elwood G. Jacobs III (b. 1955, Tuscarora Iroquois)

A carved soapstone pipe, 1993 Signed: EG Jacobs III / 7-93 / © A pipe with a carved soapstone eagle’s head pipe bowl attached to a carved spiral wood stem, 2 pieces Stone: 5” L x 2.75” H x 1” Dia.; stem: 17.5” L x 1.5” H $300-500 Provenance: The Estate of Eleanor Koffler

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415

Eric Forlee

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

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416

Eric Forlee

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

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417

After Frederic Remington

(1861-1909) “The Cheyenne” Patinated bronze Signed in the casting: Copyright Frederic Remington 20.5” H x 22.75” W x 6.785” D $500-700 Literature: Greenbaum 88

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419

After Frederic Remington

(1861-1909) “The Mountain Man,” modeled 1903 Patinated bronze on a marble base Signed and inscribed in the casting: Copyright by Frederic Remington 28” H x 11” W x 23” D; with base: 30” H x 14” W x 23.5” D $600-800 Literature: Greenbaum 105

418

After Frederic Remington

(1861-1909) “The Broncho Buster,” modeled 1895 Patinated bronze on a green marble base Signed in the casting: Frederic Remington 21.5” H x 7” W x 18” D; with base: 23” H x 9” W x 20” W $700-900 Literature: Greenbaum 51

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420

R.C. Gorman

(1932-2005, Navajo/Dine) “Flowing Navajo,” 1980 Cast paper relief on thick paper Edition: Editions press impressions, aside from the regular edition of unknown size Signed, dated, and inscribed E.P.I in pencil in the lower edge: R.C. Gorman Sheet: 21” H x 29” W $300-500

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421

R.C. Gorman

(1932-2005, Navajo/Dine) “Walking Women (State I),” 1979 Screenprint in colors on wove paper, watermark Arches Edition: 35/150 (there was also an edition of 15 artist’s proofs) Signed, dated, and numbered in pencil in the lower margin: R.C. Gorman; Editions Press, prntr., and pub.; with the artist’s and Editions Press blindstamp in the lower margin, at center Image: 36” H x 28” W; Sheet: 39” H x 30.375” W $300-500 Literature: Adams and Newlin 171

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422

R. C. Gorman

(1932-2005, Navajo/Dine) “Spanish Shawl,” 1986 Lithograph in colors on paper A presentation proof aside from the edition of unknown size Signed, dated, and inscribed “Presentation Proof” in pencil in the lower margin: R.C. Gorman; titled on labels affixed to the frame’s backboard; Editions Press, San Francisco, CA, pub., and with their blindstamp Image/Sheet: 38” H x 26” W $300-500 Provenance: Gifted to the current owners by Drs. Dion and Sonia Thomas

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423

R.C. Gorman

(1932-2005, Navajo/Dine) “Damita (State I),” 1979 Lithograph in colors on wove paper Edition: One of five editions press impressions (aside from the regular edition of 150 and 15 artist’s proofs) Signed, dated, and inscribed E.P.I in pencil in the lower margin: R.C. Gorman; Editions Press, prntr., and pub.; with the artist’s and Editions Press blindstamp in the lower margin, at center Image: 36” H x 24” W; Sheet: 27.75” H x 40” W $300-500 Literature: Adams and Newlin 173

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424

R.C. Gorman

(1932-2005, Navajo/Dine) “Spirit (State II),” 1979 Screenprint in colors on wove paper, watermark Arches Edition: One of five editions press impressions (aside from the regular edition of 150 and 15 artist’s proofs) Signed, dated, and inscribed E.P.I in pencil in the lower margin: R.C. Gorman; Editions Press, prntr., and pub.; with the artist’s and Editions Press blindstamp in the lower margin, at center Image: 24” H x 36” W; Sheet: 29” H x 40” W $300-500 Literature: Adams and Newlin 171

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425

R.C. Gorman

(1932-2005, Navajo/Dine) “Cocheta (State I),” 1979 Screenprint in colors on wove paper Edition: One of five editions press impressions (aside from the regular edition of 150 and 15 artist’s proofs) Signed, dated, and inscribed E.P.I in pencil in the lower margin: R.C. Gorman; Editions Press, prntr., and pub.; with the artist’s and Editions Press blindstamp in the lower margin, at center Image: 24” H x 36” W; Sheet: 28.5” W x 40” W $300-500 Literature: Adams and Newlin 172

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426

R.C. Gorman

(1932-2005, Navajo/Dine) “Seated Woman (State I),” 1979 Screenprint in colors on wove paper, watermark Arches Edition: One of five Editions Press Impressions (aside from the regular edition of 150 and 15 artist’s proofs) Signed, dated, and inscribed E.P.I in pencil in the lower margin: R.C. Gorman; Editions Press, prntr., and pub.; with the Artist’s chop and Editions Press blindstamp in the lower margin, at center Image: 24” H x 36” W; Sheet: 29” H x 39.75” W $300-500 Literature: Adams and Newlin 172

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427

R.C. Gorman

(1932-2005, Navajo/Dine) “Seated Woman (State II),” 1979 Screenprint in colors on wove paper Edition: One of fifteen artist’s proofs (aside from the regular edition of 150) Signed, dated, and inscribed A.P. in pencil in the lower margin: R.C. Gorman; Editions Press, prntr., and pub.; with the artist’s and Editions Press blindstamp in the lower margin, at center Image: 24” H x 36” W; Sheet: 29” H x 39.5” W $300-500 Literature: Adams and Newlin 172

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428

Arlo Namingha

(b. 1972, Hopi-Tewa) Hopi figure, 2008 Colored pencil on paper Signed and dated in pencil lower right: Arlo Namingha Sheet: 15.125” H x 10.125” W (irreg.) $200-400

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429

William Rabbit

(1946-2012, Cherokee) “Love Endures” Acrylic on canvas Signed lower right: Rabbit ©; signed again, titled, and inscribed with copyright information in pencil, verso 36” H x 36” W $400-600 Provenance: Treasured Estates, Santa Ynez, CA

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430

Pablo Antonio Milan

(1961-2017) Abstract Native Americans on horseback Acrylic on canvas Signed lower right: Pablo Antonio Milan 30.25” H x 42.25” W $800-1,200 Provenance: Treasured Estates, Santa Ynez, CA

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431

R.C. Gorman

(1932-2005, Navajo/Dine) “Noon,” 1987 Glazed ceramic Edition: Potter’s Proof Signed and numbered to lower edge: R.C. Gorman; further marked in pen to the underside: 1987 / Gorman Editions / Greg Grycner Ltd. © / “Noon” 26” H x 18” Dia. $400-600

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432

R.C. Gorman

(1932-2005, Navajo/Dine) “Bead Maker,” 1986 Lithograph in colors on paper Edition: 25/250 (there was also an edition of 38 artist’s proofs) Signed, dated, and numbered in pencil in lower image: R.C. Gorman; Western Graphics Workshop, prntr., and pub.; with the Artist’s blindstamp and Western Graphics Workshop blindstamp in the lower image, at center Image/Sheet: 34.25” H x 25.5” W $400-600 Literature: Adams and Newman 208

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433

R.C. Gorman

(1932-2005, Navajo/Dine) “Flowers for Los Lunas,” 1987 Lithograph in colors on paper Edition: 169/200 Signed, dated, and numbered in pencil in the lower edge: R.C. Gorman 30” H x 39.5” W $400-600

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434

R.C. Gorman

(1932-2005, Navajo/Dine) “Pueblo Jar,” 1986 Lithograph in colors on paper Edition: 22/200 (there was also an edition of 30 artist proofs) Signed, dated, and numbered in pencil in lower image: R.C. Gorman; Western Graphics Workshop, prntr., and pub.; with the Artist’s blindstamp and Western Graphics Workshop blindstamp in the lower image, at center Image/Sheet: 38” H x 28.5” W $400-600 Literature: Adams and Newlin 214

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435

R.C. Gorman

(1932-2005, Navajo/Dine) “Modesta,” 1990 Lithograph in colors on paper Edition: 219/225 Signed, dated, and numbered in pencil along the lower edge of the image: RC Gorman; Western Graphics Workshop, prntr., and pub.; with the artist’s blindstamp in the lower image, at center Sheet: 30.25” H x 37.75” W $800-1,200

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436

A group of Puebloan katsina figures

Late 20th century, Southwest United States Comprising six polychrome carved and painted wood kachina figures depicting various characters, with textile, leather, wool, shell, twig, feather, and yarn, and metal details and ornaments, 6 pieces Largest: 28” H x 10.5” W x 11.5” D; smallest: 14.5” H x 7” W x 5.5” D $1,000-1,500

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437

Dave Powell (b. 1954)

A mixed media sculpture of a Blackfoot man, late 20th century Signed to the base: Dave Powell / [star] / © The figure, with facial features and hands rendered in painted clay, a cowrie shell and glass bead necklace adorning his neck and gold-tone beaded earrings dangle from his earlobes; clothed in a hide shirt with ermine trim, faux beading, and fringed cuffs and a wool trade blanket which is secured by a studded leather belt into which a parfleche knife sheath is tucked; a feather, faux quillwork, and horn headdress atop his head; mounted to a slab of birch wood 28” H x 9” W x 6” D $400-600 Notes: Dave Powell, born in Kalispell, Montana, is the son of well-known cowboy artist, Ace Powell, and his wife, renowned artist Nancy McLaughlin Powell. A member of the Cowboy Artists of America (CAA), Dave is often called upon to provide costumes and props for films and television. Productions he has worked on include “Good Old Boys,” “Silverado,” “The Life and Times of Grizzly Adams,” and “Lonesome Dove.” His film work utilizes experiences and observations garnered traveling the West for reenactments, while his sculptures, paintings and illustrations are born of his imagination.

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438

Alicia D. Adams (b. 20th century, Hopi Pueblo)

A polychrome Hopi Second Mesa basketry figure, late 20th/21st century Signed to base: Alicia D. Adams / Second Mesa / AZ A coiled basketry “Salako Mana” style katsina with painted wood and feather tableta 13” H x 7” W x 4.5” Dia. $500-700

439

Two S

20th ce Compr painted with a w beaded and wit

$500-7

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440

A Hopi Pueblo katsina figure

Mid-20th century A polychrome painted and carved wood “Snake Guard” katsina with feathered mask and round sphere eyes, red fiber skirt, corn husk ruff and leaf brushes 18” H x 11.5” W x 3.5” D (including feathers) $300-500

Sioux-style beaded hide dolls

entury rising two padded hide dolls including a female doll with beaded and d hide fringed dress and moccasins, plaited hair, and bead and wire jewelry, wide studded leather belt (17” H x 7” W x 2.5” D), and a male doll with d and painted hide fringed war shirt, leggings and moccasins, plaited hair th beaded neckband and earrings (18.5” H x 8.5” W x 3” D), 2 pieces

700

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441

A group of Hopi Pueblo katsina figures Four works:

Albin Kewanwytewa (b. 20th century, Hopi) A Crow Maiden katsina with Mudhead figure, late 20th century Marked to base: Crow Maiden / Mudhead / Albin Kewanwytewa / Hopi A painted polychrome carved wood group of two katsina figures with a carved “live-edge” wood base 13.5” H x 5” W x 5.5” D Hubert Gashweseoma (b. 20th century, Hopi) A Katsina maiden figure, late 20th century Marked to base: Hubert Gashweseoma / [cipher] A painted dark-toned polychrome maiden figure with long cloak and jewelry with jaclas Two S. Kahe polychrome carved wood katsina figures Late 20th century Each signed to base: S. Kahe / [butterfly cipher] Comprising a large Hopi Salako figure with tableta mask and eagle feather dress (18.5” H x 7” W), and a smaller carved longhair figure with corn cob and yellow flower headdress (8.5” H x 2.5” W), 2 pieces 4 pieces total $600-800 Provenance: The Estate of Eleanor Koffler

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442

A group of Southwest katsina figures Four works:

Terry Naha (B. 20th century, Hopi Pueblo) Two Hopi Pueblo Shalako figures, 1995 Each signed, dated, and titled to base Comprising a male and female polychrome painted wood figure with elaborate tableta mask Each: 9.75” H x 5.25” W 2 pieces Vidal Quetawki (b. 20th century, Zuni Pueblo) A Zuni Pueblo Shalako katsina figure, late 20th century Signed and titled to base: V. Quetawki / Zuni Shalako An elaborate polychrome painted and carved wood figure on a platform with flanking katsina figures 12.5” H x 6” W x 3.75” D

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A White Buffalo Dancer figure Late 20th century Appears unsigned A carved and painted figure with a horned headdress, a painted rattle, bow, leather trim, and white synthetic fur headdress and boots, with feather accents 11.5” H x 5.5” W 4 pieces $400-600 Provenance: The Estate of Eleanor Koffler

443

Two Southwest katsina figures Late 20th century Two works:

A Bear Dancer katsina figure Marked to base: Bear / James A polychrome carved wood figure with white fur and shell accents to belt 11.25” H x 8.25” W An Eagle Dancer katsina figure Marked to base: Eagle Dancer / Nelson A large polychrome painted wood figure with fur and feather accents 19” H x 17” W x 11” D including feathers 2 pieces

$500-700

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444

A polychromed wood windmill whirligig

20th century Appears unmarked The polychrome painted wood sculptural windmill/ weathervane with four articulating propellers centering a larger propeller, all swiveling on raised and tapered truss-form base 65.5” H x 40” W x 35.5” D $800-1,200

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445

Peter Hurd

(1904-1984) “A Ranch at Dawn” Lithograph in colors on paper Edition: 141/250 Signed and numbered in pencil in the lower margin: Peter Hurd Image: 9.875” H x 10.25” W; Sight: 11” H x 10.875” W $400-600

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446

Peter Hurd

(1904-1984) “A Surging Cumulus,” 1978 Lithograph in colors on paper Edition: 244/260 Signed and numbered in pencil in the lower margin: Peter Hurd; two unidentified blindstamps in the lower margin, at left Image: 13.5” H x 11” W; Sheet: 19.75” H x 16.25” W $400-600

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447

A polychrome California Mission basket Early/mid-20th century; Southern California A coiled bowl with four geometric panels 3.25” H x 6.5” Dia. $400-600

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448

A small Washoe lidded basket

Mid-20th century; Northern California/Nevada A coiled lidded bowl with three geometric elements and a blue and white beaded handle 2.75” H x 4.5” Dia.; handle: 7” L $200-300

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449

A large Papago basketry olla

Early/mid-20th century; Tohono O’odham, Arizona A coiled olla with stepped diagonal bands issuing from the base 18.25” H x 16.5” Dia. $600-800

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450

A group of Native American baskets Three works:

A polychrome Hupa/Yurok/Karuk basket Mid/late 20th century, Northern California A twined bowl with stepped diagonal sawtooth motifs and checked band to top 3.75” H x 5.5” Dia. A polychrome Pomo basket Early/mid-20th century, Northern California A small coiled bowl with shell beads to upper rim and three geometric design bands 4” H x 6.5” Dia. A polychrome California Mission basket Early/mid-20th century, Southern California A small coiled bowl with three stepped arms 2.5” H x 4.5” Dia. 3 pieces $600-900

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451

A group of Native American baskets Three works:

A small Apache basket Early 20th century, Southwest United States A coiled jar-form basket with key motif 4.5” H x 5.25” Dia. A Modoc basket Early/mid-20th century, Northern California/Southern Oregon A twined basket with dimpled shaping around multiple floating hooked motifs, with original tag 4.75” H x 6.5” Dia. A Chemehuevi basket Late 19th century; Great Basin/Southwest United States A small coiled basketry tray with zigzag band 2” H x 8” Dia. 3 pieces $500-700 Notes: Collector’s notes indicate Modoc basket from Fred Harvey G. C. w w w. j o h n m o r a n . c o m 4 8 5

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452

Three Native American items Three works:

John L Begay (b. 20th century, Diné) A Navajo sand painting Attributed verso: John L Begay With central Thunder figure with water, lightning, clouds and rainbow motifs in sand on board 13” H x 12.75” W An incised painted gourd by Andy Hollinger Late 20th century Signed to base: AH [conjoined] / Andy Hollinger A hollow gourd with an incised painted katsina figure 5” H x 9.25” Dia. A small Native American-style pipe Appears unmarked With a carved redstone bear fetish pipe head and a carved wood stem Bear: 1.5” H x 2.625” W; stem: 9” L x 0.75” H 2 pieces 4 pieces total $500-700 Notes: Sand painting with handwritten label verso reads: “On its body are bars of Rain. Beneath the wings are bags of water. The lines on the arms and legs are Lightening. Feet and arms are clouds. Tails are Rainbow. John L. Begay Crownpoint, NM.”

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453

A group of Southwest pottery and basketry Eight works:

Roberto Banuelos (b. 20th century, Mata Ortiz) A polychrome Mata Ortiz pot with rabbit/hare motifs, late 20th century Signed to base: Roberto Baneulos 3.25” H x 4” Dia.

A Santo Domingo Pueblo pottery jug Early/mid-20th century A small jug with floral motifs 2.625” H x 33” W

Carmen Quezada A polychrome Mata Ortiz pot, late 20th century Signed to base Marbled vase-form pot with geometric banding 3.5” H x 3.5” Dia.

Three miniature Acoma-style pottery bowls Late 20th century Each signed to base with same cipher Three small bowls, two with black on white Mimbres-style figura a stylized rodent, and one bowl with red on buff geometric mot Largest: 1” H x 2.375” Dia.; smallest: 0.5” H x 2.625’ Dia.

Nancy Chilly (b. 20th century, Diné) A polychrome Navajo pot, late 20th century Signed to base: NAC A small pot with katsina and corn motifs 2.875” H x 3.25” Dia.

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al motifs, one of rabbits, and one of tifs to each quadrant

A small California basket Mid-20th century A twined basketry cup with side handle and geometric banding 2.25” H x 3” Dia. 8 pieces total $400-600

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454

A Plains beaded hide tobacco bag

Late 19th/early 20th century A long narrow hide bag with multicolored beaded motifs and edging, trimmed with red and yellow stiff quilled sections further trimmed with hide fringe trim below, and with a quilled tassel with horsehair and metal cone tips 30” H x 5.125” W (including fringe) $800-1,200

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455

A Native American hair-on-hide archery set

Late 19th/20th century A hair-on-hide hunting set with quiver, bow holder and shoulder strap, all connected with hide laces, and with fringing and red tradecloth trim, as well as two fletched metal and wood arrows, and a painted wood and sinew-wrapped bow, with sinew string, 4 pieces Overall: 46” H x 15” W (laid flat); fringe: 13” H; bow: 46.5” H x 1” W x 0.75” D $3,000-5,000

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456

Denise Wallace (b. 1957; Alutiiq/Sugpiaq Eskimo)

A Sugpiaq Eskimo sterling silver and 14k gold fetish pendant/brooch, 1992 Stamped: Denise Wallace / Sterling / © / 1992 / Fossil Ivory / 14K; further etched: Fetish with seeds / Limited Edition / 31/100 A diminutive silver and gold fetish brooch/pendant with shadowbox accents 2” H x 0.75 “ W 11.5 grams gross $800-1,200 Provenance: The Estate of Eleanor Koffler This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

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457

Smokey and Terry Gchachu (b. 1956 & b. 1955, Zuni Pueblo)

A Zuni Pueblo sterling silver necklace Etched signature verso: Smokey An openwork rain cloud-motif pendant necklace with chain dangles suspended from a textured silver mesh chain with lightning bolt ends 19.5” L x 3.625” H 49.7 grams $600-800 Provenance: The Estate of Eleanor Koffler

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458

A Zuni Pueblo cuff bracelet

Mid/late 20th century Stamped: PJ A large oval silver cuff bracelet with row-set turquoise colored stones 6.75” total inner C x 3.75” H, with a 1.25” gap 103.9 grams gross $400-600

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459

Octavius and Irma Seowtewa (b. 20th century, Zuni Pueblo)

A Zuni Pueblo silver and set turquoise cuff, late 20th/21st century Etched script verso: Octavius & Irma S A two-wire silver cuff with raised cluster set “petit point” turquoise to three plaques 6” total inner C x 1.75” H, with a 1” gap 41.2 grams gross $400-600 Provenance: The Estate of Eleanor Koffler

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460

A group of Zuni Pueblo silver and turquoise jewelry Late 20th/21st century Six works:

Octavius and Irma Seowtewa (b. 20th century, Zuni Pueblo) A group of Zuni Pueblo sterling silver and set turquoise “petit point” jewelry Each marked for Octavius and Irma Seowtewa; ring further marked: Zuni Comprising two sterling silver and cluster set turquoise necklaces, one with three roundels and silver dangles suspended on a paperclip chain (15” L x 2” H), as well as a round pendant/brooch with attendant sterling silver chain (17” L x 1.375” Dia.), together with a small cluster set pin/pendant (0.75” Dia.), and a row-set ring (ring size: 8.5), 4 pieces Bryant Waatsa, Jr. (b. 1955, Zuni Pueblo) A Zuni Pueblo sterling silver and set turquoise cuff bracelet Stamped: B. Waatsa / Sterling A narrow row-set “Needlepoint” turquoise cuff with stamped accents to terminals 6.25” total inner C x 0.375” H, with a 1” gap A pair of Southwest style silver toned metal “Bear paw” button covers with central set turquoise Appear unmarked Each: 0.75” Dia. 7 pieces total 81.2 grams gross $1,000-1,500 Provenance: The Estate of Eleanor Koffler 4 9 6 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, S e p te mb e r 1 2 , 2 0 2 3

461

A Zuni Pueblo necklace

Late 20th century Stamped: FK [likely Farrel Kalestewa, b.1953, Zuni Pueblo] A necklace of five long silver tabs with figural motifs in chipped stone inlay suspended from a strand of silver beads 20.75” L x 2.25” H 69.3 grams gross $200-400

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462

Ben Nighthorse Campbell (b. 1933, Cheyenne)

A Cheyenne sterling silver cuff bracelet Stamped: Ben Nighthorse / [morning star symbol] / © / Sterling Designed with a cast silver raised central panel featuring alternating mixed metal diamond motifs 6.75” total inner C x 0.875” H, with a 1” gap 57.3 grams $400-600 Provenance: The Estate of Eleanor Koffler

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463

A Northwest Coast sterling silver cuff bracelet

Late 20th/21st century Stamped: MAG [for Metal Arts Group] / Sterling An etched silver cuff bracelet with bear and wolf motifs 6.75 “ inner C x 1” H, with a 1.5” gap 36.8 grams $300-500

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464

Ray Tracey (b. 1953, Diné)

A Navajo 14k gold pendant with multistone inlay, late 20th century Etched verso: Tracey / [above a feather]; chain stamped: 14 KT / Italy A gold pendant in the form of a stylized katsina face with turquoise, lapis and spiney oyster inlay and textured gold accents, on an associated 14k gold chain 18” L x 2.25” H x 1.875” W 26.4 grams gross $800-1,200 Provenance: The Estate of Eleanor Koffler

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465

A Southwest-style cast silver cuff bracelet

Late 20th/21st century Appears unmarked A textured silver cuff with one stepped, angular edge and set with scattered specimen stones 5.875” total inner C x 1.25” H, with a 0.75” gap 63.5 grams gross $200-400

466

A Southwest-style cast silver cuff bracelet

Late 20th/21st century Stamped for Andrew Alvarez (b. 1953); further illegibly marked, possibly for silver Comprising a chunky cast silver cuff with a banded wave motif and scattered various colored stones in geometric settings 6” total inner C x 1.75” H, with a 1” gap 143.7 grams gross $400-600

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467

A set of Southwest-style silver and turquoise jewelry

Late 20th/21st century Each variously marked for Andrew Alvarez (b. 1953) Two works comprising an elaborate silver and turquoise pendant on a removable chunky silver chain necklace (21” L x 3.25” H) and a matching hinged silver cuff with a large set turquoise slab central plaque (6” inner C x 2.75” H), 3 pieces 363.6 grams gross $1,000-1,500

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468

Michael Garcia “Na Na Ping” (b. 1953, Pascua Yaqui) A Yaqui turquoise and silver bracelet Stamped: Na Na Ping / Sterling / © A narrow silver cuff bracelet with raised channel set turquoise 6.5” total inner C x 0.5” H, including a 1.25” gap 54.9 grams gross $400-600

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469

Noah Pfeffer (b. 20th century)

A Noah Pfeffer sterling silver and turquoise cuff, 21st century Stamped: Noah / Sterling / [within pictograph] A heavy sterling silver cuff with Carico Lake turquoise mosaic inlay 6.5” total inner C x 1.25” H, including a 1.125” gap 100.6 grams gross $300-500

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470

A Navajo silver and turquoise cuff bracelet

Mid/late 20th century; Diné Stamped: CJ [or JC; J within C] / Sterling A two-wire sterling silver cuff set with a large slab turquoise stone 6.625” total inner C x 2.75” H, with a 1” gap 103.8 grams gross $500-700

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472

A Navajo cast silver and turquoise cuff bracelet

Mid/late 20th century; Diné Appears unmarked A tufa-cast three wire cuff with large central stone set medallion with foliate and bar overlay accents and stamped edges 7.5 total inner C x 3” H, with a 1.75” gap 154.2 grams gross $500-700

471

Mike Platero (b. 20th century, Diné)

A large Navajo cuff bracelet, mid/late 20th century Stamped: Mike Platero / Sterling A three-wire cuff accented with five large set turquoise stones 8” total inner C x 1.75” H, with a 1.375” gap 160.2 grams gross $500-700

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475

A Southwes

Late 20th/21s Appears unm An elaborate a quartz cryst woven black Bolo: 4.25” H 165.7 grams $800-1,200

473

A Navajo sterling silver concho belt

Mid/late 20th century; Diné Etched to buckle verso: Art Bahe; further stamped: Sterling A link belt designed with twelve shaped sterling silver conchos each with central stamped medallion 33-36” L x 2” H; buckle: 2.25” H x 2.25” W 332.1 grams $500-700

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st-style turquoise and quartz bolo

st century marked e silver bolo with a carved turquoise crane mounted to a concho, atop tal and set boulder opal with applied silver feather accents, all on a leather cord tipped with silver cones H x 2.5” W; cord with tips: 36” L gross

474

A Cheyenne concho belt

Early 20th century A leather concho belt with second leather strap, all with attached German silver conchos of various sizes Belt: 43” L; second strap: 38.5” L; largest concho: 2” Dia.; smallest: 1” Dia. $400-600

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476

A large Southwest-style carved stone necklace

21st century Pendant roughly etched to base: 2007; chain terminals stamped: [crescent moon] R [for Relios, Inc] / © / 0.925 Comprising a large pendant of a carved white stone horse and colt backed by a large rough turquoise slab, all mounted on an elaborate silver setting with various set stones and floral and horse motifs, together with a detachable tubular silver mesh chain, 2 pieces Pendant: 4” H x 3” W; chain: 20.5” L 271.4 grams gross $500-700

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477

A group of Southwest jewelry Mid/late 20th century Thirteen works:

Willard Sanchez (1938-2008, Zuni Pueblo) An oval silver and set stone ring Stamped: W. Sanchez / Zuni Designed with set red shell and turquoise accents Ring size: 9 Richard Begay (b 20th century; Diné) A Navajo silver and set turquoise ring Stamped: RB / Navajo With silver floral and ball overlay accents Ring size: 8.5 Germaine Smith (b. 20th century; Diné) A Navajo chunky sterling silver and multistone inlay ring Stamped: G / Sterling [script] An oval ring with katsina face motif in night sky with turquoise and opal inlay Ring size: 10.25

Ten further works comprising six silver and stone set rings in various styles and sizes including two turquoise rings, one with a set cabochon and silver overlay, and one with cluster set turquoise (each ring size: 7.25), as well as four figural motif rings with multistone inlay including a butterfly, a Zuni-style Knifewing figure, and a sterling silver Hopi style dancer ring with set turquoise (largest ring size: 9.25; smallest: 8.75), together with four pairs of silver and stone-set earrings in various styles and colors including red stone inlay, mother of pearl inlay, a Zuni Sunface with multistone inlay and a pair of silver hoops each with a large stamped bead (largest: 2.25” H; smallest: 0.875” H), 14 pieces 17 pieces total 134.6 grams gross $400-600

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478

A group of Southwest-style jewelry Late 20th/21st century Six works:

Ferdinand and Sylvia Hooee, (b. 1957 & b. 1958, Zuni Pueblo) A Zuni Pueblo pendant with multistone inlay Stamped: FSH A sterling silver teardrop pendant with mother of pearl and turquoise inlay, strung on a fabric cord 24” L x 2” H Manuel Hoyungwa (1953-2011, Hopi Pueblo) Two Hopi “Man in the Maze” sterling silver pendants One stamped with pictograph for Manuel Hoyunga; chain stamped: 925 Two openwork round pendants, one with a silver chain Each: 2.125” Dia.; chain: 20” L Bo López (b. 20th century) A sterling silver retablos pendant Stamped: Bo Lopez / ©; chain marked: 925 A silver pendant with a stamped frame enclosing a chased figural design, on a sterling silver chain 22” L x 1.5” H x 1” W An abstract Modernist sterling silver pendant necklace with multistone inlay including tiger’s eye and mother of pearl Stamped: Sterling 20” L x 1.5” H x 2.25” W A silver-toned metal sun motif scarf or tie pin Stamped illegibly 1.625” Dia. 6 pieces total 122.3 grams gross $200-400 Provenance: The Estate of Eleanor Koffler

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479

A Southwest-style miniature silver tea set

Mid/late 20th century One teapot stamped: E.M.W. [for Elizabeth Whitman; Diné)] / Sterling Comprising a mixed group of diminutive silver-toned metal serving items, five with removable lids, including a Navajo sterling silver tea pot with stamped accents and set turquoise finial (1” H x 1.25” W), a tall pitcher-shaped teapot with turquoise finial (1.25” H x 1.375: W), together with two matching tall coffee or chocolate pots (each: 1.375” H x 1.125” W), and a matching sugar pot (1” H x 1.25” W), and five tiny cups and five tiny saucers (each cup: 0.375” H x 0.5” W; each saucer: 0.625” Dia.), 15 pieces 36.1 grams gross $300-500

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480

A group of diminutive Southwest pottery vessels Seven works:

Nona Naha (1958-2021, Hopi-Tewa Pueblo) Two Hopi Pueblo seed pots, late 20th/early 21st century Each signed to underside: Nona Naha [corn cipher] The seed pots with polychrome and fine-line geometric, migration, and bat wing motifs Each approximately 1.625” H x 2” Dia. 2 pieces Gregory Lonewolf (b. 1952, Santa Clara Pueblo) A diminutive Santa Clara pottery vessel, late 20th/early 21st century Incised to underside: Rainbow Trout / WOBRMM / Gregory Lonewolf / Santa Clara Pueblo The burnished red glazed vessel profusely decorated with intricate sgraffito and polychrome underwater scene of rainbow trout, featuring a bird figure and various insects 1.5” H x 1.625” Dia. Lorraine Chinana (b. 1955, Jemez Pueblo) A Jemez grey seed pot, late 20th/early 21st century Incised to underside: Lorraine Chinana / Jemez The pot featuring sgraffito incised repeating feather motif 1.25” H x 2.5” Dia. Kevin and Marian Rose Naranjo (b. 1972 and 1950, Santa Clara Pueblo) A Santa Clara blackware seed pot, 1994 Incised to underside: Kevin Naranjo / Marian Rose / Santa Clara / 1994 The pot with sgraffito incised feather and avanyu motifs centering a kiva step border 1.5” H x 2.5” Dia. Geri Naranjo (b. 1952, Santa Clara Pueblo) A Santa Clara blackware seed pot, late 20th/early 21st century Incised to underside: Geri Naranjo / Santa Clara The pot with sgraffito incised avanyu and kiva step motifs centering a repeating banded feather motif 1.5” H x 1.625” Dia. A diminutive seed pot, 1993 Incised signature and date to underside: Tarbell / 93 The pot with sgraffito concentric star motif 1.325” H x 2.125” Dia. 7 pieces total $500-700 Provenance: The Estate of Eleanor Koffler

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481

A group of miniature Native American baskets

Mid/late 20th century; Western United States A large group of diminutive basketry trays, bowls, gift baskets, and an olla in various styles including a Pomo hanging basket with shell decorations, Navajo wedding-style baskets, Yokuts figural baskets, and California Mission snake baskets, 23 pieces Largest: 1.125” H x 2.75” Dia.; smallest: 0.75” Dia. $500-700

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482

A group of Puebloan pottery vessels Four works:

Gloria Kahe (b. 1951, Diné) Three Navajo pottery vessels, late 20th/early 21st century Each signed: G. Kahe Each red and black slip glazed vessel with a terracotta wash ground, comprising a globular vase with vertical geometric stepped patterns and a geometric neck band (5.75” H x 7.25” Dia.), a flat shouldered seed pot with feathered and geometric motifs (2.75” H x 7.5” Dia.), and a diminutive seed pot with geometric and avian motifs (1.5” H x 3.625” Dia.), 3 pieces David Baca (b. 1951, Santa Clara Pueblo) A Santa Clara pottery seed pot, 1992 Incised to underside: David Baca / [mountain] / Yellow Mountain / 92 / Santa Clara The burnished glaze seed pot with incised vertical ridges 2.75” H x 4.25” Dia. 4 pieces total

$400-600 Provenance: The Estate of Eleanor Koffler

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483

A group of Southwest pottery vessels Four works:

Valerie Kahe (b. 1958, Hopi Pueblo) A Hopi Pueblo pottery plate, late 20th/early 21st century Signed: V. Kahe The plate with brown speckled and geometric avian motif with masked handprints on a terracotta washed ground 1.125” H x 7” Dia. Marcella Kahe (1916-2008, Hopi Pueblo) A Hopi Pueblo globular pottery vase, 1994 Signed to underside: Marcella Kahe / 8-94 The vase with allover black and red geometric motif over a terracotta wash ground 3.75” H x 5” Dia. Gloria Kahe (b. 1951, Diné) Two Navajo pottery vessels, late 20th/early 21st century Each signed: G. Kahe Including a bowl depicting figures standing hand in hand and a sawtooth banded motif at the rim over a micaceous terracotta wash (3.5” H x 4.5” Dia.) and a seed pot with an all-over geometric motif- over a micaceous terracotta wash (2.625” H x 5” Dia.), 2 pieces 4 pieces total $500-700 Provenance: The Estate of Eleanor Koffler w w w. j o h n m o r a n . c o m 5 2 1

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484

Two Hopi Pueblo wedding vases Two works:

Marcella Kahe (1916-2008, Hopi Pueblo) A Hopi Pueblo wedding vase, 1995 Signed to underside: Marcella Kahe / 11-95 The slip glaze and polychrome painted wedding vase decorated with geometric motif 10” H x 6.25” W x 5.625” D Karen Kahe Charley (b. 20th century, First Mesa Hopi Pueblo) A smaller Hopi Pueblo wedding vase, late 20th/early 21st century Signed: [artist’s cipher] / K K C / 4/95 The slip glaze and polychrome painted wedding vase decorated with geometric motif 7” H x 5” W x 3.75” D 2 pieces $300-500 Provenance: The Estate of Eleanor Koffler

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485

A group of Hopi Pueblo pottery Six works:

Sarah Collateta (1921-2004, Hopi-Tewa Pueblo) Two Hopi Pueblo pottery bowls, mid-20th century Each signed to base: SCC Each polychrome yellow ware bowl with banded geometric and curvilinear motifs Larger: 3.25” H x 5.625” Dia.; smaller: 2.75” H x 5.25” Dia. 2 pieces Jean Sahmie Nampeyo “SakíHonsee” (b. 1948, Hopi-Tewa Pueblo) A Hopi Pueblo pottery jar, late 20th century Signed to base: SakíHonsee [for Tobacco Flower Girl, with corn plant and fish ciphers] A yellow ware jar with four eagle tail motifs 4.25” H x 5.75” Dia. A Hopi Pueblo pottery bowl Mid/late 20th century Signed to base: Mrs. Honie [Patricia or Annabell] A large black on yellow bowl with multiple panels of geometric motifs 4.5” H x 6.75” Dia. Nettie Ami (1901-1992, Hopi Pueblo) A Hopi Pueblo pottery bowl, mid/late 20th century Signed to base: Nettie Ami A small polychrome bowl with geometric and curvilinear motifs to shoulder 4.25” H x 5.5” Dia. A Hopi Pueblo pottery bowl Mid-20th century Appears unmarked A polychrome bowl with shallow neck and geometric banding to lower section and a painted rim 4.375” H x 6.75” Dia. 6 pieces total $400-600 Provenance: Private Collection, Southern California

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486

A large group of Hopi Pueblo pottery vessels

Mid/late 20th century Five variously signed; five unsigned Comprising ten Hopi Pueblo polychrome pottery vessels with various geometric motifs and banding including a tall vase by Annette Silas (1915-1990, 4.25” H x 4.5” Dia.), a small pot by Priscilla Namingha (1924-2008; 3.25” H x 3.5” Dia.), a small bowl by Violet Huma (1930-1982; 2.75” H x 4” Dia.), a low ashtray by Corrine Ami (1.25” H x 4” Dia.), and a small jar by Karen A. (3.125” H x 3.25” Dia.), as well as four further Hopi Pueblo bowls with banded motifs (each approximately 2.25” H x 4.5” Dia.) and a small handled jar (4” H x 4.25” W), 10 pieces $600-900 Provenance: Private Collection, Southern California

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487

A group of Puebloan pottery vessels

Mid-20th century One marked: Acoma / N. M. Comprising four Santo Domingo Pueblo polychrome pottery works including a floral design jar (3.5” H x 5.25” Dia.), a bottle neck vase with flower design (8” H x 5” Dia.), a bowl with a floral motif and four holes for hanging (5” H x 6” Dia.), and a large bird bowl with a wavy rim (6” H x 8.5” Dia.), as well as a small Acoma Pueblo polychrome bowl with painted slip floral and bird motifs (3.25” H x 5.125” Dia.), 5 pieces $400-600 Provenance: Private Collection, Southern California

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488

Loretta Navasie (b. 1948, Hopi-Tewa Pueblo)

Three Hopi Pueblo polychrome olla jars, late 20th century Each signed to underside: [frog cipher] / L The jars with red and black avian and geometric motifs on a white buff ground, 3 pieces Largest: 5.875” H x 6.325” Dia.; 4.5” H x 5.75” Dia. $500-700 Provenance: Private Collection, Southern California

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489

A group of Puebloan redware pottery Five works:

Frances & Flora Naranjo (1936-2002 & 1914-2000, Santa Clara Pueblo) A Santa Clara redware bowl, mid/late 20th century Signed to base A small carved bowl with geometric motifs 3.25” H x 4” Dia. Howard Naranjo (b. 20th century, Santa Clara Pueblo) A Santa Clara redware pottery wedding vase, late 20th century Signed to base A small wedding vase with carved Avanyu motif 8.5” H x 7” W Michele Tapia Browning (b. 1960, Tewa/Pojoaque Pueblo) A Pueblo redware bowl, late 20th/21st century Signed to base A wide carved bowl with geometric banding 4.25” H x 6.25’ Dia. Sophie Cata (b. 20th century, San Juan Pueblo) A Santa Clara redware bowl, late 20th century Signed to base A small globular bowl with a polished finish 3.25” H x 4.25” Dia. Stella Chavarria (b. 1939, Santa Clara Pueblo) A Pueblo redware bowl, late 20th century Signed to base A small tapered bowl with carved Avanyu motif 3.25” H x 4.5” Dia. 5 pieces $800-1,200 Provenance: Private Collection, Southern California

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490

A group of Puebloan pottery vessels

Early/mid-20th century Three marked for Acoma, NM Six works including a polychrome checkered Isleta Pueblo low bowl, a black on white Acoma Pueblo ashtray bowl, an Acoma Pueblo low bowl with black on white curvilinear and geometric motifs, a small Acoma Pueblo checkerboard bowl with red rim bowl, and two further Acoma Pueblo bowls with black on white motifs, 6 pieces Largest: 3” H x 5.375” Dia.; smallest: 2” H x 2.5” Dia. $400-600 Provenance: Private Collection, Southern California

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491

A group of Puebloan blackware pottery Three works:

Madeline Naranjo (1916-2020, Santa Clara Pueblo) A Santa Clara blackware pottery bowl, Mid/late 20th century Signed to base: Madeline Naranjo / Santa Clara Pueblo A matte black carved low bowl with three burnished Sunface motifs 3.75” H x 5.25” Dia. Celes Tafoya (1931-2011, Santa Clara Pueblo) A Santa Clara blackware pottery bowl Signed to base: Celes / Sta Clara Pueblo A small carved bowl with Avanyu motif 2.625” H x 4” Dia. Juanita “Wo-peen” Gonzales (1909-1988, Taos/San Ildefonso Pueblo) A San Ildefonso blackware pottery vessel, Mid/late 20th century Signed to base: Juanita A cylinder form carved vase with alternating geometric motifs 3.25” H x 3” Dia. 3 pieces $400-600 Provenance: Private Collection, Southern California

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492

Two Puebloan blackware pottery vessels Two works:

Than Tsidéh / Erik Fender (b. 1970, San Ildefonso Pueblo) A San Ildefonso blackware pottery bowl, late 20th/21st century Signed to base: Than Tsidéh An asymmetric kiva bowl with green slip Avanyu motif to exterior and multiple single painted and etched Pueblo motifs to interior 4.75” H x 5.75” Dia. A Santa Clara Pueblo blackware bowl Late 20th century Illegibly marked to base With carved Avanyu motif 4” H x 5.5” Dia. $400-600 Provenance: Private Collection, Southern California

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493

A Mexican textile

Mid/late 20th century A Navajo-style textile woven in black, red, cream, and grey wool in a stylized storm pattern motif 56” H x 29.5” W $200-400 Notes: Attached label reads: 100% wool; El Paso Saddleblanket Co; Handwoven in Mexico

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494

A Mexican textile

Early 20th century A large blanket woven in red, grey, cream, and black wool with a red field with zig-zag columns and banded ends 78” H x 59” W $400-600 Provenance: The Estate of Eleanor Koffler

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495

A Mexican textile

Late 20th century A Navajo-style Mexican textile/rug woven in black, red, grey, and cream wool with a central diamond motif 63” H x 38.75” W $200-400 Provenance: Private Collection, Southern California

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Consign Today

Art of the American West 11.15.2023

A Navajo Late Classic child’s blanket

Price Realized: $31,250

Consignment and Auction Inquiries: marandam@johnmoran.com

SINCE 1969

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art - jewelry - decorative objects - furnishings and more Sold at John Moran Auctioneers:

Oscar Howe “Camte waste, no no wa” (“Good Heart Forever”)

Price Realized:$325,000 SINCE 1969

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

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

Condition Reports

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

1 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: very slight fading to one side; a few scattered faint stains and marks. 2 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: areas of scattered spots of white, likely paint, to one corner of one side; fluffiness to weave on one side; 3 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. 4 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. 5 In overall fair condition. Issues include, but not limited to: scattered staining overall to each side; dye transfer in center from red motif; loose weave and loss to corners; stitch loss and ravelling to one end; scattered breaks to selvages on each long side; a few scattered holes and areas of weave loss. 6 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: sctttered areas of minor moth grazing; break to selvage cord and loose stitching to one corner; slight fluffiness to weave on one side.

Condition Reports

7 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Scattered light soiling to one side.

544

8 Overall good condition with minor scuffing, darkening/oxidation, and dust accumulation to the bronze commensurate with age. 9 Overall good condition with minor scuffs, darkening/ oxidation, and dust accumulation commensurate to the bronze commensurate with age. 10 Overall good condition with minor scuffs, darkening/ oxidation, and dust accumulation to the bronze commensurate with age.

11 Overall good condition with very minor and unobtrusive scuffs and oxidation to the bronze commensurate with age. 12 Overall good condition with dust accumulation, light soiling, and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few scattered spots and faint stains overall; scattered breaks to selvage edges with some areas of loose stitching/loose weave; a couple of small holes/areas of loose weave. 13 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 small stains; scattered tiny holes to one side, likely moth grazing; a small hole with loss and loose weave to one corner; a couple of small areas of loose weave to same end, and a couple of breaks to selvage cords at one side. 14 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Slight fading to one side. A few scattered small spots. Scattered small breaks to selvage cords and to edges, with slightly loose weave to corners. 15 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to one side; a few areas of loose weave near one end, some with stitched thread repairs. 16 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: general dark soiling and scattered stains throughout; loose weave and ravelling to one end. 17 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few scattered areas of dye migration, primarily to one corner; scattered faint stains and spots to each side. 18 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered small spots to one side; a few breaks to selvage cords on one side edge.

20 Overall fair to good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered stains and spots to each side; scattered holes and areas of loose weave; long edges and some holes with added repair/darning stitches. 21 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered soiling and small stains; areas of loose weave to one end, with added stitched thread repair to one corner; scattered small holes, some with stitched thread repairs/darning; a few scattered breaks to selvage cords. 22 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Each with slightly fluffed weave. The second with a small surface spot near edge on a short end. 23 Each in overall good condition with dust accumulation and typical signs of wear commensurate with age and use. The narrow mat with a small hole/loose weave near the center and an area of minor stiffening/surface soiling to one black edge at side. 24 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 25” H x 29” W x 2” D 25 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 29.5” H x 25.5” W x 2” D 26 Overall good condition with minor scuffs, darkening/ oxidation, and dust accumulation to bronze commensurate with age.

27 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 28 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fluffiness and pilling to weave overall; a dark stain to one end, 1.5” x 2.” 29 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: light soiling to one side. 30 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered soiling, stains, and small spots to both sides; scattered moth grazing overall; a few small areas of loose weave, with stich loss to one corner. 31 Visual: Overall good condition. Dust accumulation, occasional specks of grime, and scattered craquelure, all commensurate with age. Slight stretcher bar crease along the upper edge. New stretcher bars and keys. Blacklight: No evidence of restoration. Frame: 38.5” H x 46.5” W x 3” D 32 Visual: Overall good condition. Stretcher bar creases showing mostly at the vertical and lower edges. Blacklight: No evidence of restoration. Unframed 33 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Very slight fading to one side. 34 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to side A; slight staining and dye transfer to each side; loose weave and stitch losses to two corners, one with loss 2.5” x 3.5”; a few scattered areas of minor moth grazing.

Condition Reports

19 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; loose weave and scattered small holes, likely moth grazing, to one side only

545

35 Overall fair condition with dust accumulation, soiling, and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered stains and spots overall; scattered holes and areas of loose weave; breaks and weave loss to selvages on all sides, including an area of loss to one edge 2” x 2.” 36 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to side A; scattered faint dark stains/soiling to each side. 37 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few minor selvage breaks at sides; a couple of small holes/loose stitches near one end; a small area of discrete repair near opposite end. 38 Visual: Overall good condition. Dust accumulation and scattered pea-sized or smaller areas of grime and staining adhered to the surface, commensurate with age. Unobtrusive flecks of pigment loss near the right edge of the lower quadrant. Blacklight: No evidence of restoration. Frame: 59.5” H x 52.5” W x 2” D

Condition Reports

39 Overall good condition with dust accumulation and wear commensurate with age and use. With slight fading to face. Very slightly distorted, likely due to uneven weight distribution.

546

40 Overall good condition with typical wear and weathering commensurate with age and organic material. Several areas of loss at the forefront of the skull, the largest measuring 1 inch in diameter. A couple of teeth loose in place to left front.

43 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: slight fading to one side; scattered faint pale marks to one sides; scattered small subtle holes, likely moth grazing; scattered breaks to selvage cords. 44 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: slight fading to one side; scattered areas of faint soiling. 45 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Slight pilling to the weave overall. 46 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Weave slightly fluffed overall. 47 Overall good condition with dust accumulation, light soiling, and typical signs of wear commensurate with age and use. Issues include, but not limited to: loss of tassel to one corner. 48 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: light soiling overall; white surface marks near one edge of one side; fluffiness to weave on each side. 49 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 faint stains/spots; slight fading/possible color variation in dye to one end of one side; fluffiness to weave on one side.

41 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include but not limited to: a couple of scattered small minor spots to one side; loss to one corner tassel.

50 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: slight fading to side A; scattered general soiling and small spots overall; scattered areas of minor moth grazing, with a few small holes; a couple of breaks to selvage cords at ends.

42 Overall good condition with dust accumulation, light soiling, and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few scattered pulled stitches; slight fluffiness to weave.

51 Overall good condition with dust accumulation, light soiling, and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few scattered small spots/stains to each side.

53 Overall good condition with dust accumulation, wear and soiling commensurate with age and use. Hair with a few spots of surface soiling, and remnants of seeds/grass stems. Each leg with a tear/break to hide along front waist band at side corners, with riveted and stitched repairs at center waist. Soiling/ staining to leather legs verso and with scattered areas of splitting/cracking to leather due to use and drying. Failed seam to cuff of one leg. Fabric lining with multiple tears, worn areas, and patched denim repairs. 54 Overall good condition with minor scuffs, darkening/ oxidation, and dust accumulation to bronze commensurate with age. 55 Each in overall good condition with dust accumulation and typical signs of wear commensurate with age and use. A few faint spots to Crystal rug on one side. 56 Each in overall good condition with dust accumulation and typical signs of wear commensurate with age and use. The first with a couple of scattered faint spots, and lacking a tassel to one corner. 57 Each in overall good/fair condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include but not limited to: each with extensive areas of soiling/staining overall, especially to one side of each; the first with areas of dye transfer; each with loose stitching/tassels to corners and with a few scattered areas of selvage breaks. 58 Overall fair condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: areas of soiling/ staining throughout; scattered small holes; scattered breaks and loose weave to selvage edges and to corners. 59 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include but not limited to: scattered areas of fading overall; scattered small areas of light soiling to one side; a few scattered small single holes and scattered small areas of exposed weave, likely from moth grazing.

60 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. 61 Each in overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Runner with a few loose stiches near one end, and a few loose selvage stitches to opposite end. 62 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include but not limited to: scattered areas of soiling/staining, primarily to one side;a few areas of loose weave near edges; scattered breaks to selvage cords. 63 Overall good condition with minor scuffs, darkening/ oxidation, and dust accumulation to bronze bronze commensurate with age. 64 Overall good condition with minor surface scuffs and dust accumulation commensurate with age. 65 Each: Overall good condition with minor surface scuffs and dust accumulation commensurate with age. 66 Overall good condition with minor scuffs, darkening/ oxidation, and dust accumulation to the bronze commensurate with age. 67 Overall good/fair condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to one side; areas of soiling/staining, and color variation in dye; scattered areas of darker staining and spots to each side; scattered areas of red dye transfer; scattered breaks and small losses to selvage edges; and a small hole/area of loose weave 1.25” H x 1” W. 68 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to one side; scattered faint staining overall; scattered breaks to selvage cords on both side edges; ravelling and some stich loss to one corner. 69 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Slight fading to large section of one side.

Condition Reports

52 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. One end with slightly fluffed wool from velcro hanging method.

547

70 Overall good condition with minor scuffs, darkening/ oxidation, and accumulation to the bronze commensurate with age. 71 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 72 Overall good condition with shelf wear, scattered scuffs, and inherent firing flaws commensurate with age. Three 1.5” surface-reaching cracks to the bottom. With allover rubbed wear and possible smoke clouding to the exterior designs from use. Similarly, with scratches and scuffs to the interior from use, with heavier wear to the rim. With felt feet applied to underside. 73 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With a few scattered black scuffs near the rim and a large scuff or possibly moisture ring to the underside. 74 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Two tiny marks/flakes to one side.

Condition Reports

75 Overall good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. With a 1” chipped loss to the rim and a 5” area along one side of the rim with scattered small chips and rubbed wear. Also with a 0.25” chip to the underside.

548

78 Overall good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. A few instances of fire clouding to exterior. The rim with a 1.25” x 0.625” chipped loss. Showing signs of use and subsequent flaking to the rim and scratching to interior. 79 Overall good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. The underside with possible repair with a black substance. The interior blackened from heat concentrated in the center of the bowl. With a few scattered chips to the rim and allover pin and pea-sized chips to the glaze. 80 Each in overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. The first with fire clouding to one side, and a 1” L hairline to interior, issuing from rim. The second with darkening to exterior sides and base, areas of minor pitting to exterior from firing, and a red ink mark to interior bowl. Each with scattered areas of craquelure and tape residue to base. 81 Overall good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. The rim with a 2.5” x 3” area of radial cracks and possible restoration and one 2” crack. Additionally, the rim and body with scattered minor chips. Smoke clouding to the glaze. 82 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Sticker ghost to underside.

76 Overall good condition with dust accumulation, shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. An area of flaked wear to one area of shoulder: 1.25” L. A couple of horizontal scratches/marks to one shoulder area. A few scattered chips to rim. Scattered dark stains to one side. Felt pads to base.

83 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Heavier scratching to the unglazed underside. Scattered flaking of the glaze layer throughout, concentrated more heavily along the edge of the rim. Two divots to the interior, the larger 0.25” in diameter.

77 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With faint 1” scuff to one side.

84 Overall fair condition with shelf wear, scattered scuffs, and inherent firing flaws commensurate with age. With a 2.5” x 3” repaired area at the base and three notable areas of loss to the glaze, the largest measuring 2.5” x 2”. Numbered marking to the side near base spanning a 2.5” x 1.25” area. Scattered other small scuffs and losses to the glaze or painted decorations.

85 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Areas of rubbed wear/ light flaking to rim and to a spot just below the rim. Scattered areas of light and dark pinhole sized marks from firing. A few deeper short scratches to center waist area.

95 Overall fair condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to one side; extensive dye transfer, primarily to one end; areas of possible color variation in dye; scattered spots and stains; scattered multiple repaired holes and areas of reweaving.

86 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. A few scattered spots of minor pitting from firing. Areas of heavier scuffing to waist. A couple of white marks to sides.

96 Overall good condition with shelf wear, scattered scuffs, scratches, craquelure, and inherent firing flaws commensurate with age. Heavier scuffing and minor chips to waist and below rim. Evidence of minor use, with scorching to sides. Label residue and inked inventory label to base.

88 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Scuffs and scratches to back of legs and feet from display. Breaks and losses to corn husk strands. 89 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. A few scattered minor divots in the body of the pot. 90 Overall good condition with minor scuffs, darkening/ oxidations, and dust accumulation to the bronze commensurate with age. 91 Overall good condition with minor scuffs, darkening/ oxidation, and dust accumulation to the bronze commensurate with age. 92 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. 93 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. With added woven lining attached at neck edge and armholes. 94 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to one side; a few scattered stains and small spots; a few scattered areas of loose weave near edges and corners.

97 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With three pin-to-pea sized chipped losses to the underside. 98 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 99 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With a pea-sized chip to underside of lid. Two pin-sized chipped losses to the glaze. 100 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 101 Overall good condition with shelf wear, scattered scuffs, and inherent firing flaws commensurate with age. With allover rubbed wear to the designs and. Two 1” scratches to the side and a 1.5” radial crack to underside. 102 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. A large abrasive scratch to one side just below neck, 2.5” L. A few scattered pale marks/lines to one area of lower section. 103 Overall good condition. Not examined out of the frame. Framed under Plexiglas: 20” H x 24”W x 1.5” D

Condition Reports

87 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Scattered scuffs and scratches to arms and legs from drum elements.

549

104 Overall good condition. The colors very slightly attenuated. An unobtrusive fleck of pale staining showing slightly in the sky near the upper right corner. Not examined out of the frame. Framed under glass: 12.75” H x 17” W x 1” D 105 Visual: Overall good condition. A small group of approximately pea-sized areas lacking varnish in the sky of the upper right quadrant. A speck of grime in the sky to the left of the figure. Blacklight: No evidence of restoration. Frame: 60” H x 46” W x 3.5” D 106 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. A few small chips to one side. Scattered minor pitting overall likely from firing. 107 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With two sticker ghosts to underside. 108 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. A few areas of scattered pinhole-sized minor pitting from firing. Glazed/sealed interior.

Condition Reports

109 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to Side A; a few scattered small marks to side B; a few scattered small holes to side B, in one area of lower border, and a few other subtle single holes scattered throughout, likely moth grazing.

550

110 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. With some minor unobtrusive adhesive residue to the underside. The stopper with some dust accumulation and minor soiling. 111 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Minor scratching to underside near one edge and concentrated near pontil mark. The stopper with some dust accumulation and minor soiling.

112 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 113 Visual: Overall good condition. A small pea-sized area of stray yellow pigment adhered to the surface in the upper right corner. Blacklight: No evidence of restoration. Frame: 32.5” H x 35.5” W x 2.25” D 114 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. 115 Overall good condition with dust accumulation. light soiling, and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered small spots and faint stains; a few scattered small holes, likely moth grazing. 116 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Overall fluffiness to wool on each side. An area of loose weave, possibly a rewoven repair, near top red border. Side B with dark mark near lower right corner. 117 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Slight fading to one side. A couple of minor surface spots to one side. 118 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: areas of fading, dye transfer, and possible color variation in dye to each side; scattered small spots and areas of soiling, likely paint; scattered small holes and areas of weave loss, with a larger area near lower edge, 1” H x 2” W; scattered selvage breaks and loose stitches to some edges. 119 Visual: Overall good condition. Occasional specks of grime commensurate with age. Scattered flecks of black pigment, possibly in the hand of the artist or stray house paint. Blacklight: No evidence of restoration. Unframed

Blacklight: No evidence of restoration. Unframed 121 Visual: Overall good condition. Minor surface abrasions in the lower left and upper right corners. Dust accumulation and scuff marks in the sky of the upper right quadrant. The board is slightly bowed. Blacklight: Some small areas of touchup in the center of the image in the rocks behind the tree branches. Unframed 122 Visual: Overall good condition. A 1.5” H x 1” W L-shaped area of pale staining in the lower right corner. A 1.5” diagonal crease in the upper right corner. The sheet is laid to illustration board, not matted. Blacklight: No evidence of restoration. Unframed 123 Visual: Overall good condition. Occasional specks of grime commensurate with age. Minor abrasions along the extreme edges, possibly from prior framing. Pigment loss in the lower right quadrant, the largest measuring 3” H x 1” W. Stretcher bars are slightly warped. Blacklight: Evidence of touchups around the rocks in the river in the lower right quadrant. Unframed 124 Visual: Overall good condition. A pea-sized area of pigment and panel loss in the upper edge, at left. A fleck of pigment loss in the lower edge, at right. Minor abrasion at each of the extreme corners. Blacklight: No evidence of restoration. Unframed 125 Overall good condition commensurate with age. An area of small holes, likely moth grazing to lower left corner, 3 “ L. With Velcro mounting strip verso.

126 Overall good condition commensurate with age. With Velcro mounting strip verso. 127 Overall good condition commensurate with age. With stitched fabric mounting strip verso. 128 Overall good condition. Framed under glass: 20.25” H x 25.25” W 129 Visual: Dust, grime, stretcher bar creases along all sides, and craquelure throughout, the latter occasionally with an attendant fleck of paint loss. A 1.5” H x 1” W touch-up near the top of the foreground butte, with an attendant 2” H x 2.5” W patch, verso. Another touch-up near the center of the lower edge, with an attendant 1” H x 1” W patch, verso. Occasional frame abrasions at the extreme edges, the two largest areas each approximately peasize at the upper right edge. Blacklight: Scattered occasional touch-ups, the largest approximately quarter-size. Frame: 57” H x 49” W x 2.75” D 130 Visual: Overall good condition. Two pinhead-sized surface abrasions with attendant pigment loss near the right edge, at center. Blacklight: No evidence of restoration. Frame: 15.75” H x 19” W x 3” D 131 Visual: Overall good condition. Dust accumulation commensurate with age. Blacklight: No evidence of restoration. Frame: 25.5” H x 21.25” W x 1.5” D 132 Visual: Overall good condition. Dust accumulation and grime commensurate with age. A few short and unobtrusive surface scuffs to the support board. Blacklight: A rice-sized touch-up at the center of the disk’s lower edge. Frame: 15” H x 14.5” W x 2” D

Condition Reports

120 Overall good condition. Small surface abrasions along the extreme edges, primarily along the right edge. The lower right corner slightly lifting and dog-eared. Artist pinholes along the upper and lower edges and corners.

551

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

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

Blacklight: No evidence of restoration.

Frame: 31.5” H x 31.5” W x 2.25” D

Frame: 31” H x 27” W x 1.5” D

134 Jar reconstructed from original shards.

144 Overall good condition. Minor dust accumulation, flecks of grime, and craquelure throughout commensurate with age.

135 Overall fair intact condition with dust accumulation, shelf wear, scattered scuffs, scratches, and inherent firing flaws commensurate with age and use. Heavier rubbed wear to sides. Scattered areas of minor chips and larger flaked losses. Eight evenly spaced holes near rim. Scattered aeas of fire clouding. 136 Jar reconstructed from original shards. 137 The item is an archeological find and has been fully reconstructed, including re-adhering of pieces, scattered fills throughout, and retouching. The exterior with fire clouding. 138 The item is an archeological find and has been partially reconstructed, including re-adhering of pieces, scattered fills throughout, and retouching. The exterior with fire clouding.

Condition Reports

139 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age and use. One circular divot with loss to the slip glazing in the recess of the bowl, approximately 0.25” diameter.

552

140 Overall good condition with shelf wear, scattered scuffs, scratches, and inherent firing flaws commensurate with age and use. Large chip to rim. A small hole near base, 0.5” x 0.25”. Scattered areas of fire clouding to exterior. A T-shaped 5” x 4” hairline fissure to base exterior and interior, with possible historic pitch repair. 141 The item is an archeological find and has been fully reconstructed, including re-adhering of pieces, scattered fills throughout, and retouching. The exterior with fire clouding. 142 Overall good condition with shelf wear, scattered scuffs, scratches, and inherent firing flaws commensurate with age and use. A few small white marks to one side of exterior.

Blacklight: A small, pinhead-sized area of touchup to the left of the figure’s face, in the upper left quadrant. Frame: 37.75” H x 27.75” W x 2” D 145 Overall good condition with dust accumulation, light soiling, and wear commensurate with age and use. Scattered small stains and soiling to the leather. Oxidation to the tin cones. 146 In overall good condition with dust accumulation, metal oxidation and typical signs of wear commensurate with age and use. One top edge slightly loose from metal frame. Crimping and slight distortion to fringe. The strap with an area of loose and missing bead strands. The interior in poor condition, with soiling and splits to fabric. 147 Overall good condition with dust accumulation and wear commensurate with age and use. A couple of loose short rows of white beads to one end. 148 In fair condition with dust accumulation and wear commensurate with age and use. Scattered areas of bead loss and loose stitching. Scattered small stains and soiling to the leather. 149 Two in overall fair to good condition with dust accumulation and wear commensurate with age and use. Scattered small stains and soiling to the leather. Largest in fair/poor condition, with scattered areas of bead loss, and with failed seams, splits, tears and soiling to the leather. Distortion to the overall shape. Areas of adhesive residue from previous repair. 150 Each in overall fair to good condition with dust accumulation and wear commensurate with age and use. Stiffening and distortion to the hide overall, with scattered small stains and soiling to the leather. Tongues and heel flaps distorted and stiff.

152 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With allover rubbed wear and erosion to decorations. With one 0.5” chip to the shoulder and scattered other minor chips throughout. Also with a 7” crack from the underside to the shoulder of one side and two more 1.5” cracks to the glaze. 153 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The decorations with scattered erosion and rubbed losses from age. Two pea-sized chips to the underside and rubbed wear to the inscription. 154 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With a ring of staining near the underside and a sticker ghost to the underside. 155 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With previous retailer’s price in graphite to underside. 156 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 157 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Minor flaking of the slip glazing around the rim.

160 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Scattered nicks and minor losses to the glazed surface throughout. Scattered areas of faint crazing. A 1” L two-sided hairline to one shoulder, and another near the rim, on interior only. 161 Overall good condition with dust accumulation, minor scuffs, and verdigris oxidation to the bronze commensurate with age. Scattered chips to the marble base, mostly to the edges. 162 Overall good condition with light soiling, shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Scattered areas of craquelure. Scattered heavier scratches to shoulder and to base. 163 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 164 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age and use. Scattered flaking to rim with a few small chips. 165 Overall good condition with dust ccumulation, shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. A few scattered small smudges. Two faint marks of purple ink one to top center, another to base. 166 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The miniature plate with previous retailer’s price in graphite.

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

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

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

168 Overall good condition. A good impression. Pale light staining showing mostly in the upper half of the image. Not examined out of the frame. Framed under Plexiglas: 20.25” H x 22” W x 0.75” D

Condition Reports

151 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With scattered scuffed losses to the decorations and minor chipping. With previous retailer’s numbering to underside and a black ink smudge.

553

169 Overall good condition. Not examined out of the frame. Framed under glass: 16” H x 21” W x 1.5” D 170 Overall good condition with dust accumulation, shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Scattered areas offire clouding. Scattered dark scratches/marks overall, primarily to interior. Scattered minor pinhole marks from firing. Scattered chips to foot and a larger chip to base edge of foot.

181 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Two pinhole marks near one wing, likely inherent to firing. Faint scratch to lower section below one eagle.

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

182 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. A few scattered pinhole marks to lower section.

174 Overall good condition with shelf wear, scattered minor scuffs and scratches, and inherent firing flaws commensurate with age. The underside with sticker ghost. 175 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

Condition Reports

180 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. With small chip/pit to one side just below shoulder.

171 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Scattered flaking to rim and interior on one side. Scattered minor pitting to exterior.

173 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. One pea-sized scuff to flat top.

554

179 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Each with scattered pinsized chips to the slip paint and glaze, particularly concentrated to the underside. The larger with previous dealer’s price and notes faintly written to underside. The lower with sticker ghost to underside.

176 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With sticker ghost to the underside. 177 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With small sticker ghost to underside. 178 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With a 0.25” chip to the rim.

183 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 184 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With sticker ghost to underside. 185 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With crack to one handle and pulled glazing to handle connection. Small crack in the glaze near lid finial. Sticker ghost to underside. 186 Each in overall good condition with shelf wear, scattered minor scuffs, light scratches, and inherent firing flaws commensurate with age. 187 Overall good condition with shelf wear, scattered minor scuffs and scratches, and inherent firing flaws commensurate with age. With some rubbed wear to the rim as well as the decorations.

189 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With two sticker ghosts to underside. A 1.5” faint scuff to the side exterior. 190 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With felt marker to underside “333.” 191 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. About three pin-sized chips to the glaze on the underside. With two sticker ghosts to underside. 192 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. 193 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Heavier scratching and adhesive residue to the underside. Two small chips to the rim. 194 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With allover rubbed wear and scratches to the interior decorations. The underside and areas of the sides with rubbed/shelf wear and subsequent losses to the glaze. 195 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With a 6” crack to the interior of bowl and three hanging holes drilled underneath the rim. 196 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The underside with a 2.5” dia. chipped loss later reattached and restored. One small black smudge to underside. Minor scattered chips to the rim.

197 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Rubbed wear to central motif. Adhesive label residue to base. 198 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The underside with heavy scratching. The interior with allover rubbed wear and scattered scuffing from presumed use. 199 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Two seed pots with powdery residue to the interiors. The canteen with minor rubbed wear and scratches to underside and subsequent fading to signature. 200 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The flat-top pot with a 3” hairline crack to the top and possible repair to the center. The tile with minor allover scuffing to the top and three small chipped losses to the glaze concentrated at one corner. 201 Each in overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Each with scattered pinhole sized marks/holes from firing. The first with fire clouding to base. The second with a couple of small indentations to opposite sides just below rim, and an area of flaking to glaze. 202 Each overall fair to good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. The Cheeda bowl in fair condition with chipped losses to rim 1.5” x 0.5” and 0.25”, and subsequent 2.75” hairline crack, possibly repaired. As well, some staining and slip loss to the interior decorations and scratching to the underside. The other with one pea-sized chip to the rim with minor slip loss to the interior and scuffing to underside, obscuring the signature. 203 Overall good condition. Not examined out of the frame. Framed under glass: 15” H x 21” W x 1.5” D

Condition Reports

188 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Each with previous retailer’s notes and sticker ghosts to underside. The larger with a 3” line to one side and scattered pea-sized areas of erosion and subsequent chips.

555

204 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 17” H x 19” W x 2” D 205 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 16.25” H x 19.25” W x 2” D 206 Visual: Overall good condition. Dust accumulation and occasional grime commensurate with age. Blacklight: No evidence of restoration. Frame: 23” H x 29” W x 1” D 207 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 33” H x 29” W x 2” D 208 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With a few small scuffs to the rim and sticker ghost to underside.

Condition Reports

209 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With a 1.5” dia. black smudge to underside. Some rubbed wear to painted rim.

556

210 Overall good condition. A few very unobtrusive flecks of surface loss at the extreme edges of the image/sheet. Occasional surface soiling and scattered pale stains and time staining to the support board, both recto and verso. Unframed

211 Overall good condition. The sheets with time staining, as well as small edge tears and creases commensurate with age and use. Page 20 with the image of the “young intellectual” shows various small, pale stains, and has been tipped to a second sheet of matching paper to compensate for an approximately 5” H x 3” W loss at the lower right corner of the original sheet. The varnished file folder with scattered creases and a 1” split to the lower section of the folded edge. The sheets are loose, not matted. Folder: 11.75” H x 9.375” W 212 Overall good condition. Slight time staining and minor surface soiling showing mostly at the sheet edges. An occasional pale stain, edge nick, short crease, or old paperclip indentation at the outer edges, not affecting the images or text. The sheets are loose, not matted. The beige paper outer storage envelope with surface soiling, tears, creases, and small paper losses commensurate with age and use. Paper storage envelope: 12.5” H x 9.5” W 213 Overall good condition. The sheets with time staining, small edge and corner tears, creases, scattered foxing, and staining in the upper left corner of the title pages from rusting of the paperclip, all commensurate with age and use. The last page of the original typed manuscript with a 1.5” tear in the left edge, at center, and a 4.5” diagonal crease in the upper left corner. The file with scattered creasing and small tears, scattered staining from the rust on the paper clips inside the folder, and stray black pigment scuffs. The sheets are loose, not matted. Folder: 11.875” H x 9.625” W 214 Each has handling and wear damage commensurate with age. Some cover loss to the lower spine of the magazine. Two pea-sized areas of staining on the front cover of the pamphlet. 215 Overall good condition. Pale light staining. Uneven and pale staining scattered on the reverse of the sheet, most likely from a previous cardboard backing. The sheet is hinged to the overmat with two pieces of framer’s tape along the verso of the upper and lower sheet edges. Framed under glass: 19.5” H x 17” W x 1” D

Framed under Plexiglas: 11” H x 9” W x 0.75” D 217 Overall good condition. A good impression. Some pale and very unobtrusive staining showing mostly in the sky, possibly offset from a separate sheet of paper. Hinged to the back mat with two pieces of Japanese tissue on the verso of the upper left and right sheet edges. Framed under glass: 19.25” H x 19.25” W x 1” D 218 Overall good condition. Pale light staining. A pinhead-sized area of foxing to the right of the cowboy figure in the blank. Not examined out of the frame. Framed under glass: 16.75” H x 20.75” W x 1” D 219 Overall good condition. With margins. A 1.125” vertical scratch in the upper right corner of the image. Not examined out of the frame. Framed under glass: 15.25” H x 21.25” W x 1” D 220 Visual: Overall good condition. Scattered specks of grime commensurate with age. A 3.5” horizontal scratch in the canvas near the right edge. A 0.25” H x 0.5” W area of unobtrusive craquelure to the left of the boy. Blacklight: No evidence of restoration. Frame: 34.25” H x 40.25” W x 1.75” D 221 Visual: Overall good condition. Fine craquelure throughout, predominately showing in the upper right quadrant. A small and unobtrusive area of frame abrasion in the lower left quadrant. Blacklight: Pea-sized area of touchup in the face of the child. Frame: 40.75” H x 34.5” W x 3.5” D

222 Visual: Overall good condition. Scattered pinheadsized areas of grime commensurate with age. Blacklight: No evidence of restoration. Frame: 34.5” H x 40.25” W x 3.75” D 223 Overall good condition. The black paper very slightly faded. The sheet is loose, not mounted. Framed under glass: 41.5” H x 29” W x 1.75” D 224 Overall good condition with dust accumulation and light wear commensurate with age and use. Fading to face. Faint soiling to edges. With integral hanging loop verso. 225 Each in overall good condition with dust accumulation and wear commensurate with age and use. Each with slight fading to face. Oval tray with a couple of stitch losses to rim. 226 Overall good condition with dust accumulation and light wear commensurate with age and use. Fading to face. Scattered small, faint spots. With integral hanging loop verso. 227 Overall good condition with dust accumulation, faint soiling, and light wear commensurate with age and use. Fading to face. With integral hanging loop verso. 228 Overall good condition with dust accumulation and light wear commensurate with age and use. Slight fading to face. A couple of loose stitches verso. A few scattered smal spots. With integral hanging loop verso. 229 Overall good condition with dust accumulation and light wear commensurate with age and use. Slight fading to face. A couple of scattered stitch losses to rim. With integral hanging loop verso. 230 Overall good condition with dust accumulation and light wear commensurate with age and use. With very slight color fading and slight darkening of natural fibers to face.

Condition Reports

216 Overall good condition. Very minor light staining. The paperboard unevenly trimmed along the extreme lower edge, not affecting the image. Two 0.75” areas of surface skinning from prior hinging and a piece of old brown hinging tape at the upper edge, all verso. Hinged to the back mat with white artist’s tape in two places at the upper edge, verso.

557

231 Overall good condition with dust accumulation, light soiling, and wear commensurate with age and use. With slight fading to face, With integral hanging loop verso. 232 Overall good condition with dust accumulation and light wear commensurate with age and use. Slight fading to face. With integral hanging loop verso. 233 Overall good condition with dust accumulation and light wear commensurate with age and use. slight fading to face. With integral hanging loop verso. 234 Overall good condition with dust accumulation, light soiling, and wear commensurate with age and use. Fading to face. A couple of loose stitches to face. With integral hanging loop verso. 235 Overall good condition with dust accumulation, light soiling, and light wear commensurate with age and use. Fading to face. With integral hanging loop verso. 236 Overall good condition with dust accumulation and light wear commensurate with age and use. Fading to face. With integral hanging loop verso. 237 Overall good condition with dust accumulation and wear commensurate with age and use. With slight fading to face. One raised hair element slightly loose. With integral hanging loop verso. 238 Visual: Overall good condition. A vertical 1.5” stray line of pinhead-sized flecks of light pigment.

Condition Reports

Blacklight: No evidence of restoration.

558

Frame: 33” H x 45.25” W x 2.5” D 239 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The table is structurally sound, but with some shaking inherent to the wheeled nature of the piece and age of the wood/metal junctures. The wood with appropriate wear and weathering from use. Accordingly, the metals components have rusted and weather with age and use.

240 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The table is structurally sound, but with some shaking inherent to the wheeled nature of the piece and age of the wood/metal junctures. The wood with appropriate wear and weathering from use. Accordingly, the metals components have rusted and weather with age and use. 241 Overall good condition. Very minor pale damp staining directly above the image, mostly in the upper edge, inherent in the artist’s creative process. The slightest toning, commensurate with age. Staining throughout the verso from the cardboard backing. Two areas of surface skinning and old remnants, attendant with previous hinging glue or tape. Hinged to the overmat with artist’s tape along three edges of the paperboard, verso. Framed under glass: 22” H x 26.5” W x 1.5” D 242 Overall good condition. Old glue throughout each of the outer edges and a piece of old tape remnants in the upper edge, at left, not affecting the image. Very fine craquelure in the yellow pigment of the gouache, at center. The sheet is loose but matted. Framed under glass: 15” H x 18” W x 1” D 243 Each in overall good condition with dust accumulation and wear commensurate with age and use. Each with fading to face. Small tray with a few stitch losses verso, near lower edge. Each with integral hanging loop verso. 244 Each in overall good condition with dust accumulation, light soiling, and wear commensurate with age and use. Each with fading to face. Largest with scattered areas of light shelf wear, a few stitch losses and a couple of areas of adhesive residue verso. Each with integral hanging loop verso. 245 Overall good condition with dust accumulation, light soiling, and wear commensurate with age and use. With fading to face. Faint spots to center interior. Scattered areas of shelf wear and a few stitch losses verso. 246 Each in overall good condition with dust accumulation and wear commensurate with age and use. Each with fading to face. Small tray with scattered areas of rubbed soiling, especially to rim. Each with integral hanging loop.

248 Each in overall good condition with dust accumulation, light soiling, and wear commensurate with age and use. Each with varying degrees of fading to face. Star motif tray with light shelf wear to base. Turtle tray with dark surface soiling to exterior near top edge. 249 Overall good condition. A 1” horizontal tear in the right shoulder of the horse. A 1” unobtrusive vertical tear at the upper left corner and a 1.5” flattened crease extending from the upper right edge, both not affecting the image. Framed under glass: 21” H x 16.75” W x 2” D 250 Overall good condition. A 1.5” vertical tear and a 1.5” flattened crease, both extending from the upper right edge and not affecting the image. A 0.75” x 0.5” pale stain and pea-sized or smaller areas of staining, all scattered in the upper right quadrant. A dime-sized area of reverse staining in the lower left quadrant. Framed under glass: 21” H x 17” W x 1.75” D

255 Each in overall good condition with dust accumulation and wear commensurate with age and use. Each with varying degrees of fading to face. Larger flat tray with three stitch losses to rim, and a few scattered stitch losses to exterior base. Each tray with hanging loop, one is of hide. Bowl with a couple of single stitch losses to interior base and to exterior, and shelf wear to base. Minor wear and stitch losses to one handle. 256 Each in overall good condition with dust accumulation, light soiling, and wear commensurate with age and use. Each with varying degrees of fading to face. Wedding plaque with one stitch loss to rim. 257 Overall good condition with dust accumulation, light soiling, and wear commensurate with age and use. Shelf wear to base. Slight fading to interior. 258 Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. Blacklight: No evidence of restoration. Frame: 14” H x 16” W x 2” D 259 Visual: Overall good condition. Dust accumulation commensurate with age.

251 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 18” H x 21” W x 2” D

Frame: 24” H x 30” W x 2” D

260 Overall good condition with later restoration to and updated end papers with tipped in first free end paper. Stamped to title page and various other pages ex libris: Artillery School Library / Fort Monroe VA; further stamped: E.F.F. Sargent. Mild bumping to corners and spine ends and rubbed wear to boards and board edges. Foxing throughout. Includes a Mylar cover.

252 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 30” H x 34” W x 1.5” D 253 Overall good condition with dust accumulation and wear commensurate with age and use. Slight fading to face. 254 Each in overall good condition with dust accumulation and wear commensurate with age and use. Each with very slight fading to face.

261 Each in overall good condition with dust accumulation and wear commensurate with age and use. Each with fading to face. Butterfly plaque with some fading verso. Smaller plaques each with a few scattered minor breaks to sticks at rim. Large plaque with a few raised stitches verso.

Condition Reports

247 Each in overall good condition with dust accumulation, light soiling, and wear commensurate with age and use. Each with fading to face. Some with scattered single stitch losses, mostly verso. Each with integral hanging loop verso.

559

262 Each in overall good condition with dust accumulation and wear commensurate with age and use. Small items with very light fading to face. Each bowl with fading to face and with minor shelf wear to base. Medium bowl with small spot of residue to interior near base. Large bowl with small discreet hole to base, likely from display method.

269 Overall good condition with dust accumulation and wear commensurate with age and use. Slight fading to interior. Hole to center, likely from previous display. Small hole near rim. One small label to exterior, with remnants of another elsewhere. A few stitch losses to base. Scattered spots to exterior, including small spots ot paint residue.

263 Each plaque in overall good condition with dust accumulation and wear commensurate with age and use. Each plaque with varying degrees of fading to face. Larger katsina plaque with slight distortion to rim, from hanging method. Two plaques with small discreet holes near center, likely from hanging nails. The rattle with general darkening and scattered scuffs and general minor wear commensurate with age.

270 Overall good condition with dust accumulation and wear commensurate with age and use. A couple of single stitch losses to rim. Scattered subtle single stitch losses overall. Discreet hole to center, likely from previous display. Very slightly slumped or out of round.

264 Each glass and the pitcher in overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. The wood tray with scattered minor scuffs, scratches, and knicks throughout. As well, there is surface grime and dust present on each piece of the set. 265 Overall good condition with dust accumulation and light wear commensurate with age and use. A couple of single stitch losses to exterior. Discreet pinhole below rim opposite terminal. A few white marks, likely paint, to base exterior. Original inventory label to base.

Condition Reports

266 Overall good condition with dust accumulation and light wear commensurate with age and use. A single stitch loss to rim. Scattered single stitch losses to interior and exterior. A few scattered faint stains/ darker marks to interior. Green marks, likely paint, to exterior rim edge of one section. Original inventory label to base.

560

267 Overall good condition with dust accumulation and wear commensurate with age and use. Two stitch losses to interior near center. A few scattered stitch losses to exterior. A few scattered small spots. Slightly out of round. 268 Overall good condition with dust accumulation and light wear commensurate with age and use. Two discreet pinholes, one two rods below rim, the other near the base. A few scattered single stitch losses to exterior, approximately six. White residue to a small area of one exterior side. Original inventory label to base.

271 Overall good condition with dust accumulation and wear commensurate with age and use. A couple of small faint pink marks to interior side near base. 272 Visual: Overall good condition. A 2” vertical white surface scuff along the leg of the female figure in the lower left quadrant. Blacklight: A pea-sized area of touch-up on the right shoulder of the standing figure in the upper left quadrant. Frame: 17.5” H x 33” W x 2” D 273 Overall good condition with shelf wear, scattered scuffs, scratches, and inherent firing flaws commensurate with age. Shows signs of use. A 0.75” chip to rim and a 3” L vertical hairline fracture issuing from rim. Scattered areas of surface clouding and light abrasion overall. 274 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Scattered minor chips to carved edges and notably to top of one avian motif. No evidence of restorations under blacklight. 275 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With previous retailer’s price to underside. 276 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Some scattered scratches to interior of bowl. The underside with previous seller’s price in graphite.

278 Overall good condition with shelf wear, scattered minor scuffs, light scratches, and inherent firing flaws commensurate with age. A few scattered minor chips to rim, and a couple of areas of rubbed wear/light scratching to rim interior. No evidence of restorations under blacklight. 279 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 280 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The Suazo seed pot with sticker ghost to underside. 281 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Minor scuffing to the widest circumference areas of the vessel. With a 0.75” repaired area of the rim with subsequent chip. Sticker ghost to underside. 282 Overall good condition with shelf wear, scattered minor scuffs and scratches, and inherent firing flaws commensurate with age. With a pea-sized chip to the rim and adhesive residue to underside. 283 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With previous retailer’s price tag to underside. 284 Each overall good condition with shelf wear, scattered minor scuffs and scratches, and inherent firing flaws commensurate with age. The bowl with areas of eroded slip and subsequent surface cracks to the glaze 285 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. One with sticker ghost to underside. 286 Overall good condition. Dust accumulation commensurate with age. Not examined out of the frame.

287 Overall good condition. An unobtrusive pinheadsized fleck of blue pigment near the seated figures in the lower right quadrant. The paper laid to board is affixed to the overmat with four pieces of tape on the verso of the board. Framed under glass: 25” H x 30.75” W x 1.5” D 288 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 33” H x 25” W x 2” D 289 Overall good condition with dust accumulation, minor scuffs, and darkening/oxidation to the bronze commensurate with age. 290 Overall good condition. Full margins with deckled edges. The sheet is hinged to the overmat in two places with white hinging tape along the verso of the upper margin edge. Framed under Plexiglas: 33.5” H x 26.5” W x 2” D 291 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 292 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 293 Overall good condition with shelf wear, scattered minor scuffs and scratches, and inherent firing flaws commensurate with age. With a repair to one of the fox figure’s ears. 294 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. 295 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 296 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. One with previous retailer’s notes in graphite to the underside.

Condition Reports

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

Framed without glazing: 18” H x 18” W x 1.75” D 561

297 Overall good condition. With margins. Pale light staining. Not examined out of the frame. Framed under glass: 20” H x 22.5” W x 1.5” D 298 Overall good condition. Pale mat burn along the extreme edges. Minor creasing at the upper and lower edges. Not examined out of the frame. Framed under glass: 18.5” H x 16” W x 1.5” D 299 Overall good condition. With wide margins and deckled edges. A good impression. Pale light staining. Two pieces of old tape affixed to the verso of the sheet. Hinged to the back mat by two pieces of Japanese tissue to the verso of the upper left and right sheet edges. Framed under glass: 12” H x 14.25” W x 1” D 300 Overall good condition. With margins. A good impression. Scattered pinhead-sized foxmarks in the upper half of the image and the upper margin. Not examined out of the frame. Framed under glass: 12.75” H x 14” W x 1.25” D 301 Overall good condition. With margins. Pale light staining. Not examined out of the frame. Framed under glass: 15.5” H x 17.25” x 1.75” D

Condition Reports

302 Overall good condition. With margins. Areas of pale staining in the upper portion of image and margin, the largest measuring approximately dime-sized in the upper right quadrant of the image. Hinged to the back mat by two pieces of Japanese tissue on the verso of the upper left and right sheet edges.

562

Framed under glass: 14.75” H x 16.5” W x 1.25” D 303 Overall good condition commensurate with age. With Velcro mounting strip verso. 304 Overall good condition with dust accumulation, shelf wear and wear to painted surfaces commensurate with age. Feathers with wear to tips. Base: 1.5” H x 10.75” W x 10.25” D

305 Overall good condition with dust accumulation, shelf wear and wear to painted surfaces commensurate with age. Feathers with wear to tips. 306 Overall good condition with dust accumulation, shelf wear and wear to painted surfaces commensurate with age. Feathers with wear to tips. Tableta with three clean breaks/separation to stepped elements. Hanging loop verso. 307 Visual: Overall good condition. Dust accumulation and grime commensurate with age. Flecks of pigment loss scattered mainly in the outer edges, and primarily along the left edge. Blacklight: No evidence of restoration. Frame: 20” H x 26” W x 1.5” D 308 Overall good condition with shelf wear, scattered scuffs, scratches, craquelure, and inherent firing flaws commensurate with age. Rim with scattered chips and flakes. A few scattered areas of minor pitting from firing. A 1.5” hairline to interior. 309 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With loss to the designs and glaze near the bottom third of one design from use. Scattered small chips to the rim. 310 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age and use. Several small chips to the ceramic rim as well as glaze flaking/minor losses throughout the body, heavily concentrated at the rim. 311 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Allover soiling and rubbed wear to the painted details and white ground from age and use. With a pea-sized chip to rim. Previous retailer’s price and faint sticker ghost to underside. 312 Overall good condition with shelf wear, scattered minor scuffs, surface grime, and inherent firing flaws commensurate with age. With a 3.25” hairline crack emanating from rim. Faint smoke clouding to underside from use.

314 Overall good condition with shelf wear, scattered scuffs, overall minor soiling and rubbed wear to the decorations, and inherent firing flaws commensurate with age. The underside with previous dealer’s marking and a sticker ghost. 315 Overall good condition with light soiling, shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. A few scattered small chips to exterior. Scattered small areas of craquelure to interior bowl, and a small area of buff slip to interior, possible chip repair. With inventory number to base: 2743. Adhesive label residue to base. 316 Overall good condition with light soiling, shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Scattered small flakes and tiny chips to rim. A large flake to exterior, below one frog foot. Scattered yellow spots to interior and to exterior foot, possibly wax. 317 Each in overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. The larger with loss to footed base, 1 “ L. The smaller with a few scattered small chips, minor pitting overall from firing and with fire clouding/scorching to base. Previously repaired break to one ear. 318 Each in overall good condition with shelf wear, scattered scuffs, scratches, and inherent firing flaws commensurate with age. Two with scorch marks to base. Flaking and chips to ears. Owl to right with hairline fracture to back of neck. Two with repaired breaks to beaks, and owl on stand with further repaired break to body at lower front. Owl on stand securely attached to mounting screw. 319 Each in overall good condition with light soiling, shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Some with label residue to base. Acoma owl with wear to feather finelines and a small chip to upper tail.

320 Each in overall good condition with dust accumulation, shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. The second with wear to front center feather lines, and minor flaking to tail. 321 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The handled jar with some smoke-clouding, chipping to rim and allover scattered losses to the glaze. The frog jar with allover rubbed wear to decorations, a few small chips to rim, and faint illegible writing to underside. The ashtray with scattered minor wear to the interior decorations and a small graphite marking to underside reading “OY.” 322 Overall good condition with dust accumulation and light wear commensurate with age and use. Base with old inventory number in black. 323 Overall good condition with dust accumulation and light wear commensurate with age and use. Base with old inventory number in black. A small drop of adhesive residue to base. 324 Overall good condition with dust accumulation and light wear commensurate with age and use. Base with old inventory number in black. A single stitch loss to interior at base edge. 325 Overall good condition with dust accumulation and light wear commensurate with age and use. Base with old inventory label. Shelf wear to base. A few faint white marks to exterior side in one area. 326 Overall good condition with dust accumulation and light wear commensurate with age and use. A couple of faint tiny marks to exterior, one red and one green. Base with old inventory number in black. 327 Overall good condition with dust accumulation and light wear commensurate with age and use. Base with old inventory number in black. A single stitch loss to exterior, near base, at bottom of zigzag band. 328 Overall good condition with dust accumulation and light wear commensurate with age and use. Base with old inventory number in black. Approximately three stitch losses to exterior, two to base and one five rods from rim. Basket slightly slumped. A small faint green mark to exterior near rim.

Condition Reports

313 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Scattered instances of rubbed wear loss or painted flaws to white paint of kiva stepped rim and allover scattered losses to black painted details. Some allover smoke clouding to undersides and side including two 1.5” areas.

563

329 Overall good condition with dust accumulation and light wear commensurate with age and use. Base with old inventory number in black. Approximately one stitch loss to interior, eight rods from rim and one to exterior, eight rods from rim at terminal.

338 Overall good condition with dust accumulation and light wear commensurate with age and use. A few scattered single stitch losses to exterior. Light shelf wear and ink residue to base. With original inventory label to base.

330 Overall good condition with shelf wear, scattered scuffs, scratches, and inherent firing flaws commensurate with age. Scattered small chips and flakes to rim, largest 1” L. Scattered areas of fire clouding. Felt pads to base.

339 Overall good condition with dust accumulation and light wear commensurate with age and use. A couple of stitch losses to rim. Scattered single stitch losses to interior and exterior. Shelf wear and faint red marks to base. Base with hole to center.

331 Overall good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. With a 7” stable crack to the base. With allover smoke clouding and minor soiling, concentrated at the rim and widest portions of the jar.

340 Overall good condition with dust accumulation and wear commensurate with age and use. Rim with a few scattered single losses to tops of warp sticks, as well as a section 1” L. With original inventory label.

332 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. One side with 5” x 5” area of scattered erosion, possibly inherent in the production of the jar. 333 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

Condition Reports

334 Overall good condition with light soiling, shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Minor pitting overall from firing. A few scattered flakes/chips to slip at rim. Label residue and graphite marks/numbers to base.

564

335 Overall good condition with dust accumulation and light wear commensurate with age and use. A couple of subtle stitch losses to rim. A few scattered single stitch losses to interior. Shelf wear and scatteres stich losses to base, largest area: 0.5” L. Felt pads to base. White residue/paint to exterior at one edge section. Original inventory label to base. 336 Overall good condition with dust accumulation and light wear commensurate with age and use. A few stitch losses to exterior. Light wear to base. With original inventory label to base. 337 Overall good condition with dust accumulation and light wear commensurate with age and use. A few scattered single stitch losses overall. A small discreet hole just below rim, and to center, likely for previous display. With original inventory label to base.

341 Full margins with deckled edges. A 9.5” horizontal crease along the upper margin edge, primarily visible in raking light. Scattered areas of foxing, primarily in the blank of the upper right and lower left of the image. Remains of old tape staining showing on the verso of the vertical and upper margin edges. The platemark partially broken through in places and reinforced with Japanese tissue on the verso. Small and occasional areas of surface skinning and tears in the margins, not affecting the platemark and image. Hinged to the back mat by three pieces of Japanese tissue on the verso of the upper sheet edge. Framed under glass: 15.75” H x 21.5” W x 1” D 342 Overall good condition. With wide margins. The left margin edge slightly trimmed unevenly. Pale light staining in the margins. Minor time staining. Pinpoint-sized or smaller foxmarks, primarily in the outer margin and platemark edges. Three handling creases with one in the upper right margin corner, left margin edge, at center, and the lower right margin corner, each approximately measuring 3.5” long. Hinged to the back mat with white artist’s tape in two places on the verso of the upper margin edge. Framed under glass: 13.25” H x 12.5” W x 0.75” D 343 Overall good condition. With margins. Scattered areas of pinhead-sized foxmarks primarily in the upper and lower margins, and a few in the lower edge of the image. Not examined out of the frame. Framed under glass: 16” H x 19” x 1” D

Framed under Plexiglas: 15.25” H x 19.25” W x 1.5” D 345 Overall good condition. With margins. A rich impression with carefully directed plate tone. Two unobtrusive pinhead-sized areas of foxing in the lower margin corners. Minor light staining. Hinged to the back mat with two pieces of Japanese tissue on the verso of the upper left and right sheet edges. Framed under glass:15.75” H x 17.25” W x 1” D 346 A good impression. With margins, and unevenly trimmed along the upper and lower margin edges. Traces of old staining, skinning, and slight surface scuffs, all in the margins, and not affecting the image. A few vertical tears at the upper and lower margin edges, backed with Japanese tissue, and not affecting the image. Hinged to the back mat by two pieces of Japanese tissue on the verso of the upper left and right sheet edges. Framed under glass: 17.25” H x 21.25” W x 1” D 347 Overall good condition. Full margins with deckled edges. A good impression. Light staining throughout. Old tape staining across the upper edge of the sheet. Hinged to the back mat with two pieces of Japanese tissue on the verso of the upper left and right sheet edges. Framed under glass: 16.75” H x 20.75” W x 1.25” D 348 Overall good condition. Minor light staining, primarily in the upper and lower sheet edges. Handling creases scattered throughout. Not examined out of the frame. Framed under glass: 16.25” H x 20” W x 1.25” D 349 Condition: Overall good condition. With wide margins. A good impression. Minor time staining primarily along the extreme left and right margin edges. Hinged to the back mat by two pieces of Japanese tissue on the verso of the upper left and right sheet edges. Framed under glass: 17” H x 17.75” W x 1” D

350 Overall good condition with dust accumulation and light wear commensurate with age and use. Approximately three vertical splits to rim, longest: 0.625” L. Scattered stitch losses to rim terminal. Light shelf wear and a couple of stitch losses to base. Slightly out of round. With original inventory label. 351 Overall good condition with dust accumulation and wear commensurate with age and use. A couple of stitch losses to rim at terminal. One stitch loss to base. Scattered stitches with loss of top layer. With original inventory label. 352 Overall good condition with dust accumulation and light wear commensurate with age and use. Scattered stiches with loss to top layer. Scattered stitch losses to the lid rim. With original inventory label. 353 Overall good condition with dust accumulation and wear commensurate with age and use. 354 Overall good condition with dust accumulation and wear commensurate with age and use. With stitch losses to rim at terminal end, 1.25” L. 355 Overall good condition with dust accumulation and wear commensurate with age and use. A couple of stitch losses to each narrow raised band at rim and crown. Clear adhesive residue to the first row of the rim at the top edge and to a couple of smaller sections of the interior three rows below rim. 356 Each in overall good condition with dust accumulation and wear commensurate with age and use. The smaller with loose stitches to terminal end. The larger slightly distorted/out of round, with scattered stitch losses to rim and an old inventory label. 357 Overall good condition with dust accumulation and wear commensurate with age and use. 358 Overall good condition with dust accumulation and wear commensurate with age and use. 359 In poor condition. Issues include but not limited to: rim and adjacent rows with multiple breaks and several losses, some retained; basket distorted and compressed in form.

Condition Reports

344 Overall good condition. With wide margins. A good impression. Minor mat staining to the margins. A 2.75” crease at the upper corner of the right margin. A pinhead-sized fleck of dark pigment in the lower margin, at center. Hinged to the back mat by three pieces of scotch tape on the recto of the upper margin edge, at center, and the upper left and right margin corners.

565

360 Visual: Overall good condition.

361 Visual: Overall good condition.

367 A rich impression with considerable plate tone. Sheet without margins. Scattered pea-sized pale staining showing mostly near the upper and right edges. A quarter-sized area of the same discoloration showing below the horse at the far left of the image. Hinged to the back mat of the verso of the upper sheet edge and with slight traces of old hinging showing at the extreme upper right and left corners, recto.

Blacklight: No evidence of restoration.

Framed under Plexiglas: 11.25” H x 12.5” W x 1” D

Frame: 32” H x 38” W x 2.25” D

368 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. A few areas of scattered minor pitting from firing. A couple of faint scratches to sides.

Blacklight: No evidence of restoration. Frame: 21.25” H x 27” W x 2” D

362 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 21.25” H x 27.25” W x 1” D 363 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 17.5” H x 14.5” W x 0.75” D 364 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 14.75” H x 11.75” W x 1” D 365 Overall good condition. A good impression. Not examined out of the frame.

Condition Reports

Framed under glass: 22.25” H x 15” W x 1.5” D

566

366 Overall good condition. Full margins with deckled edges. A soft 5” diagonal crease and scattered pinhead-sized pale foxing in the upper margin, at left. An uneven plate indentation along the extreme left margin edge. Small pieces of clear tape along the upper and lower margin edges, at center, and each of the margin corners, except the upper right margin corner, all verso. Unframed

369 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. A small deeper scratch to lower area below motifs. 370 Overall fair condition with dust accumulation, shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Scattered larger scratches, to fornt and sides. A Y-shaped or threebranched hairline fracture to lower curved area of reverse: 6.6” L, with vertical part 1.25” H. With a 2” Dia. round retouched area to canteen point. Added corded strap. 371 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Scattered pitting throughout the canteen. Repaired breaks to one handle. 372 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. A few scattered pinholesized white marks to the red base. 373 Each in overall good condition with shelf wear, scattered scuffs, scratches, and inherent firing flaws commensurate with age. Each with label residue to base. The first with hairline fracture to neck of spout, 1.5” L. The second with heavier rubbed wear overall, scattered areas of craquelure, and a small curved hairline to upper front, 0.5” L. The third with a small chip to spout, and a few scattered single minor chips/pits.

375 Overall good condition with shelf wear, scattered minor scuffs, mild soiling, and inherent firing flaws commensurate with age. Two pin-sized chips to braided handles. 376 Overall good condition with shelf wear, scattered scuffs, scratches, and inherent firing flaws commensurate with age and use. With scattered areas of flaking overall. With pea-sized chip to outer edge of spout. 377 Each in overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. The first with scattered minor flaking to top front near neck, and rubbed wear to lugs. Interior with two corncobs. The second with a 1.75” L hairline across left shoulder below lug hole, and a 1” L hairline to one scallop/tab just below same lug. The third with a few scattered minor pinhole-sized marks to front, and a minor chip near one lug. 378 Each in overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. The Navajo canteen with evidence of restoration to both lug handles under blacklight. Zia canteen with label residue verso. Maricopa canteen with two pea-sized chips to rim of spout, and scattered scratches to center area on each face, with a larger chip to one side near bottom lug. 379 Overall good condition with shelf wear, scattered minor scuffs, soiling, and inherent firing flaws commensurate with age. With some scratching to both sides, concentrated toward center of figure. Scattered rubbed wear and bleeding to decorations. Two pea-sized chips to the rim. 380 Each in overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Each with added leather strap or cord.

381 Overall good condition with dust accumulation, shelf wear, scattered minor scuffs, scratches, craquelure, and inherent firing flaws commensurate with age. Scattered ares of flaked glaze, especially to rim of spout and near one handle. With a corn cob inserted into spout, and one inside pot. 382 Each in overall good condition withdust accumualtion, shelf wear, scattered minor scuffs, light scratches, and inherent firing flaws commensurate with age. Leather strap to Jemez canteen is perished. 383 Overall generally good condition. With margins. A good impression with rich platetone. Light staining showing in the margins as well as through to the verso. Hinged to the back mat with archival tape from the verso of the upper margin corners. Framed under glass: 16.5” H x 21.5” W x 0.5” D 384 Overall good condition. With wide margins, unevenly trimmed along the lower edge. A rich impression with touches of burr on the drypoint. Faint traces of old mat staining in the margins. Several touches of old adhesive at the extreme upper margin edge. Two old linen hinges as well as the current archival tape at the verso of the upper margin edge for hinging the sheet to its overmat. Framed under glass: 15.5” H x 21” W x 1.25” D 385 Overall good condition. Full margins, at least at the upper and lower edges. A rich and velvety impression, with platetone. Pale traces of old staining showing in the margins. Two vertical edge tears in the lower margin, each backed with tissue Japan and not affecting the plate. A pinhole and inky finger print in each of the margin corners. Two old linen hinges at the verso of the upper margin edge. The sheet is loose, secured to the back mat with clear archival corners. Framed under glass: 18” H x 25” W x 1” D 386 Overall good condition. With margins. A good impression. Time staining along the extreme margin edges. Not examined out of the frame. Framed under glass: 20.5” H x 16.5” W x 0.75” D

Condition Reports

374 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Scattered minor chips throughout the body of the canteen.

567

387 Overall good condition. A good impression. With margins, and deckled edges with trimmed vertical margins. Hinged to the overmat with tape along the verso of the sheet edges and corners. Framed under glass: 18” H x 20” W x 1” D 388 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 389 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 390 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 391 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Two with minor rubbed wear to the signatures. 392 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The plate with previous retailer’s price and two pea-sized chips to the slip glaze of the underside.

Condition Reports

393 Each overall good condition with shelf wear, scattered scuffs, and inherent firing flaws commensurate with age. The smaller with allover scattered scuffs and scratches and smoke clouding to the bottom. As well with a 2.5” crack to the rim. The larger with scattered pea-sized chips to the glaze and allover minor soiling and a 1.25” scratch. As well with mounting putty to the underside.

568

394 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With two sticker ghosts to underside. 395 Each in overall good condition with dust accumulation and light wear commensurate with age.

396 Each in overall good condition with dust accumulation, shelf wear, scattered minor scuffs, scratches, small flakes, and inherent firing flaws commensurate with age. Each with label residue to base. Large bowl with a small white mark to exterior below rim. Scattered areas of faint craquelure and white residue to exterior lower section, and scattered dark marks to interior base. Low bowl with a few scattered deeper scratches and bloom to rim area. One small vase with deep scratch to shoulder and a 1.25” hairline fracture issuing from rim. Wide vase with scattered deeper scratches to waist. Large bowl with felt bads to base. 397 Each in overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age and use. Some with areas of rubbed wear to motifs. Many lacking stoppers to base. A few with spices present. 398 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 26.5” H x 22.5” W x 3.5” D 399 Visual: Overall good condition. Minor dust accumulation commensurate with age. Blacklight: No evidence of restoration. Frame: 21” H x 18” W x 3” D 400 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 24” H x 20” W x 1” D 401 Overall good condition. Minor dust accumulation commensurate with age. 402 Overall good condition with minor scuffs and dust accumulation commensurate with age. 403 Overall good condition. Not examined out of the frame. Framed under glass: 15.5” H x 14” W x 1” D

404 Overall good condition. Not examined out of the frame.

413 Each overall good condition with wear, dust accumulation, and minor scuffs commensurate with age.

Framed under glass: 20” H x 17.4” W x 1” D

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

Framed under glass: 20.75” H x 17.25” W x 1.5” D 406 Overall good condition. Hinged to the overmat with white tape along the upper edge of the illustration board. Frame: 35.5” H x 36.75” W x 1.5” D 407 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. One with faded and rubbed signature to underside. Each with scattered very minor losses to the slip paint designs. 408 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With scattered minor instances of rubbed wear and losses to the slip glaze, concentrated on the sides of the largest vase. 409 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Scuffed wear to one corner of motif band. A few scattered long scratches. A couple of small dents/pits to one side, possibly from firing. Label residue to base. 410 Overall good condition with shelf wear, scattered minor scuffs and scratches, and inherent firing flaws commensurate with age. With scattered pin and peasized chipped losses to the decorations and the rim. 411 Overall good condition with dust accumulation and light wear to feathers. Scattered rubbed wear to base and lower edges, with loss to chips. Interior with watermark to base. 412 Overall good condition with wear, dust accumulation, and scattered minor scratches and scuffs commensurate with age. A pea-sized scuff to the figure’s nose. Three scratches to the midsection of the figure, the largest 0.75” long.

415 Visual: Overall good condition. Dust accumulation commensurate with age. Blacklight: No evidence of restoration. Frame: 17.5” H x 21.5” W x 2” D 416 Visual: Overall good condition. Dust accumulation commensurate with age. An old damp stain in the upper left corner of the linen-covered slip, although this does not appear to have reached the artwork. Blacklight: No evidence of restoration. Frame: 22.25” H x 18.5” W x 2” D 417 Overall good condition with scuffs, dust accumulation, and darkening/oxidation to bronze commensurate with age. The reins possibly incorrectly attached or detached from intended position. 418 Overall good condition. Oxidation to the bronze, dust accumulation, minor scuffs and scratches, and the figure’s whip is slightly bent, all commensurate with age and wear. 419 Overall good condition. Oxidation to the bronze, dust accumulation, and minor scuffs and scratches, all commensurate with age and wear. 420 Overall good condition. The full sheet with deckled edges. A dime-sized area of very pale and unobtrusive staining in the upper left corner. The sheet is loose, not matted. Unframed 421 Overall good condition. Full margins with deckled edges. The colors fresh. Time staining along the extreme margin edges. Scattered handling creases in the margin edges, not affecting the image. Bands of pale staining along the left and right sheet edges, verso. The sheet is loose, not matted.

Condition Reports

405 Overall good condition. Unobtrusive and occasional specks of grime in the white pigment of the lower left quadrant. Not examined out of the frame.

Unframed 569

422 Overall good condition. Full sheet with deckled edges. The colors fresh. The sheet is framed floating and hinged to the back mat. Framed under Plexiglas: 42.25” H x 30.25” W x 2” D 423 Overall good condition. Full margins with deckled edges. The colors fresh. Minor time staining along the extreme margin edges. Two approximately 3.5” diagonal creases in the upper margin edge, not affecting the image. The sheet is loose, not matted.

429 Overall good condition. Scattered pinhead-sized areas of grime, commensurate with age. Blacklight: No evidence of restoration.

424 Overall good condition. Full margins with deckled edges. The colors fresh. Minor time staining along the extreme margin edges. A 2” diagonal crease in the upper left margin corner. A 2” vertical surface scuff in the blue background of the image, in the lower right corner. Uneven backboard staining, verso. The sheet is loose, not matted.

Frame: 41.25” H x 41.5” W x 2.25” D

425 Overall good condition. Full margins with deckled edges. The colors fresh. Minor and slightly uneven time staining along the extreme margin edges. Handling creases scattered along the margin edges and corners, the longest measuring 2.25” diagonally in the upper right margin corner. Pea-sized or smaller areas of scattered foxing, verso. The sheet is loose, not matted.

Condition Reports

Framed under glass: 21” H x 15.75” W x 1.25” D

Unframed

570

428 Overall good condition. Areas of pale staining, primarily in the upper and left edges, handling creases, and rippling, all commensurate with age and the paper used. The sheet is framed floating and mounted to the back mat. Not examined out of the frame.

430 Visual: Overall good condition. Blacklight: No evidence of resoration. Unframed 431 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Heavier scuffing throughout the exterior, including white, blue, black and orangecolored scuffs and scrapes to the glazed surface. 432 Overall good condition. The full sheet with deckled edges. The colors fresh. The sheet is framed floating and hinged to the back mat. Not examined out of the frame.

Unframed

Framed under Plexiglas: 37.25” H x 46” W x 1.5” D

426 Overall good condition. Full margins with deckled edges. The colors fresh. Minor time staining along the extreme margin edges. The extreme margin corners slightly dog-eared. The sheet is loose, not matted.

433 Overall good condition. Presumably the full sheet with deckled edges. The colors fresh. The sheet is framed floating and hinged to the back mat. Not examined out of the frame.

Unframed 427 Overall good condition. Full margins with deckled edges. The colors fresh. Uneven time staining along the margin edges, primarily in the upper margin edge. Two 1” diagonal creases in the upper and lower left margin corners. Pea-sized or smaller foxmarks scattered throughout the reverse of the sheet. The sheet is loose, not matted. Unframed

Framed under Plexiglas: 39.25” H x 49” W x 2.25” D 434 Overall good condition. The full sheet with deckled edges. The colors fresh. The sheet is framed floating and hinged to the back mat. Not examined out of the frame. Framed under Plexiglas: 40.25” H x 48” W x 1.5” D

Framed under Plexiglas: 43.25” H x 50.5” W x 1.25” D 436 Each in overall good condition with dust accumulation, shelf wear and rubbed abd chipped wear to painted surfaces commensurate with age. Scattered wear and a few losses to feathers. Oxidation to metal components. Overall soiling to leather components. Largest with small fracture and loosening to top horn ornament.

443 Each in overall good condition with dust accumulation, shelf wear, and scuffs commensurate with age. The Eagle dancer with scattered wear to fur and feathers, with breaks to some feathers. Scattered small marks and yellowing to feathers overall. 444 Overall fair to good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The upper propeller with one broken blade, which has been retained with the lot. One stretcher at the base is detached. Joints and junctures are shaken and some are loose. Allover paint is cracked and the wood is weathered, possibly intentionally “antiqued.” This item is sold “as-is.”

437 Overall good condition with dust accumulation and typical signs of wear commensurate with age. Scattered areas of minor moth grazing to the wool blanket. Dust and grime accumulation to the wood base.

445 Overall good condition. With margins. A few pinhead-sized flecks of occasional grime scattered at the center of the image.

438 Overall good condition with dust accumulation and wear commensurate with age and use. Feathers with light wear and a couple of minor breaks.

446 Overall good condition. Minor light staining. The sheet is framed floating and hinged from the verso of the two upper corners to the back mat. Not examined out of the frame.

439 Each in overall good condition with dust accumulation, light soiling, slight hide discoloration, and wear commensurate with age and use. Fading to painted/pigmented areas. Small hole to dress at lower front. Female with loss of one hair tie. Each on a latter added metal display stand. Not examined off of stands. 440 Overall good condition with dust accumulation, shelf wear and rubbed and flaked wear to painted surfaces commensurate with age. Wear and loss to corn husk “ruff”, and fiber skirt. Break and loss to stem of one brush. Attached to a metal base. 441 Each in overall good condition with dust accumulation and scuffs commensurate with age. Large Shalako katsina with loss to carved feather motif to back, and headdress with adhesive residue from previous repair and missing one feather tab. Crow Maiden figure with repaired break to left wing of headdress, and tiny chip to right wing tip. 442 Each in overall good condition with dust accumulation and wear commensurate with age. Zuni Shalako with scattered losses to small feathers. The Buffalo Dancer with loss to one feather, a small chip to one horn, and a break to bow at top.

Framed under glass: 23.25” H x 23.25” W x 2” D

Framed under Plexiglas: 26.25” H x 22.5” W x 1.5” D 447 Overall good condition with dust accumulation and wear commensurate with age and use. A few single stitch losses to interior. 448 Overall good condition with dust accumulation and wear commensurate with age and use. A couple of single stitch losses overall. Slight fading to exterior. The lid attached to one side of rim with thread stitches. 449 Overall good condition with dust accumulation and wear commensurate with age and use. Approximately seven scattered stitch losses to rim. Scattered single stitch losses to interior. Exterior with mutiple areas of stitch loss, largest: 2” L, and with wear to exterior waist area. Shelf wear to base including scattered stitch losses, largest: 1.5” L. 450 Each in fair to good condition. Issues include but not limited to: The Pomo basket with a few scattered single stitch losses, and lacking four beads. With old inventory label. The Mission basket with scattered stitch losses to rim and overall. A few areas with minor paint residue. A small hole below rim, likely for display.

Condition Reports

435 Overall good condition. The full sheet with deckled edges. The colors fresh. The sheet is framed floating and hinged to the back mat. Not examined out of the frame.

571

451 Each with overall good condition with dust accumulation and light wear commensurate with age and use. The Apache basket with signs of wear, including darkening to one side of the base, from traditional use, and also with a couple of stitch losses to the rim, near the terminal. Additional scattered single stitch losses overall. The Chemehuevi basket with slight fading to the interior. The Modoc with original early inventory tag.

459 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions. Tests for sterling silver.

452 Each in overall good condition with dust accumulation and wear commensurate with age and use. Sand painting with scattered marks. Gourd with light scratches and inherent natural marks and blemishes. Pipe head with a few minor scratches.

461 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions.

453 Each in overall good condition with dust accumulation, shelf wear, scattered scuffs, scratches and inherent firing flaws commensurate with age and use. Pueblo jug with a couple of small chips to rim, Basket with distortion to rim, scattered wear to imbricated stitches, and shelf wear to base. 454 Overall good condition with dust accumulation, light soiling, and wear commensurate with age and use. Scattered minor small stains to leather. Slight distortion to one top corner from use and/or display. A few scattered areas of loose or missing beadwork, primarily to edging. Scattered minor losses to quillwork.

Condition Reports

455 Overall fair used condition with wear and general soiling overall commensurate with age and use. Scattered areas of hair loss to hide. Scattered splits and cracks to hide and losses to fringe. Tradecloth with damage and loss to one section, likely insect damage. Arrows with loss and wear to feathers.

572

456 Overall good condition with light tarnishing and scratches commensurate with age and use. Inlay with scattered abrasions. 457 Overall good condition with light tarnishing and scratches commensurate with age and use. Tests for sterling silver. 458 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions and scattered minor chips/ fleabites. Cuff untested for silver.

460 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions. Most test for sterling.

462 Overall good condition with light tarnishing and scratches commensurate with age and use. 463 Overall good condition with light tarnishing and scratches commensurate with age and use. 464 Overall good condition with light wear and scratches commensurate with age and use. Scattered stones with light abrasions and a few tiny hairlines. Tests for 14k gold. 465 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. One turquoise stone with loss to one pointed end. Slight dent to interior end near terminal. 466 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. Tests for sterling. 467 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. Each tests for sterling. 468 Overall good condition with light tarnishing and scratches commensurate with age and use. Turquoise with scattered light abrasions, matrix and natural surface reaching fracture. One inlay stone with minor crossways hairline fracture. 469 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures.

471 Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. 472 Overall good condition with light tarnishing and scratches commensurate with age and use. Stone with light abrasions and a small discrete nick to one corner. 473 Overall good condition with light tarnishing and scratches commensurate with age and use. 474 Overall good condition with tarnishing, light scratches and wear commensurate with age and use. Discoloration, creasing, and wear to leather. Secondary strap leather pieced together, with loose stitching in places. Scattered conchos with dents. 475 Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Minor chip to crystal tip. 476 Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Minor chip to horse’s tail. Chain with minor distortion to one silver wnd tip. 477 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures. Katsina inlay ring with scattered areas of minor chips and loss to inlay. Red stone floral earrings with added pierced hooks. 478 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions. Pendants test for sterling silver. 479 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions.

480 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. One Naha with minor rubbed wear to underside signature. 481 Each in overall good condition with dust accumulation and wear commensurate with age and use. 482 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The smallest Kahe with previous retailer’s price faintly to underside. The larger Kahe vessels with scattered rubbed wear and minor losses to the slip glaze, concentrated near the upper regions. 483 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The Marcella Kahe vessel with pea-sized chip to the glaze of the underside and some rubbed wear to the signature. 484 Each overall good condition with shelf wear, scattered minor scuffs, scattered minor pitting imperfections to the glaze, and inherent firing flaws commensurate with age. The smaller with sticker ghost to one side. 485 Each in overall good condition with shelf wear, scattered scuffs, scratches, and inherent firing flaws commensurate with age. A few with heavier scuffs/ scratches to sides, and a couple with scattered areas of faint craquelure. Smaller Collateta bowl with three faint hairlines to interior base. Mrs. Honie bowl with old label to rim, rubbed wear to motifs, and a large area of surface flaking/scratching to waist, 1” L x 1.25” H. Each with label or label residue to base or interior. 486 Each in overall good condition with light soiling, shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Many with rubbed wear to motifs. One low bowl with smudge marks.

Condition Reports

470 Overall good condition with light tarnishing and scratches commensurate with age and use. Stone with light abrasions and surface reaching fractures.

573

487 Each in overall good condition with dust accumulation, shelf wear, scattered minor scuffs, small chips, scratches, craquelure, and inherent firing flaws commensurate with age. Some with scattered areas of more extensive scratches. The floral jar with whitish residue to shoulder, a 1” L area of chipped loss to shoulder, and a 1.25” hairline vertical fracture to top edge. The large bird bowl with scattered chips and flakes to rim. The Acoma bowl with darkening overall. 488 Each overall good condition with shelf wear, scattered minor scuffs and scratches, and inherent firing flaws commensurate with age. Each with rubbed wear to the decorations and previous retailer’s stickers and graphic marks to the undersides. 489 Each in overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Wedding vase with white marks to lower section of each side. Each with label residue to base. 490 Each in overall fair to good condition. Issues include but not limited to: dust accumulation, shelf wear, scattered scuffs, small chips, scratches, and inherent firing flaws commensurate with age. Many with minor pitting overall from firing. A few with label residue to base. One bowl with 2.5” fracture to one side issuing from rim.

Condition Reports

491 Each in overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. The first with a few scattered pinhole marks from firing and label residue to base. The second with scattered areas of craquelure and some color variation to finish.

574

492 Each in overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. A few fine scratches to Avanyu motif of first bowl. Retail label to base. The second bowl with a short, deeper scratch to rim, and a small chip below Avanyu. Scattered white marks/scratches to base. With retail label to interior. 493 Overall good condition with dust accumulation, light soiling, and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few small stains and spots to one side; scattered moth grazing overall;

494 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 faint stains/surface marks; scattered small holes to one side near one end, likely moth grazing. 495 Overall good condition with dust accumulation, and typical signs of wear commensurate with age and use. Issues include, but not limited to: light surface soiling overall to each side; fluffiness and light pilling to weave overall.

575

Condition Reports

John Moran Auctioneers, Inc SPECIALISTS

President, Auctioneer Head of Sale, Vice President, Silver, Western, and American Indian Specialist

Jeffrey J. Moran Maranda Moran

Cataloguer, Silver, Western and American Indian Arts

Sally Andrew

Director, Fine Art Specialist, Post-War & Contemporary Design

Jenny Wilson Matthew Grayson

Senior Vice President, Director Trusts & Estates

Morgana Blackwelder, ISA AM

Vice President, Specialist, Silver, Western, and American Indian Arts Maranda Moran Associate Specialist, Fine Art Bobby Cullen Senior Specialist, Furniture & Decorative Arts Angela Past Department Administrator, Fine Art Department Administrator, Furniture & Decorative Arts

Ian Anderson Alek Ellis

Director, Jewelry & Watches Senior Specialist, Jewelry & Watches

Tom Burstein Peggy Gottlieb

Cataloguer, Fine Art Cataloguer, Fine Art Cataloguer, Fine Art Cataloguer, Furniture & Decorative Arts Cataloguer, Furniture & Decorative Arts

Regional Representative, Arizona

Anne Spink Madison Ari Clark Silva Sarah Beaver Grant Stevens

Deborah Davis

CLIENT SERVICES

Office Manager Mario Esquivel Client Services Ella Fountain Finance Administrator Jamie Holthauser Client Services Bryan Ortega

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

MARKETING

Director, Advertising & Marketing PR Manager/Social Media Graphic Designer

PHOTOGRAPHY

Photographer Photographer Photographer Photography Assistant

Stephen Swan Maha Darwish Jean Rapagna Richard Corral Joe Miranda Joseph Corcoran Romero Corral

Nathan Martinez Brenda Smith Brian Olivas

Keith Berson Madison Torres Michael Mizerowski Jacob Baer

TRUSTS & ESTATES

Director, Appraisals Mariam Whitten, ISA AM Administrator, Appraisals Shannon Dailey Administrator, Trusts & Estates Melissa Brownell

FOUNDERS

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

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

BUYER’S PREMIUMS: BUYER’S PREMIUM is calculated at 25% on the first $1,000,000 of the hammer price, plus 20% on any amount between $1,000,001 - $5,000,000, and 15% on any amount above $5,000,001 when paying by cash, check or wire transfer. Credit card payments will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards. Buyers outside of the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside of the United States.

BIDDING INCREMENTS:

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

View Illustrated Catalogue Online @ www.johnmoran.com

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Conditions of Sale These Terms and Conditions of Sale (“Terms“) set out the terms by which the sale or purchase of property at auction through John Moran Auctioneers, Inc. (“Moran”) will be governed. These Terms constitute a legal and binding agreement between You and Moran. 1. AUCTION HOUSE AS AGENT. Except as otherwise expressly stated in writing, Moran acts as an agent for the seller. Thus, any contract for the sale of property through Moran is made between the respective seller and buyer. 2. BEFORE THE AUCTION a. Public Preview. All property is available for inspection by public or private preview according to the auction information posted online and in the catalogue. In many cases, particular lots can be examined in advance by private appointment by contacting a customer service representative at info@johnmoran.com or by dialing 626-793-1833. Prospective buyers are strongly encouraged to personally examine any property in which they are interested. b. Buyer’s Responsibility. Buyers are responsible for determining to their own satisfaction the true nature and condition of any lot prior to bidding. Though buyers are not legally required to inspect lots prior to purchase, failure to do so may constitute a waiver of complaint that an item was not delivered in a condition equal to the existent condition at the auction. c. Property Sold “As Is”: Neither Moran nor the seller provides any guarantee in relation to the nature of the property, or to any errors or omissions in the catalogue or supplemental material, apart from the Limited Warranty stated in Section 5 below. All property IS sold “AS IS.” Condition reports are offered as a courtesy and are typically published in Moran’s catalogue, or online, or can be made available upon request. The absence of a condition report does not imply than an item is free from defects or restoration, nor does reference to particular defects imply the absence of others. 3. AT THE AUCTION a. Admission. Moran’s auction is open to the public, although Moran reserves the right to, in its sole discretion, refuse admission or participation to anyone at any time. The auction may be recorded (visually, aurally, or otherwise) and all participants or attendees at the auction consent to such recording. b. Buyer Registration. Prospective buyers must register with Moran before bidding. Moran may, in its sole discretion, require identification, financial references, or a deposit in advance of buyer eligibility. Registered bidders accept personal liability to pay the purchase price, including the Buyer’s Premium, as described in Section 4(a) below, plus all applicable charges, unless Moran agrees in advance that the bidder is acting as agent on behalf of an identified third party that Moran, in its sole discretion, deems acceptable. In such case, Moran will look to the third party for payment. c. Bidding Guidelines. Bidding, whether in person or by agent, absentee bid, telephone, or internet, constitutes a bidder’s acceptance of these Terms. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer retains the absolute right to reject any bid; withdraw, pass, or divide any lots; combine multiple lots; advance the bidding at their absolute discretion; and—in the case of error or dispute, whether during or after the sale—determine the successful bidder; continue the bidding; cancel the sale; or re-offer and sell the lot in question. Under no circumstances are sellers, or agents acting on their behalf, permitted to bid on their own property. In the event of any dispute after the auction, Moran’s sale record shall be conclusive as to the successful bidder and the price of the successful bid. d. Absentee, Telephone, and Internet Bidding. Moran offers absentee, telephone, and internet bidding as a convenience to clients and does not accept liability for errors or failures to execute bids. Absentee and telephone bids must be recognized by Moran prior to auction day. When identical absentee bids are submitted that become the highest bids at the auction, the bid first received by Moran shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure. e. Reserves. Unless Moran expressly indicates otherwise, lots may be offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve for any lot shall not exceed its published estimate. Moran shall act to protect the reserve by bidding through the auctioneer, who may open bidding on any lot below the reserve by placing a bid on the seller’s behalf. The auctioneer may continue to bid on behalf of the seller up to the reserve amount, either by placing consecutive bids or by placing bids in response to other bidders. Lots without reserves are typically opened for bidding at 50% of their low estimate. In the absence of a bid at that level, the auctioneer may proceed backwards at their discretion or deem the lot unsold if a bid is not recognized. 4. AFTER THE AUCTION a. Payment and Title Transfer. The buyer agrees to pay the sum of the hammer price plus Buyer’s Premium, plus any applicable sales tax. The Buyer’s Premium will be calculated as follows: 25% on the first $1,000,000 of the hammer price, plus 20% on any amount between $1,000,001 and $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check, or wire transfer. Successful bidders using Live Auctioneers or Bidsquare platforms will be charged a Buyer’s Premium calculated as follows: 30% on the first $1,000,000 of the hammer price, plus 25% on any amount between $1,000,001 and $5,000,000, and 20% on any amount above $5,000,000 when paying by cash, check, or wire transfer. Credit card payments 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 within five business days immediately following the auction. The buyer does not acquire title to and may not take possession of the lot until all amounts (including the hammer price, premium, and applicable taxes) due to Moran have been paid in full. b. Collection. Buyers are strongly encouraged to collect purchased items from the sale site at the time of the auction. Packing material and labor are provided free of charge at the sale site during the auction. Packing and handling of purchased lots is undertaken by Moran solely as a convenience to customers. If a buyer opts to use this courtesy packing and handling service, Moran is not liable for damage to property, regardless of cause. c. Storage and Abandonment. Following the auction, uncollected lots shall be relocated to and stored in Moran’s warehouse. Moran shall retain possession of all purchases until full payment has been received from the buyer. Lots remaining uncollected after the fifth business day following the sale, regardless of payment status, are subject to a per-lot daily storage charge of $10.00. In addition to other remedies available by law, Moran reserves the right to impose upon delinquent buyers a separate 1% monthly charge (of the purchase price, or the maximum permitted by law) commencing on the sixth business day after the sale date. If a buyer fails to retrieve a purchased lot within thirty (30) days after the date of sale (the “Retrieval Period”), Moran may, without further notice, (a) continue to store the lot in Moran’s warehouse, or at the warehouse of a thirdparty, subject to the storage charge described above; (b) deliver the lot to the buyer at the buyer’s expense; or (c) sell the lot at auction without reserve at a place and time determined by Moran in its sole discretion.

d. Consequences of Late Pick-Up/Abandoned Property. Notwithstanding the foregoing, Moran has no duty to store any lot indefinitely. Any purchased lot that remains in Moran’s possession sixty (60) days after the Retrieval Period (collectively, ninety (90) days) will be deemed abandoned (“Abandoned Property”) and title to it will pass to Moran. Moran may, in its sole discretion, discard or sell any Abandoned Property and may keep any proceeds from any such sale. Moran may not be held liable for any claims related to Abandoned Property. Moran is not responsible for damage or loss that occurs to Abandoned Property and Moran is not responsible for insuring Abandoned Property after the Retrieval Period. e. Shipping. As a courtesy to buyers, Moran provides a list of preferred shippers who are in the business of transporting antiques and works of art. Buyers are responsible for arranging their own shipping estimates and deliveries. Moran, in its sole discretion and as a courtesy to buyers, may arrange to have purchased lots packed, insured, and forwarded by a third-party shipper at the request, expense, and risk of the buyer. In circumstances where Moran arranges for such third-party services, Moran may apply an administration charge of 15% of that service fee. Moran assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers, even if recommended by Moran. Moran also assumes no responsibility for any damage to picture frames or to the glass therein. f. All Sales Final. Notwithstanding other terms mentioned herein, refunds may be given in Moran’s sole discretion. Refunds requested on the grounds of authenticity must be made within 180 days of the auction and accompanied by a supporting written statement from a recognized authority (defined as a person who has authored, edited, or substantially contributed to a monograph on the artist; a person who has curated, organized, or substantially contributed to a solo exhibition on the artist; or a person who has represented the artist’s estate or someone who represented or worked closely with the artist while they were alive and, in any of the foregoing instances, physically handled works of the period, medium, and subject matter in question during the course of their duties) stating that the object sold is incorrect or not the work of the artist. Dealers, appraisers, and representatives of other auction firms do not qualify as authenticators of individual artists unless they have had such specific involvement with that artist’s work, as specified above, in addition to their daily duties. Refunded lots must be returned to Moran in the same condition as when sold. Moran does not grant extensions to refund considerations based upon authenticity due to shipping delays. There are no exceptions to this refund policy. 5. LIABILITY AND LIMITED WARRANTY a. Liability. The buyer expressly agrees that (i) neither Moran nor the seller shall be liable, in whole or in part, for any special, indirect, or consequential damages, including, without limitation, loss of profits, and (ii) the buyer’s damages, if any, are limited exclusively to the original purchase price paid for the lot. b. Limited Warranty. All property is sold as is. Neither the seller nor Moran or its associates make any representation, express or implied, warranty (including merchantability and fitness), or guarantee in condition, age, size, provenance, medium, signature, inscription, exhibition history, importance, rarity, country of origin, genuineness, historical relevance, monetary or other value, framing or lack thereof, mounting, conservation, coloring, palette, inscription, edition, style, label, or other descriptor. No statement in the catalogue, brochures, website, bill of sale, invoice, any supplementary material, or statements by any Moran employee shall be deemed a warranty, representation or assumption of liability. c. Descriptions. No warranty, whether express or implied, is made with respect to any description contained in this auction or any second opinion. Any description of the items or second opinion is for the courtesy of identifying the items for those bidders who do not have the opportunity to view the lots in person, and no description of items has been made part of the basis of the transaction or has created any express warranty that the goods would conform to any description made by the auctioneer. Color variations can be expected in any electronic or printed imaging and are not grounds for the return of any lot. d. Estimates. All estimates provided are carefully considered opinions of Moran’s specialists and are merely suggested guidelines for interested buyers. Buyers must be aware that all property sold is subject to fluctuating values depending on the subjective interests of collectors and a wide variety of other uncontrollable factors. The lots auctioned may sell at prices above, within, or below estimate. e. Notices, Demands, and Refunds. Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be made (1) in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016 or (2) via email at info@ johnmoran.com. 6. ADDITIONAL MATTERS a. Copyright. The copyright on all images, illustrations, and written material produced by or for Moran for its auction is and will remain at all times the property of Moran. Moran and the seller make no representation or warranty that the buyer will acquire any copyright or reproduction rights to a purchased lot. b. Buyer’s Breach of Conditions. If a buyer fails to comply with any of these Terms, Moran may, in addition to asserting all remedies available by law, including the right to hold that buyer liable for the purchase price, (i) cancel the sale, retaining as liquidated damages any payment made by the buyer; (ii) resell the property without reserve at public auction or privately upon notice to the buyer; or (iii) take such other action as Moran deems necessary or appropriate. If Moran resells the property, the original defaulting buyer shall be liable for the payment of any deficiency between the original sale price and any subsequent mitigation sale, including warehousing, the expenses of both sales, reasonable attorney’s fees, commissions, incidental damages, and all other charges due hereunder. In the event that such buyer pays a portion of the purchase price for any property, Moran’s shall apply the payment received to such property that Moran, in its sole discretion, deems appropriate. Moran shall have the benefit of all rights of a secured party under the Uniform Commercial Code as adopted in the State of California. c. Governing Law. The rights and obligations of the parties with respect to these Terms and the conduct of the auction shall be governed and interpreted by the laws of the State of California. d. Arbitration. Any dispute, claim, or controversy arising out of or relating to these Terms or the breach, termination, enforcement, interpretation, or validity thereof, including the determination of the scope or applicability of this agreement to arbitrate, shall be determined by private arbitration before an arbitrator. The arbitration shall be administered by JAMS pursuant to its Comprehensive Arbitration Rules and Procedures. Judgment on the award may be entered in any court having jurisdiction. This clause does not preclude the parties from seeking provisional remedies in aid of arbitration from a court of appropriate jurisdiction. The parties shall maintain the confidential nature of the arbitration proceeding and the award, including the hearing, except as may be necessary to prepare for or conduct the arbitration hearing on the merits, or except as may be necessary in connection with a court application for a preliminary remedy, a judicial challenge to an award or its enforcement, or unless otherwise required by law or judicial decision. In any arbitration arising out of or related to these Terms, the arbitrator shall award to the prevailing party, if any, the costs and attorneys’ fees reasonably incurred by the prevailing party in connection with the arbitration. If the arbitrator determines a Party to be the prevailing party under circumstances where the prevailing party won on some but not all of the claims and counterclaims, the arbitrator may award the prevailing party an appropriate percentage of the costs and attorneys’ fees reasonably incurred by the prevailing party in connection with the arbitration. e. Severability. Should any of these conditions be deemed unenforceable, invalid, or illegal in any court having jurisdiction, that part shall be severed from these Terms and shall have no effect on the enforceability of the remaining provisions contained herein, which shall remain valid to the fullest extent permitted by law.

SINCE 1969

AUCTIONEERS & APPRAISERS

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