Art of the American West — September 10, 2024 | John Moran Auctioneers by johnmoranauctioneers

AUCTIONEERS & APPRAISERS

September 10, 2024—10am

Est. 1969

55 Years

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Art of the American West

Tuesday, September 10, 2024—10am Sale 287 145 East Walnut Avenue, Monrovia CA 91016

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

Previews:

Friday, September 6th: 12-4pm Saturday, September 7th: 12-4pm Monday, September 9th: 12-4pm Tuesday, September 10th: Doors open 10am

Meet the Team Maranda Moran Vice President, Head of Sale Specialist, Silver, Western & American Indian Art marandam@johnmoran.com Sally Andrew Cataloguer, Silver Jewelry & Decorative Arts sally@johnmoran.com

Grant Stevens Cataloguer, Decorative Arts grant@johnmoran.com

Madison Ari Cataloguer, Fine Art mari@johnmoran.com

Client Services Mario Esquivel Office Manager mario@johnmoran.com

Ella Fountain Client Services ella@johnmoran.com

AUCTIONEERS & APPRAISERS

Est. 1969

55 Years

Robert Moore

(b. 1957) “West of the Tetons,” 1999 Oil on Masonite Signed lower right: R. Moore; signed again, titled, dated, and with the artist’s copyright, all verso 11” H x 14” W $600-800 Provenance: Trailside Galleries, Jackson, WY; Scottsdale, AZ; and Carmel, CA

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Toby Birr

(20th century) Mountain Scene Oil on canvas laid to board Signed lower left: Toby Birr Sight: 7.5” H x 9.5” W $600-800

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Michael Stack

(b. 1947) “Sundown Near Safford Peak,” 2002 Oil on canvas Signed lower left: Michael Stack; titled, dated, and with the artist’s copyright in ink on the frame’s foamboard backing; titled again on two labels affixed verso 12” H x 16” W $1,500-2,000 Provenance: Meyer Gallery, Scottsdale, AZ

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Michael Stack

(b. 1947) “Tucson Mountains at Days End,” 2002 Oil on canvas Signed lower left: Michael Stack; titled and dated in ink on the frame’s foamboard backing 9” H x 12” W $1,500-2,000 Provenance: Meyer Gallery, Scottsdale, AZ

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Matt Smith

(b. 1960) “Distant Light,” 1996 Oil on canvasboard Signed lower right: Matt Smith; signed again, titled, and dated verso 6” H x 10” W $700-900 Provenance: Trailside Galleries, Jackson, WY; Scottsdale, AZ; and Carmel, CA

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Bill Freeman

(1927-2012) “Doe and Two Fawns” Oil on canvas Signed lower right: Bill Freeman ©; titled on a gallery label affixed to the frame’s cardboard backing 20” H x 24” W $1,000-2,000 Provenance: The O’Brien Galleries, Phoenix, AZ

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Gary Niblett

(b. 1943) “The Old North Shack” Oil on canvas Signed lower right: G. Niblett; titled in ink on the stretcher 8” H x 10” W $800-1,200

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Scott Christensen

(b. 1962) Town with mountain background Oil on panel Signed at the lower edge, right of center: Christensen © 8” H x 12” W $1,000-2,000

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Bill Bender

(1919-2016) “In Navajo Country,” 1973 Oil on Masonite Signed and dated near the lower edge, at center:: Bill Bender; titled and inscribed, verso 18” H x 24” W $500-700

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Sheryl Bodily

(b. 1936) “Lonely Stallion” Oil on canvas Signed lower left: Bodily; titled on a gallery sheet affixed to the frame’s foamboard backing 14” H x 18” W $400-600 Provenance: Portnoy Galleries, Carmel, CA

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Gene Speck

(b. 1937) Fence post and barn Oil on Masonite Signed lower right: Gene Speck 12” H x 16” W $400-600

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Gene Speck

(b. 1937) Fenced-in barn, 1972 Oil on Masonite Signed lower left: Gene Speck; dated, possibly in another hand, on the frame, verso 5” H x 7” W $300-500

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Robert Clifford Rishell

(1917-1976) “Summer Shadows” Oil on canvas Signed lower right: Robt. C. Rishell; titled on various labels affixed to the back of the frame 30” H x 40” W $2,000-3,000 Provenance: Zantman Art Galleries, Carmel, CA

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Curt Walters

(b. 1950) “Lukachukai Mountains,” 1980 Oil on canvas Signed and dated lower left: Curt Walters ©; titled on the frame plaque; signed and titled again, and inscribed in black permanent marker on the upper and lower stretcher bars, verso 24” H x 36” W $3,000-5,000

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Curt Walters

(b. 1950) “Summer Afternoon at the Sandia Mountains, New Mexico,” circa 1977 Oil on canvas Signed lower right: Curt Walters; titled and dated by repute 34” H x 50” W $5,000-7,000

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Jack N. Swanson

(1927-2014) “The Guardian” Oil on Masonite Signed lower right: J.N. Swanson; titled on a sheet affixed to the frame’s foamboard backing 18” H x 24” W $2,500-3,500 Provenance: Portnoy Galleries, Carmel, CA

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Jack Hines

(1923-2015) “Horse Gatherers,” 1989 Watercolor on paper Signed and dated lower right: Jack Hines ©; titled on a sheet affixed to the frame’s backing paper Sight: 11” H x 23” W $500-700 Provenance: Portnoy Galleries, Carmel, CA

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A Don Atkinson leather barrel saddle

Late 20th/early 21st century Stamped to fender and each pouch on each side: Don Atkinson / Maker / Kerrville, TX.; two show awards mounted on blanket reading: 3.000 Novice Horse / MCHA / 2005 Made by Don Atkinson (1929-2011), the tooled leather saddle with open stirrups, tie-on straps to front and rear with silvered metal grommets, and front and rear cinches, featuring removeable saddle bags to rear as well as to the horn, together with a horse blanket adorned with two show awards, all set on a wood stand Seat: 15”; Gullet width: 5”; Overall with stand: 47” H x 30.5” W x 20” D; Blanket: 33.5” H x 38” W $1,000-1,500

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Pal Fried

(1893-1976) Bucking bronco Oil on canvas Signed lower right: Fried Pal 30” H x 24” W $1,000-1,500

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Joel Ostlind

(b. 1954) “Hobbled” Oil on Masonite Signed lower left: Ostlind; titled on the artist’s address card affixed to the frame’s backing paper 9” H x 12” W $2,000-3,000

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Joe Abbrescia

(1936-2005) “Splitting Them Up” Oil on Masonite Signed lower left: Abbrescia ©; signed again and titled in ink, verso 11” H x 14” W $800-1,200 Provenance: Kesler Gallery, San Diego, CA

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Daniel Muller

(1888-1977) “Matching Wits” Watercolor on paper Signed lower left: Dan Muller; titled on a gallery information sheet affixed to the frame’s backing paper Sight: 17” H x 22” W $500-700 Provenance: Portnoy Galleries, Carmel, CA

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Bud Helbig

(1919-2002) “Day Money,” 1981 Oil on Masonite Signed, dated, and inscribed lower right: Bud Helbig © / CA; titled on the frame plaque 6” H x 12” W $500-700 Provenance: Kesler Gallery, San Diego, CA

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Joe Stahley

(1894-1969) “Preliminary Sketch #4” Gouache on paper laid to board Signed lower right: J. Stahley; signed again and titled in green ink, possibly in another hand, on the frame’s backing board 5.75” H x 7” W $200-300

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William Matthews

(b. 1949) “Round Barn Arrangement” Watercolor on paper Signed lower right: William Matthews; titled on a gallery label affixed to the frame’s backing paper 14” H x 14” W $1,500-2,000 Provenance: William Matthews Gallery, Denver, CO Notes: This lot is accompanied by a clamshell box which contains thirteen bound portfolios of different subject matter painted by the artist. Included with the lot is also a sales receipt for the lot from William Matthews Gallery, four exhibition invitations, and a handwritten letter from Tina Goodwin, director of William Matthews Gallery.

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After Frederic Remington

(1861-1909) “Coming Through the Rye,” modeled 1902 Patinated bronze on a marble plinth Signed in the casting at base: Frederic Remington Overall: 29.25” H x 31.5” W x 31.5” D $2,500-3,500

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Ernest Tonk

(1889-1968) “Enchantment” Oil on Masonite Signed lower right: Ernest Tonk; titled on a label affixed verso 29.75” H x 39.5” W $1,000-1,500

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Marjorie Reed (1915-1996)

American artist Marjorie Reed’s vivid colors and expres imagined American West. While Reed depicted scene of the West, the stagecoach.

Born in Illinois in 1915 to a family of artists and art enth a commercial artist, and as Reed grew older and traine moved to Los Angeles when Marjorie was 14, and late some commercial work for Disney, Reed was taken into of animation work.

Reed’s artistic direction would change once she began tutelage of Jack Wilkinson Smith, Reed was encourage enamored with the great outdoors and life of cowboys became determined to capture the spirit of the West in day, exploring the countryside around Los Angeles.

Reed befriended Captain William Banning, who had b Model T, retracing the route of the famed Butterfield O sketches, Reed created colorful, exciting images of the

Reed completed her first series of Butterfield Stage pa would continue this research cycle, traveling, sketching continue through the 1960s and 1970s. Her passion fo much of her time in Tombstone, Arizona. Her work bec Diego Union and San Diego Tribune, and numerous p American art.

ssive strokes bring to life some of the most engaging and entertaining images of the real and es of cowboys and ranchers, what sets Reed’s work apart is her fascination with the iconic image

husiasts, Reed began dabbling in art at three years old. Reed’s father, Walter Stephen Reed, was ed as an artist under him, she began to take on commercial work as well. The Reed family er, like many Southern California artists, she took a job at the Walt Disney Studios. Having done o the animation department, but left soon after, disliking the regimentation and repetitiveness

n taking art classes at Chouinard Art Institute, Los Angeles, CA, in the mid-1930s. Under the ed to follow her passion for the outdoors and ranch life. Reed had become passionately s and ranchers in the Southwest, and though she had been denied work in those fields, she in her paintings. Some of her friends would even state that Reed would walk eighteen miles a

been a stagecoach driver. Reed was inspired by these tales of the stagecoach, set out in a Overland Mail Stage, and sketching out images for paintings to be completed later. From these e Butterfield stagecoaches soaring across the plains of the Southwest.

aintings in 1957, with a book, “The Colorful Overland Stage,” published the same year. Reed g, and painting, for the rest of her life. Other cycles of stagecoach and Western art would or the images and history of the West would compel her to move over eighty times, spending came quite popular, collected by luminaries such as James S. Copley, the publisher of the San private collectors. Marjorie Reed passed away in 1996, leaving behind a voluminous legacy of

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Marjorie Reed

(1915-1996) “On the Sunset Trail” Oil on canvas Signed lower right: Marjorie Reed; signed again and titled in ink on a label affixed to the stretcher 24” H x 36” W $2,500-3,500

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Marjorie Reed

(1915-1996) “Mission San Diego de Acala” Oil on canvas Signed lower right: Marjorie Reed; signed again, titled, and inscribed in ink on a label affixed to the stretcher: Father Sierra’s First Mission 24” H x 30” W $2,500-3,500

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Marjorie Reed

(1915-1996) “The East and W” Oil on canvas Signed lower right: Marjorie Reed; titled in pencil, verso 24” H x 36” W $2,000-3,000

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(1915-1996) “Late Change of Horses at Palm Springs Station” Oil on canvasboard Signed lower right: Marjorie Reed; signed again and titled on a label affixed verso 8” H x 10” W

(b. 1934) “Melita Island Looking West to the Mission Ra Oil on Masonite Signed lower left: Fellows, and with the Cowb abbreviation; signed again, titled, and inscribe 24” H x 36” W

Marjorie Reed

$700-900

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Fred Fellows

$1,500-2,500

ange”

boy Artists of America affiliation ed, all verso: First Snow Nov. 1992

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Clyde Forsythe

(1885-1962) “Rolling Clouds,” 1932 Oil on canvas Signed and dated lower right: Clyde Forsythe; signed again and titled on the stretcher; titled again on a gallery label affixed verso 28” H x 40” W $2,000-3,000 Provenance: Maxwell Galleries, San Francisco, CA

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(1879-1939) Mountain view with trees, circa 1923 Oil screenprint on board From the edition of unknown size Signed in the image lower left: F Grayson Sayre; Printed lower right: © 1923 Tonge Art Co. LA, CA 19” H x 25” W

(b. 1950) “Shiprock” Oil on canvas Signed lower right: Curt Walters; titled by rep 24” H x 48” W

Fred Grayson Sayre

$500-700

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Curt Walters

$6,000-8,000

Provenance: Sold: Bonhams, Los Angeles, CA November 7, 2023, Lot 92

pute

A, “Western Art,”

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Sherry Salari Sander

(b. 1941) Mountain goats, 2005 Cold-painted bronze Edition: 5/35 Signed, dated, and numbered in the casting: Sander © / 05 Overall: 18.5” H x 45.25” W x 8” D; Bronze: 16.25” H x 44.75” W x 8.5” D $2,000-3,000

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Frank Tenney Johnson

(1874-1939) Rocky landscape Oil on board Signed lower left: F Tenney Johnson 11.5” H x 15” W $2,000-3,000 Provenance: Altermann Galleries and Auctioneers, Santa Fe, NM Sold: Santa Fe Art Auction, Santa Fe, NM, “Signature Annual Live Auction,” November 9, 2019, Lot 118

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(1889-1975) “Zion Park, Utah” Oil on canvas Signed lower left: Paul Lauritz; titled on the stretcher 25” H x 30” W

(b. 1937) “River Cliffs (Grand Ca Acrylic on canvas Signed lower right: Me again on two gallery la 32” H x 54” W

Paul Lauritz

$1,000-2,000 Exhibited: Prescott, AZ, Phippen Museum of Western Art, “National Parks of the West,” November 1, 2013 - February 23, 2014

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Merrill Mahaffey

$2,000-3,000

Provenance: Elaine Ho

anyon),” 1985

errill Mahaffey; signed again, titled, and dated, all verso; titled abels affixed to the verso of the canvas and stretcher

orwitch Galleries, various locations, AZ and CA

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Eanger Irving Couse (1866-1936)

In 1904, Eanger Irving Couse embarked on a train jour As a long-time resident and a founder of the Taos Soci California. The striking cypress trees he encountered m tour of the West Coast.

By 1904, the California Cypress were only found in two of California. Couse captures the play of light filtering t of the cypress. This natural splendor contrasts with the exact activity—whether tending a small fire or rolling a gnarled cypress.

Throughout his career, Couse continued to depict natu This approach highlights a symbiotic relationship betw with these towering trees; a vibrant community of artis Dougherty, and Ferdinand Burgdorff, also found inspir

rney from Washington to California, a trip that likely inspired his painting “California Cypress.” iety of Artists, Couse’s documented travels suggest that he did not spend much time in might have influenced this painting, as their distinctive presence made the area a stop on his

o small populations, one near Pebble Beach and the other at Point Lobos on the Central Coast through the surrounding glade, highlighting the chaotic beauty of nature with the bright trunks e serene Native American figure sheltered in the shade of these majestic trees. The figure’s a bedroll—is left to our imagination, but the focus remains on the protective embrace of the

ure as a nurturing presence for his figures, whether they were sheltered by rocks, caves, or trees. ween his Native figures and their natural surroundings. Couse was not alone in his fascination sts, including Armin Hansen, Mary DeNeale Morgan, E. Charlton Fortune, William Ritschel, Paul ration in the cypress of the California coast.

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Eanger Irving Couse

(1866-1936) “California Cypress” Oil on canvas Signed lower left: E.I. Couse; titled in pencil on the upper portion of the stretcher; titled on a label affixed to the frame’s backing paper 24” H x 29” W $30,000-50,000 Provenance: Mrs. Jeanie Kerr Alexander H. Kerr, acquired from the above, 1936 Notes: According to a label affixed to the frame’s backing paper, this work was “given to Alexander H. Kerr in 1936 with love and affection from his mother, Mrs. Alexander H. Kerr.”

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An Arts & Crafts-style settle

Late 20th century With handwritten paper label under seat cushion: 01988 / Lifetime; also with metal plaque to seat rail verso: Donated by George F. Hall The quarter-sawn oak settle with drop-arms above five support slats, the straight crest rail above sixteen slats, with a drop-in seat upholstered in brown leather, together with two later associated pillows 3 pieces Settle: 34.75” H x 75.5” W x 29.5” D; Each pillow: 18.5” H x 21” W x 8.5” D approximately $1,500-2,500

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A Limbert’s Arts and Crafts oak rocking chair, no. 810

Circa 1906-1920; Michigan With burn mark under left armrest: Limberts Arts and Crafts Furniture / Made in Grand Rapids and Holland The quarter-sawn oak slat back armchair with three slats over a later upholstered and cushioned seat atop a medial stretcher and four square legs raised on rockers 40” H x 25.5” W x 29.5” D $400-600 Literature: Stephen Gray, ed., “Charles P. Limbert Company: Cabinet Makers” (New York, NY: Turn of the Century Editions, 1990), p. 119, fig. 810

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Robert A. Johnson

(b. 1942) Hens and chickens Oil on board Signed lower right: Johnson 16” H x 20” W $700-900 Provenance: Trailside Galleries, Jackson, WY

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Robert A. Johnson

(b. 1942) A family of ducks, 2005 Oil on panel Signed lower right: Johnson; signed again, dated, and inscribed in pencil, verso: Painter / Vienna, VA / USA 16” H x 20” W $700-900

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Frank Hoffman

(1888-1958) Bears along a creek Oil on canvasboard Signed in pencil, verso: Frank Hoffman 16” H x 20” W $2,500-3,500

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Walter Joseph Wilwerding

(1891-1966) Moose Oil on board Signed lower right: Wilwerding Sight: 10.25” H x 8.125” W $300-500

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Walter Joseph Wilwerding

(1891-1966) Buck on a mountain top Oil on board Signed lower right: Wilwerding Sight: 10.25” H x 8.125” W $300-500

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Walter Joseph Wilwerding (1891-1966) Mountain goat Oil on board Signed lower left: Wilwerding Sight: 10.25” H x 8.125” W $300-500

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Walter Joseph Wilwerding

(1891-1966) Mountain rams Oil on board Signed lower right: Wilwerding Sight: 10.125” H x 7.875” W $300-500

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Walter Joseph Wilwerding

(1891-1966) Two black bears Oil on canvas Signed lower right: Wilwerding Sight: 10.25” H x 8.125” W $300-500

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Walter Joseph Wilwerding

(1891-1966) Elk crossing a river Oil on board Signed lower right: Wilwerding Sight: 10.25” H x 7.875” W $300-500

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Walter Joseph Wilwerding

(1891-1966) Two deer Oil on canvas Possibly indinstinctly signed lower right corner: Wilwerding Sight: 10.25” H x 7.875” W $300-500

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Walter Joseph Wilwerding

(1891-1966) Deer by a riverside Oil on canvas Signed lower left: W.J. Wilwerding Sight: 10.875” H x 8.125” W $300-500

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Walter Joseph Wilwerding (1891-1966) Jumping fish Oil on board Signed lower left: Wilwerding 10.25” H x 8.125” W $300-500

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Elbridge Ayer (E.A.) Burbank (1858-1949) Five works:

“Pat, Jack, Tom” Charcoal on paper Signed in pencil near the lower edge, at right: E.A. Burbank; titled and dated “1929,” “1930,” and “1931” all in pencil near the lower edge Sheet: 10.375” H x 8.5” W “Chow Chow,” 1924 Charcoal on paper Signed in pencil on the lower edge, at right: E.A. Burbank; titled and dated on the upper edge, at right; inscribed in pencil, verso Sheet: 4” H x 6.375” W “Dacherel,” 1929 Charcoal on paper Signed in pencil on the lower edge, at left: E.A. Burbank; titled and dated on the upper edge, at left; inscribed in pencil, verso Sheet: 7.375” H x 3.75” W “One of Mollies Sweetest Dreams” Charcoal and colored pencils on paper Initialed and titled in ink at the lower edge: E.A.B; inscribed in pencil near the lower edge: Molly we are a lot of tramp dogs - no home - no name - no nothing Sheet: 3.875” H x 7.375” W “John-Henry” Charcoal on paper Signed in pencil on the lower edge, at right: E.A. Burbank; titled and inscribed in ink, verso Sheet: 4” H x 7.5” W $300-500

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Charles Culver

(1908-1967) “Sleeping Bear” Mixed media on paper Signed and with the artist’s device, lower left: C. Culver Sight: 12.5” H x 19.25” W $500-700 Provenance: Birmingham Gallery, Birmingham, MI Garelick’s Gallery, Detroit, MI

James Colt

(1922-2005) “Riders of the Pitchfork” Oil on Masonite Signed lower right: J. Colt; titled verso 16” H x 20” W $500-700 Provenance: Kesler Gallery, San Diego, CA

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Sherry Salari Sander

(b. 1941) Wolf, 1997 Verdigris patinated bronze Edition: 12/35 Incised signature, date, and number verso: S Salari Sander / 97 © 12.75” H x 7.5” W x 6.75” D $400-600

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Clark Hulings

(1922-2011) New Mexico street scene Oil on canvas Signed lower right: Hulings 16” H x 24” W $8,000-12,000

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Marjorie Reed

(1915-1996) Loading the stagecoach Oil on canvas Signed lower right: Marjorie Reed 20” H x 24” W $2,000-3,000

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Marjorie Reed

(1915-1996) Stagecoach ride Oil on canvas Signed lower left: Marjorie Reed 18” H x 24” W $2,000-3,000

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Marjorie Reed

(1915-1996) Cowboy and church Oil on canvasboard Signed lower right: Marjorie Reed 14” H x 18” W $1,000-1,500

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Marjorie Reed

(1915-1996) “Mission San Antonio de Padua” Oil on canvasboard Signed lower left: Marjorie Reed; signed again and titled in ink on a label affixed verso 11” H x 13.75” W $700-900

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20th Century American Illustration School Man with dog Oil on canvasboard Signed indistinctly lower left Sight: 22.5” H x 22.5” W $800-1,200

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Ernest Tonk

(1889-1968) Horse and cowboy Watercolor on paper Signed near the center of the lower edge: Ernest Tonk Sight: 19.75” H x 14.75” W $500-700

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Frank N. Ashley

(1920-2007) “Stadium Jumping” Oil on Masonite Signed lower right: FN Ashley; signed again, titled, and inscribed, verso: Ballsbridge Arena / Dublin, Ireland 28” H x 15” W $600-800

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William Henry Dethlef Koerner

(1878-1938) Buffalo hunter sketch for “The Saturday Evening Post” Mixed media on illustration board Initialed lower right: WHDK; artist stamps on the verso of the illustration board Image: 6.875” H x 5.5” W; Board: 10.75” H x 9.25” W $3,000-5,000

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Maynard Dixon

(1875-1946) “Study for Painting: Indian Girl” for “Fertility of the Earth,” 1936 Pastel, watercolor, and conte crayon on paper Initialed, dated, and with the artist’s device, lower left: MD / July 1936; titled and dated again, and inscribed in another hand on the verso of the frame’s backing board: To Alex / Edith Hamlin / 1969 Image: 32” H x 9” W; Sheet: 36” H x 17.5” W $10,000-15,000

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Oscar Howe

(1915-1983, Yanktonai Dakota)

Oscar Howe was a renowned Native American artist best k Crow Creek Reservation in South Dakota, Howe grew up im

As a child, Howe attended Pierre Indian School. After contr Dorothy Dunn’s Studio School and learned formal painting and other cultural practices, receiving several mural commi Army during WWII. During his three years in Europe, Howe

A watershed moment in Howe’s career came in 1958 when art at the Philbrook Art Centre in Tulsa, Oklahoma. The wor Howe responded with a letter to Jeanne Snodgrass, the m acceptance both at the institution and in the wider art com

Howe’s letter read: “Whoever said that my paintings are no than pretty, stylized pictures. There was also power, strengt is a true studied fact of Indian paintings. Are we to be held like a bunch of sheep, with no right for individualism, dictat knows what is best for him. Now, even in Art, “You little chi compete with any Art in the world, but not as suppressed A

Howe’s fiery letter helped reframe the way Indigenous and Indian paintings. By incorporating abstraction with planar s a new visual dialogue in Native American culture. This radic

Despite facing significant obstacles as a Native American a celebrated artists of his generation. He experimented with blended traditional Dakota imagery with contemporary abs quillwork, as well as from the bold, sweeping lines of mode

Throughout his career, Howe created a vast body of work t in galleries and museums across the United States and Euro discrimination and marginalization throughout his life, Osca

In 2022, a major exhibition titled “Dakota Modern: The Art Howe’s work to contemporary audiences. The exhibition su at South Dakota State University on September 17, 2023. T

known for his innovative and expressive depictions of traditional Dakota culture and mythology. Born on the mmersed in his heritage and was deeply influenced by the rich visual traditions of his people.

racting tuberculosis, he was sent to the Santa Fe Indian School in New Mexico. There, he enrolled in g techniques. After leaving the Studio, he achieved recognition for his paintings of Sioux traditional dances issions in South Dakota. However, his career was put on hold in 1942 when he was drafted into the U.S. e was exposed to new styles in painting that would later refine his work.

n he submitted an abstract work, “Umine Wacipi (War and Peace Dance),” for an annual exhibition of Indian rk was rejected for not being a “traditional Indian painting,” according to the show organizers at the time. museum’s curator of Native American art, on April 18th, 1958, which eventually led to change and mmunity.

ot in the traditional Indian style has poor knowledge of Indian art indeed. There is much more to Indian Art th, and individualism (emotional and intellectual insight) in the old Indian paintings. Every bit in my painting d back forever with one phase of Indian painting, that is the most common way? We are to be herded ted as the Indian has always been, put on reservations, and treated like a child, and only the White Man ild do what we think is best for you, nothing different.” Well, I am not going to stand for it. Indian Art can Art...I only hope the Art World will not be one more contributor to holding us in chains.”

d Native American art was perceived and paved a new path of expression no longer chained to traditional space, Sioux symbolic geometries, and Cubism, Howe created a dynamic new visual language that forged calism helped pave the way for many important Native American artists after Howe.

artist in a predominantly white art world, Howe persevered and became one of the most respected and a wide range of artistic styles and techniques, eventually developing a highly individualized style that stract forms. He drew inspiration from the geometric designs and bright colors of Dakota beadwork and ernist painting.

that included paintings, drawings, prints, murals, sculptures, and installations. His art was exhibited widely rope, and he received numerous awards and honors for his contributions to the field. Despite facing ar Howe remained committed to his artistic vision and his cultural heritage.

t of Oscar Howe” opened at the National Museum of the American Indian in New York, reintroducing ubsequently traveled to the Portland Art Museum in Oregon and ended at the South Dakota Art Museum The exhibition was widely covered and praised for showcasing Howe’s Modernist vision.

Oscar Howe

(1915-1983, Yanktonai Dakota) “Grass Dancer (Pezhin wachipi),” 1959 Tempera on paper Signed lower right: Oscar Howe Image: 22.5” H x 15.25” W; Sheet: 23.75” H x 16.75” W $80,000-120,000 Provenance: The artist Clara and William Michels, purchased from the above, circa 1959 Mr. Ernest T. Michels and his wife, Gertrude K. Vermillion, SD, gifted from the above Melinda Michels Kelly, Elma, Washington, by descent from the above Exhibited: Vermillion, SD, University of South Dakota, “Oscar Howe Retrospective,” 1982 Vermillion, SD, University of South Dakota, on loan 1993-2002 Sioux Falls, SD, Washington Pavilion Visual Arts Center, “Oscar Howe Centennial Celebrating the Legacy of a South Dakota Master,” 2015

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(b. 1950, Hopi-Tewa) “SunWoman,” 1976 Patinated bronze on wood plinth Edition: 2/12 Signed and dated in the casting: Namingha / 76; titled and marked to sticker applied to base underside: VS-5622 Bronze: 6.25” H x 5” W x 0.75” D; Plinth: 3.5” H x 7” W x 3” D

(1951-1993) “Double Window,” 1986 Acrylic and paper collage on ca Signed twice, titled, and dated 36” H x 48” W

Dan Namingha

$1,000-1,500

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Dick Mason

$1,500-2,500

Provenance: Linda Durham Gall

anvas in pencil on a label affixed verso: © D. Mason

lery, Santa Fe, NM

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Jacqueline Rochester

(1924-2010) Dogs with Navajo silver and turquoise belts Oil on canvas Signed lower right: Jacqueline Rochester 30” H x 30” W $300-500

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Dan Ostermiller

(b. 1956) “Bodacious,” 1991 Patinated bronze on a wood plinth Edition: 7/20 Bronze: 7.125” H x 14.25” W x 8.5” D; Overall: 8.5” H $2,000-3,000 Provenance: Fenn Galleries, Santa Fe, NM

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Lew Davis

(1910-1979) “Waterhole No.2,” 1975 Acrylic on Masonite Signed upper right: Lew Davis; signed again, titled, and dated, verso 40” H x 42” W $6,000-8,000

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Dan Namingha

(b. 1950, Hopi-Tewa) “Symbolism #3,” 2010 Acrylic on canvas Signed lower right: D. Namingha; signed again, titled, dated, and with the artist’s copyright, all verso; numbered AC1722 along the top of the wrapped canvas, verso 48” H x 48” W $3,000-5,000 Provenance: Niman Fine Art, Santa Fe, NM Notes: This lot is sold together with an exhibition brochure featuring “Symbolism #3” as well as a copy of the paid invoice, dated July 14, 2010, from the gallery mentioned above. There is also a copy of a December 16, 2010, handwritten letter signed by the artist’s wife, Frances, with a description of the painting. It reads, “The white circles at the top left hand corner represent the sun and the image at the bottom left is the Hopi butterfly maiden. The round circle next to her is the sun, earth, and Sipapuni which is the center of the earth. The two black canes are planting sticks as well as the red ones, and the image next to that is the rainbow spirit. The big white circle is the earth and Sipapuni. The black dots at the bottom is a Hopi cornfield. The six block of colors represent the four directional colors, north, south, east, and west. The black represents Zenith and the multi-color one is Nadaz. The white zig-zag dots represent lightning. The red symbol at the far right is a sign of migration.”

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Don Chunestudey

(b. 1948, Cherokee descent) “Mother and Child,” 1987 Carve stone on a lacquered wood plinth With incised signature and date verso: © 87 / CHUNESTUDY Stone: 30.25” H x 12” W x 15” D; Plinth: 36.25” H x 14” W x 14” D $800-1,200 Provenance: Carol Thornton Gallery Private Collection, acquired from the above, September 7, 1987 Notes: This lot is accompanied by a digital copy of the purchase receipt, available upon request to the buyer.

A Plateau

20th centur The polych centering a edged with Beaded are

$1,500-2,50

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A Blackfoot beaded hide dress yoke

20th century The polychrome beaded yoke designed with red and orange stacked and floating diamond motifs on a turquoise background edged with hide fringing and beaded strands terminating in cowrie shells and carved shell medallions Without fringe: 11.75” H x 29.5” W; With fringe: 17” H x 34” W; Neck: 10.75” W $800-1,200

u beaded hide saddlebag

ry hrome beaded hide designed with four-sectioned circle a serrated diamond motif on a turquoise background, h long hide fringing on each side ea: 11.5” H x 13.75” W; Fringing: 33” L

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Dorothy Churchill-Johnson

(1942-2023) “The Little Bang Theory,” 2014 Oil on canvas Signed, titled, dated, all verso: Dorothy Churchill-Johnson © 48” H x 48” W $700-900

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Paul Pletka

(b. 1946) “Making Strong Talk” Mixed media on paper laid to board Signed lower right: Paul Pletka; titled on a gallery label affixed to the frame’s backing paper 13” H x 28” W $2,000-3,000 Provenance: Gallery A, Taos, NM Exhibited: New York, NY, Coe Kerr Gallery, “Paul Pletka: Indians of the Plains,” April 5-29, 1978

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Harrison (Haskay Yahne Yah) Begay

(1917-2012, Navajo/Diné) Running horses Gouache on paper Signed lower left and right: Haskay Yahne Yah / Harrison Begay Sight: 14” H x 22” W $500-700

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Harrison (Haskay Yahne Yah) Begay (1917-2012, Navajo/Diné) Two works: Native American with cornstalk Gouache on paper Signed lower left and right: Haskay Yahne Yah / Harrison Begay Sight: 10” H x 8” W Native American with rainbow and clouds Gouache on paper Signed lower left and right: Haskay Yahne Yah / Harrison Begay Sight: 10” H x 8” W 2 pieces $400-600 w w w. j o h n m o r a n . c o m 1 0 7

Harrison (Haskay Yahne Yah) Begay

(1917-2012, Navajo/Diné) Feather dance of the Mountain-way ceremony Gouache on board Signed lower left and right: Haskay Yahne Yah / Harrison Begay Sight: 20” H x 16” W $600-800

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Ted DeGrazia

(1909-1982) “El Soldado y La Apache,” 1971 Watercolor and ink on paper Signed and with the artist’s device: DeGrazia; also titled, dated, and inscribed, all in ink directly below the image: midnight sketch / 1 am Fall of 1971 / Arizona / USA Sheet: 11” H x 8.125” W $1,000-1,500

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Ted DeGrazia

(1909-1982) “Indios a Donde Van,” 1971 Watercolor and ink on paper Signed and with the artist’s device: DeGrazia; also titled, dated, and inscribed in ink directly below the image: a midnight sketch winter of 1971 / Arizona USA Sheet: 11” H x 8.5” W $1,000-1,500 Provenance: Kesler Gallery, San Diego, CA

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Awa (Alfonso Roybal)

(1895-1955, San Ildefonso Pueblo

Alfonso Roybal, also known as Awa Tsireh (Cat-tail Bird

The following text is from the website of the Smithsoni Awa Tsireh,” on view Sept 3, 2015-January 31, 2016: “The paintings of Awa Tsireh, represent an encounter b the American modernist art style begun in New York, w aesthetic between the two world wars, and his linear c Anglo influences found an audience among the many of the ancient cultures of the Southwest and descende Fe during World War I and took particular interest in Ts Tsireh’s watercolors to the Arts Club of Chicago for a sp Henderson’s championing of the artist resulted in Tsire first Santa Fe Indian Market, among the first of several

The Smithsonian American Art Museum collection incl of Awa Tsireh,” was the first time the group of painting the story of American art.

Tsireh was an early pioneer of the intersection of Nativ to find recent notoriety are: Pablita (Tse Tsan-Golden D 1952), and Quincy (Water Edge) Tahoma (1921-1956).

Tsireh’s work can be found in the collections of: Hubbe Indian, Smithsonian Institution, Washington, DC, New Philbrook Museum of Art, Tulsa, OK.

Tsireh

d), is a greatly celebrated Native American artist, from the San Ildefonso Pueblo.

nian American Art Museum, in reference to the exhibition, “The Modern Pueblo Painting of

between the art traditions of native Pueblo peoples in the Southwestern United States and which spread quickly across the country. His stylized forms echoed the popular Art Deco compositions appealed to modernist sensibilities. Tsireh’s unusual blending of native and artists, writers, educators, anthropologists, and archaeologists who discovered the charms ed on Santa Fe in great numbers. The poet Alice Corbin Henderson moved to Santa sireh, assembling a large body of his work. Corfin Henderson then sent a collection of pecial exhibit in 1920, exposing his work to a wider audience. This exposure and Corbin eh’s work appearing in several early exhibits in Santa Fe. Tsireh also received a prize at the l artists to receive a prize at the first Santa Fe Indian Market.”

ludes fifty-one watercolors created between 1917 and 1930. “The Modern Pueblo Painting gs has been on public display together. The exhibition served to integrate Tsireh’s work into

ve and Modern Art. Other native artists working in similar styles as Tsireh who have also come Dawn) Velarde (1918-2006), Fred Kabotie (1900-1986), Gerald A. (or Lloyde) Nailor (1917-

ell Trading Post National Historic Site, Ganado, AZ, National Museum of the American Mexico Museum of Art, Santa Fe, NM, The Newark Museum, Newark, NJ, and The

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Awa (Alfonso Roybal) Tsireh

(1895-1955, San Ildefonso Pueblo) “The Guard of the Black Masa (Tsah-ve-yoh)” Mixed media on paper Signed lower right: Awa Tsireh; titled verso 11.25” H x 14.5” W $2,000-4,000

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Louis (Wo Peen) Gonzales

(1907-1990, San Ildefonso Pueblo) Horse and dog Watercolor on paper Signed lower right: Wo Peen Sight: 6.75” H x 9.5” W $300-500

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Paul Sollosy

(1911-2012) Native American in profile Watercolor on paper laid to board Signed and with the artist’s device, lower left: Sollosy 9” H x 7” W $1,000-2,000

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Paul Sollosy

(1911-2012) “Blackfoot Warrior” Watercolor on paper laid to board Signed and with the artist’s device, lower left: Sollosy; titled in red ink on the frame’s backing paper 9” H x 7” W $1,000-2,000

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Michael Horse

(b. 1951 Yaqui, Mescalero Apache, Zuni) Bison hunting on horseback Watercolor and ink on paper Signed and with the artist’s device in ink, lower right: Michael Horse Image/Sheet: 10” H x 15.5” W $700-900 Notes: Ledger painting has a long tradition in Native American art. Before forced removal to reservations, Native American chroniclers would write or draw on animal hides, recording battles or hunts of their tribe. When forced on reservations and outlawed from owning weapons or hunting, chroniclers used whatever pieces of paper and materials they could find to continue this artistic tradition. Famed actor Michael Horse (Twin Peaks, The X Files, House of Cards) first saw samples of ledger paintings in a museum in Oklahoma, and began to craft his own between takes on film and television sets. Horse continues to make ledger art, among other mediums, and is especially fond of creating works on land grant documents that gave away land from Native Americans to settlers, such as this lot.

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Michael Horse

(b. 1951 Yaqui, Mescalero Apache, Zuni) Fighting couple Watercolor and ink on paper Signed and with the artist’s device, lower right: Michael Horse Image/Sheet: 13.5” H x 8.5” W (irreg.) $500-700 Notes: Ledger painting has a long tradition in Native American art. Before forced removal to reservations, Native American chroniclers would write or draw on animal hides, recording battles or hunts of their tribe. When forced on reservations and outlawed from owning weapons or hunting, chroniclers used whatever pieces of paper and materials they could find to continue this artistic tradition. Famed actor Michael Horse (Twin Peaks, The X Files, House of Cards) first saw samples of ledger paintings in a museum in Oklahoma, and began to craft his own between takes on film and television sets. Horse continues to make ledger art, among other mediums, and is especially fond of creating works on land grant documents that gave away land from Native Americans to settlers, such as this lot.

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Andy (Andrew) Van Tsihnahjinnie

(1916-2000, Navajo/Diné) Figures on horseback chasing a hare, 1940 Watercolor and ink on paper Signed and dated lower right: Tsihnahjinnie Sight: 7.625” H x 12” W $300-500 Provenance: Allan and Polly Hulsizer, Pine Ridge, SD Marjorie Copher (Dundas), gift from the above, her aunt and uncle, 1940 Notes: Some variants of the artist’s name include Andrew Van Tsihnahjinnie, Andrew Van Tsinajinnie, and Andy Tsihnah-Jinnie. There are extensive notations in ink regarding the former owners of this work on the frame’s backing paper.

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Doug Hyde

(b. 1946, Nez Perce/Assiniboine/Chippewa) “Second Mesa Basket Dancer,” 1982 Carved Indiana limestone Incised signature to base: D. Hyde; possibly dated illegibly; signed and inscribed to included pamphlet with a horse cipher 66” H x 19” W x 13” D $10,000-15,000 Provenance: Fenn Galleries Ltd., Santa Fe, NM Private collection, acquired from the above Literature: Barbara Littlebird, “Doug Hyde” (Prescott: Doug Hyde Sculpture Studios, Ltd., 1983), 4, plate 7. Notes: This lot is accompanied by a signed and inscribed copy of the pamphlet mentioned above as well as a Polaroid photograph with gallery sticker affixed verso.

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Dan Namingha

(b. 1950, Hopi-Tewa) Pueblo Oil pastel on paper Signed lower left: Namingha Sight: 27.75” H x 22.5” W $800-1,200

Jack To’ba

(1953-2016 Ceremonial Oil on boar Signed lowe 10” H x 8” $500-700

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Vladan Stiha

(1908-1992) “Dances Indio,” 1970 Oil on canvas Signed and dated lower right: V. Stiha; titled and inscribed in pencil on the stretcher, verso: San Juan Poeblo [sic] New Mex; titled and dated again on a gallery information sheet affixed verso 24” H x 36” W $2,000-3,000 Provenance: Portnoy Gallery, Carmel, CA

aahe Gene

6 Navajo/Diné ) l dance rd er right: Jack To’baahe Gene W

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Z.S. Liang

(b. 1953) Native American hunter, 2006 Oil on canvas Signed and dated lower right: Z.S. Liang; signed again in black permanent marker on the upper portion of the frame, verso 46” H x 26” W $20,000-30,000 Provenance: Trailside Galleries, Jackson, WY

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Gib Singleton

(1935-2014) “Goose Hunter,” cast 2008 Patinated bronze on a wood plinth Edition: 5/25 Signed and numbered in the casting: Singleton © Overall: 31” H x 11.5” Dia.; Bronze: 28.25” H x 10.5” W x 9.5” D $6,000-8,000

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Gib Singleton

(1935-2014) “Companeros,” 1995, cast 2009 Patinated bronze on a wood plinth Edition: 13/25 Signed, dated, numbered, and titled in the casting: Singleton © Overall: 24” H x 27.5” W x 23.25” D; Bronze: 21.75” H x 26” W x 22.5” D $12,000-18,000

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100

Gib Singleton

(1935-2014) “Winter’s Feast,” cast 2009 Patinated bronze on a wood plinth Edition: 4/25 Signed and numbered in the casting: Singleton © Overall: 23.25” H x 22” W x 16” D; Bronze: 20.5” H $8,000-10,000

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101

A Roycroft wood dresser, model 0108 variant

Early 20th century; Roycroft Inn, East Aurora, NY Marked with Roycroft orb to drawer front The quarter-sawn walnut dresser featuring four drawers with vertical hammered copper pulls, one with locking mechanism, surmounted by a swiveling mirror, all raised on Mackmurdo feet Overall: 74.75” H x 53.75” W x 26.25” D; Mirror: 31.5” H x 45” W; Dresser height: 36.25” $4,000-6,000 Provenance: Roycroft Inn, East Aurora, NY Acquired by the present owner in the 1970’s in upstate New York

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102

A Roycroft oak trestle table

Early 20th century Marked with Roycroft orb to each side right leg The quarter-sawn oak table with five-plank tabletop above a shaped undershelf with keyed mortise and tenon joints, raised on trestle legs with notched ends 29.5” H x 54” W x 35.25” D $2,000-3,000 Provenance: Acquired by the present owner in upstate New York, c. 1970

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103

A Roycroft oak side table, no. 72

Circa 1910 Marked with Roycroft orb to apron The quarter-sawn oak table with three-plank tabletop above a box apron and shaped undershelf with keyed mortise and tenon joints 28.25” H x 30” W x 22.5” D $1,000-1,500 Provenance: Acquired by the present owner in upstate New York, c. 1970

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105

Robert Ritter

(b. 1951) “Clarita” Oil on canvas Signed lower left: Ritter; titled on a label affixed to the upper portion of the frame, verso 60” H x 48” W $500-700

104

Thomas W. Lorimer

(1941-2015) “Little Daughter of the Navajo,” 1978 Oil on canvas Signed, dated, and with the artist’s device, lower right: Thomas Lorimer 11” H x 14” W $500-700 Provenance: Portnoy Galleries, Carmel, CA

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106

Gray Bartlett

(1885-1951) Native Americans on horseback at a watering hole Oil on canvas Signed and with the artist’s device, lower right: Gray Bartlett 16” H x 20” W $800-1,200

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107

Ron Stewart

(b. 1941) “Leaving for the Hunt” Watercolor and gouache on paper Signed lower left: Ron Stewart; titled and with the artist’s painted remarque added to the lower left and right corners of the mat, respectively Sight: 15” H x 22” W $400-600 Provenance: Kesler Gallery, San Diego, CA

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108

Patricia Dobson

(b. 1947) Pottery vessel Mixed media on Strathmore paper Signed lower right: Patricia Dobson Sight: 29.5” H x 29.5” W $300-500

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109

Heinie Hartwig

(b. 1937) “Evening Storm” Oil on Masonite Signed lower right: Heinie Hartwig; titled verso 20” H x 30” W $3,000-5,000

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110

Heinie Hartwig

(b. 1937) “Winter Sunset” Oil on Masonite Signed lower right: Heinie Hartwig; titled verso 12” H x 24” W $1,200-1,800

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111

Heinie Hartwig

(b. 1937) “Camp Below the Rockies” Oil on Masonite Signed lower left: Heinie Hartwig; titled verso 18” H x 24” W $1,500-2,000

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112

Joe Ferrara

(1932-2004) Native American vignettes Oil on canvas Signed lower right: Ferrara 13” H x 50” W $700-900

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113

A framed Ute cradleboard cover

20th century The black fabric cradleboard cover with beadwork depicting floral motifs Cover: 21.25” H x 17.5” W $400-600

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114

A Hupa/Yurok/Karuk polychrome basketry hat

Early 20th century; Northern California The twined hat with imbricated brown, orange, and tan banded stripe and geometric motifs, with star to top 3.125” H x 6.875” Dia. $600-800

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115

A Hupa/Yurok/Karuk polychrome basketry hat

Early 20th century; Northern California The twined hat with imbricated brown and orange banded stripe and geometric motifs 3.25” H x 7” Dia. $700-900

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116

A Hupa/Yurok/Karuk polychrome basketry hat

Early 20th century; Northern California The twined hat with imbricated banded brown and orange bands and geometric motifs 3.25” H x 6.25” Dia. $500-700

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117

A Hupa/Yurok/Karuk polychrome basketry hat

Early 20th century; Northern California The twined hat with imbricated brown and pale orange banded stripe and geometric motifs 3.625” H x 6.75” Dia. $500-700

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118

A Hupa/Yurok/Karuk polychrome basketry hat

Early 20th century; Northern California The twined hat with imbricated red and brown banded stripe and geometric motifs 3.625” H x 6.625” Dia. $500-700

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119

A Hupa/Yurok/Karuk polychrome basketry hat

Early 20th century; Northern California The twined hat with imbricated brown, red, and orange banded stripe and geometric motifs 3.25” H x 6.875” Dia. $400-600

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120

A Hupa/Yurok/Karuk polychrome basketry hat

Early 20th century; Northern California The twined hat with imbricated red, brown, and orange banded stripe and geometric motifs 3.25” H x 6.875” Dia. $500-700

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121

A Hupa/Yurok/Karuk polychrome basketry hat

Early 20th century; Northern California The twined hat with imbricated brown banded stripe and geometric motifs with orange accents 3” H x 7.25” Dia. $500-700

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122

A Hupa/Yurok/ Karuk polychrome basketry hat

Early 20th century; Northern California The twined hat with imbricated red and brown banded stripe, sawtooth, and geometric motifs 3.75” H x 6.5” Dia. $400-600

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123

A Hupa/Yurok/ Karuk polychrome basketry hat

Early 20th century; Northern California The twined hat with imbricated brown and orange banded stripe and geometric motifs 3.875” H x 6” Dia. $400-600

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124

A Panamint basket

Early 20th century; Central California The coiled basketry bowl with whirling log and geometric column motifs 7” H x 13.5” Dia. $1,200-1,800

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125

A Panamint polychrome basket

Early 20th century; Central California The coiled basketry low bowl with columns of stacked diamond motifs 4” H x 14.5” Dia. $700-900 Provenance: The Aurelia McLean Collection Private Collection, acquired from the above Notes: Artist and musician Aurelia McLean settled in Lone Pine, CA with her husband after the couple purchased a drugstore there in 1920. During the decades that followed, she collected hundreds of fine examples of Panamint basketry crafted by the Paiute and Shoshone tribes. In her words, “It is hard to describe the beauty of these baskets, many as fine as forty-two stitches to an inch... Several noted collectors consider this collection better than the one at the Smithsonian Institution in Washington.”

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126

A Panamint polychrome basket

Early 20th century; Central California The coiled basketry oval bowl with columns of stacked triangles and rim ticking 3.5” H x 10.75” W x 7.5” D $700-900 Provenance: The Aurelia McLean Collection Private Collection, acquired from the above Notes: Artist and musician Aurelia McLean settled in Lone Pine, CA with her husband after the couple purchased a drugstore there in 1920. During the decades that followed, she collected hundreds of fine examples of Panamint basketry crafted by the Paiute and Shoshone tribes. In her words, “It is hard to describe the beauty of these baskets, many as fine as forty-two stitches to an inch... Several noted collectors consider this collection better than the one at the Smithsonian Institution in Washington.”

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127

A Panamint polychrome basket

Early 20th century; Central California The coiled basketry bowl with flat shoulder rim, central floral motif at center, and stepped diamonds to the body alternating in yellow and brown 4.5” H x 12.625” Dia. $700-900 Provenance: The Aurelia McLean Collection Private Collection, acquired from the above Notes: Artist and musician Aurelia McLean settled in Lone Pine, CA with her husband after the couple purchased a drugstore there in 1920. During the decades that followed, she collected hundreds of fine examples of Panamint basketry crafted by the Paiute and Shoshone tribes. In her words, “It is hard to describe the beauty of these baskets, many as fine as forty-two stitches to an inch... Several noted collectors consider this collection better than the one at the Smithsonian Institution in Washington.”

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128

A Paiute basket

Early 20th century; Central California The coiled basketry oval bowl with zig zag motif to rim and arrows at body 4.125” H x 16.25” W x 11.875” D $500-700 Provenance: The Aurelia McLean Collection Private Collection, acquired from the above Notes: Artist and musician Aurelia McLean settled in Lone Pine, CA with her husband after the couple purchased a drugstore there in 1920. During the decades that followed, she collected hundreds of fine examples of Panamint basketry crafted by the Paiute and Shoshone tribes. In her words, “It is hard to describe the beauty of these baskets, many as fine as forty-two stitches to an inch... Several noted collectors consider this collection better than the one at the Smithsonian Institution in Washington.”

129

A Central California basket

Early 20th century; California The coiled basketry wide bowl with a banded stripe above banded figures and triangle motifs 2.5” H x 6.125” Dia. $500-700

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130

A Panamint basket

Early 20th century; Central California The finely woven coiled basket, possibly meant as a hat, with dark wide panels and columns of conjoined diamonds 4” H x 7.75” Dia. $400-600

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131

A Pomo basket

Early 20th century; Central California The coiled basketry oval bowl with banded checkered and geometric motifs 3.625” H x 12.875” W x 7.375” D $600-800

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132

Two diminutive Pomo baskets

Early 20th century, California The coiled basketry polychrome bowls, comprising one with hooked arm motif and the other with banded stepped motif 2 pieces Larger: 2.125” H x 4” Dia.; Smaller: 1.5” H x 3.875” Dia. $500-700

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133

A Yokuts basket

Early 20th century; Central California The large coiled basketry bowl with radiating spiraled vertical brown/red columns 9.5” H x 16” Dia. $1,800-2,200

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134

A Maidu basketry bowl

Early 20th century; Northern California The basketry bowl with central stepped floral motif with elaborate border 3.75” H x 8.125” Dia. $500-700

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135

A large Apache olla basket

Early 20th century; Southwest United States The tall basketry olla with alternating columns of stacked checkered and empty squares 16.25” H x 12.75” Dia. $1,000-2,000

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136

A Pima basketry olla

Early 20th century, Akimel O’odham; Southwest United States The coiled olla form basket with geometric motif to body and stepped motifs at neck 10” H x 7” Dia. $500-700

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137

Three Pima baskets

Early 20th century, Akimel O’odham; Southwest United States The coiled basketry bowls with hooked arm motifs, comprising one taller and flared, one shallow and flared, and one tall of oval form 3 pieces Largest: 4.75” H x 8” Dia.; Smallest: 3.75” H x 6.375” W x 5.125” D $600-800

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138

A Navajo polychrome wedding basket

Early/mid-20th century, Diné The coiled low bowl with a banded star motif in red and black 3.75” H x 12.5” Dia. $200-300

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139

Three Hopi Pueblo polychrome basketry plaques

Mid-20th century; Southwest United States The coiled basketry trays comprising a smaller wedding basket and a two plaques with central floral motifs 3 pieces Largest: 14.75” Dia.; Smallest: 8” Dia. $300-500

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140

Four Hopi Pueblo polychrome basketry plaques

Mid/late 20th century; Southwest United States Comprising four trays/plaques, each with polychrome geometric motif, one depicting a tawa sun face with over-stitched embellishments 4 pieces Largest: 14.25” Dia.; Smallest: 12.25” Dia. $400-600

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141

A group of polychrome basketry trays

20th century; Southwest United States Comprising one large Hopi plaque depicting corn cobs with over-stitched embellishments, two plaques with elaborate eagle motifs, one small wedding basket plaque, and an older Pima miniature basket with keyed motif 5 pieces Largest: 16.5” Dia.; Smallest: 7.875” Dia. $400-600

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142

Two Hopi Pueblo polychrome wicker plaques

20th century; Southeast United States Comprising one with eagle/thunderbird motif and one with a multicolor radiating star motif 2 pieces Star: 14.25” Dia.; Eagle: 14” Dia. $300-500

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143

Three basketry items

Early 20th century The twined basketry vessels, comprising two Latin American winnowing baskets, each with stenciled motifs to undersides, and an Apache water canteen with pine pitch sealant 3 pieces Larger basket: 3.625” H x 15.375” Dia.; Canteen: 10” H x 8.5” Dia. approximately $300-500

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144

A Tlingit polychrome basket

Late 19th/ early 20th century; Pacific Northwest Coast The twined flared cylindrical basket with imbricated orange, brown, and yellow banded geometric motifs 6.375” H x 8” Dia. $800-1,200

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145

A Tlingit polychrome basket

Early 20th century; Pacific Northwest Coast The twined basket with imbricated yellow and orange hooked arm motifs 5” H x 7.5” W $300-500

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146

Two Northwest coast baskets

Early 20th century Comprising a Tlingit basket with imbricated red and brown banded geometric motifs and Northwest Coast basket with imbricated yellow and orange stacked diamond motifs 2 pieces Taller: 4.75” H x 5.75” Dia.; Shorter: 3.75” H x 6” Dia. $300-500

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148

A pair of Old Hickory-style armchairs

Early 20th century The Adirondack chairs constructed of natural hickory wood featuring woven seat and seat back above double rod medial stretchers 2 pieces Each: 37” H x 23” W x 24” D approximately $300-400

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149

A Shaker-style carved wood rocking chair

Early 20th century The chair featuring a woven seat, with a formed ladder back surmounted by turned finials, issuing curvilinear arms supported on turned posts above double medial stretchers and raised on rockers 43” H x 23.5” W x 33” D $300-500

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150

Randy Stiglitz

(b. 1956, Coast Salish/Cree) Northwest Coast mask Painted carved wood and cedar bark Signed verso: R Stiglitz Overall: 40” H x 80” W x 9” D; Face wood: 17.5” H x 11.75” W; Each side: 18” H x 35” W x 1.75” D $1,000-2,000

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151

Randy Stiglitz

(b. 1956, Coast Salish/Cree) Northwest Coast mask Painted carved wood and cedar bark Signed verso: R. Stiglitz Overall: 28” H x 33” W x 10.5” D; Wood: 20” H $1,000-1,500

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152

Randy Stiglitz

(b. 1956, Salish/Cree) Northwest Coast mask Painted carved wood and horse hair Signed verso: R Stiglitz; with sticker verso: Made in Canada Overall: 26” H x 15.5” W x 5.25” D; Wood: 12.25” H x 10.25” W x 5.25” D $500-700

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153

Randy Stiglitz

(b. 1956, Coast Salish/Cree) Northwest Coast mask, 2003 Painted carved wood, abalone shell, and horse hair Signed and dated verso: Randy Stiglitz / 01/03 Overall: 41” H x 11” W x 5.5” D; Wood: 14.25” H x 7.75” W x 5.5” D $800-1,200

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154

Gary Rice

(b.1939, Kwakiutl) Sun mask Painted carved wood Incised signature verso: Gary Rice 24” H x 21.75” W x 6” D $800-1,200

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155

Ian Joseph

(b. 20th century, Kwakiutil) “Moon Mask Portrait,” 1985 Painted carved cedar wood Incised signature, title, date, and inscription verso: Carved by: Ian Joseph / From Squamish Tribe / West Coast Salish 20.5” H x 20.375” W x 4” D $300-500

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156

Vern Etzerza

(b.1953, Tahltan) “Kwa-guilth Moon,” 1994 Painted carved wood Incised signature, title, and date verso: Vern Etzerza / 12/94 31.5” Dia. x 8.5” D $800-1,200

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157

Heber Reece

(b. 1955, Tsimshian) “Raven Summermoon,” 2009 Carved and painted red cedar and abalone shell Signed, titled, and dated verso: red cedar / H.T.R. / Kitselas BC Canada 16.75” H x 16” W x 5.5” D $800-1,200

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158

Heber Reece

(b. 1955, Tsimshian) “Raven Moon,” 2009 Painted carved alder wood and abalone shell Signed, titled, dated, and inscribed verso: Heber Reece / H.T.R. / Tsimsyeen Kitselas B.C. Canada / Alder 14.125” H x 13.5” W x 4.25” D $800-1,200

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159

Simon Dick

(b. 1951, Inuit) “Wolf Transformation” Painted carved wood and animal pelt, articulated with string pulls Signed and titled verso: Simon Dick Closed: 14” H x 17” W x 13” D; Open: 28.5” W $800-1,200

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160

Rick Williams

(b. 1955, Nitinaht) Northwest Coast wall plaque Painted carved wood Signed verso: Rick Williams 20.25” H x 26.25” W x 5.5” D $800-1,200

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161

Janice Morin

(b. 1952, Salish) “Shaman Recieving [sic] Help” Painted wood and cedar bark Signed, titled, and inscribed: Janice Morin / Tlingit Style; with sticker applied to interior: Made in Canada Overall: 23” H x 15” W x 5.5” D; Wood: 10” H x 9.5” W x 5.5” D $400-600

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162

George Pennier

(b. 1957, Coast Salish) “Speaker Mask” Painted carved wood Signed, titled, and inscribed verso: George Pennier / Kwa guilt 8.5” H x 6.25” W x 4.125” D $200-300

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163

Ned Matilpi

(b. 1957, Kwakwaka’wakw/Tlingit) “Sea Serpent” Painted carved wood Signed, titled, and inscribed verso: Ned Matilpi / Kwakuitl 15” H x 15” W x 7.5” D $600-800

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164

Glen Rabena

(b. 1953, Adopted Haida) Northwest Coast mask, 1977 Painted carved wood and horsehair Signed and dated verso: Rabena Overall: 15” H x 14” W x 4.875” D; Wood: 9.25” H x 7” W x 4.875” D $700-900

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165

A Northwest Coast polychrome mask

Late 20th century Unsigned The mask with applied braided cedar bark hair and painted red and black facial features Overall: 10.5” H x 11” W x 5” D; Wood: 8” H x 6.25” W x 5” D $200-400

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166

Stan Greene

(b. 1953, Coast Salish) Northwest Coast mask, 1984 Painted carved wood Signed and dated verso: Stan Green / 84 11.5” H x 8.5” W x 5” D $200-400

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167

Alver Tait

(b. 1943, Nisga’a) Northwest Coast mask, 1986 Painted carved wood Incised signature and date verso: Alver Tait / 4/86 9” H x 6.5” W x 3.75” D $300-500

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168

Donny Joe

(b. 20th century) “Eagle,” 1986 Painted carved wood, abalone shell, beads, and feathers Signed, titled, and dated verso: Donny Joe / 86 Overall: 24” H x 8.25” W x 5.5” D; Wood: 15” H $300-500

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169

A Northwest Coast polychrome “Hawk Mask”

Signed verso: D / Joe; titled and possibly dated illegibly verso Painted carved wood, hammered copper, and feathers Overall: 27.5” H x 9” W x 8” D; Wood: 14.25” H $400-600

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170

Derald Scoular

(b. 1960, Salish) Wolf mask Painted carved wood and animal pelt Signed and inscribed verso: Derald Scoular / Canada 14” H x 14” W x 12” D $300-500

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171

A Northwest Coast polychrome mask

Late 20th century Incised signature verso: G. Morrison The carved wood mask painted black, red, and white, with cedar bark hair Overall: 22” H x 13” W x 6.5” D; Wood: 14” H x 6.5” W x 6.5” D $400-600

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172

Tim Paul

(b. 1950, Hesquiaht/Nuu-chah-nulth) “Nootka Mask,” 1975 Painted carved wood and cedar bark Signed, titled, and dated verso: Tim Paul Overall: 11.5” H x 11” W x 7.5” D $200-400

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173

Derald Scoular

(b. 1960, Salish) “Intruder,” 1984 Painted carved wood and animal pelt Signed, dated, and titled verso: Derald Scoular / 84 Overall: 21” H x 17.5” W x 6.75” D; Wood: 12” H x 9” W x 6.75” D $300-500

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174

Patrick Amos

(b. 1957, Nuu-chah-nulth) “Wood Pecker Man,” 1990 Painted carved wood, feathers, cedar bark, and fur Signed, titled, dated, and inscribed in pencil verso: Patrick Amos / West Coast / Mowachat Band / July 10 Overall: 24” H x 11.5” W x 6.75” D; Wood: 12.5” H x 8.75” W x 6.75” D $500-700

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175

Stephen Charlie

(b. 1959, Coast Salish) “Moon Mask” Painted carved wood and horsehair Signed and titled verso: Stephen Charlie Overall: 13.5” H x 8.5” W x 4.5” D; Wood: 8.75” H x 6.25” W x 4.5” D $200-400

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176

Lloyd Wadhams Jr.

(b. 1967, Kwakwaka’wakw) “Woman of the Woods” Carved wood Incised signature verso: L Wadhams; titled to sticker applied verso 9” H x 7.25” W x 5.25” D $200-400

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177

Two Yakutat carved wood masks

Late 20th century Each with incised signature verso: Mark; wolf additionally inscribed: XX Comprising a blue painted mask with incised details to forehead, and a wolf head with black painted accents and outer edge perforated for mounting feathers 2 pieces Blue: 15.5” H x 10” W x 4.5” D; Wolf: 11” H x 7.125” W x 3.625” D $200-400

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178

Two Yakutat carved wood masks

Late 20th century Each with incised signature and inscription verso: Mark; the blue additionally marked: XX The polychrome masks comprising one with blue highlights around the eyes and forehead and one with white face and red mouth and nose 2 pieces Blue: 9.375” H x 6.375” W x 3.25” D; White: 9.5” H x 6.375” W x 4.25” D $200-400

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179

An Inuit whale bone mortar

19th/20th century The whale bone vertebra with protrusion carved in the form of an animal head and hollowed cavity used as a mortar meant for a stone pestle 12.25” H x 23.125” W x 13.25” D $300-500 Provenance: Collection of Lura Gard Newhouse Palm Springs Art Museum, acquired as gift from the above This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

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180

A Yakutat carved wood rattle

Late 20th century Signed verso: Mark / XX The polychrome wood rattle with carved face in relief to side A and painted figural face to side B, above a waxed thread-wrapped handle 12” H x 6.75” W x 6.75” D $500-700

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181

Van Joseph

(b. 1964, Squamish) “Man with bear holding copper mask,” 1984 Painted carved wood, abalone shell, and copper Inscribed signature, date, title, and inscription to underside: Van Joseph / Squamish Tribe; With sticker applied to underside: N.W. Coast Ethnic Art / RJL / Olympic Hotel / Seattle 15” H x 3.75” W x 2.875” D $500-700

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182

A Northwest Coast Haida totem

Late 20th century; Pacific Northwest Coast Unsigned The polychrome carved wood eagle figure mounted in a wood shadowbox frame Figure: 15” H x 6.625” W x 4.375” D $100-200

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183

Beau Dick

(1955-2017, Kwakwaka’wakw) “Mussel Shell,” 1986 Painted carved wood, horse hair, and animal pelt Signed, titled, and dated to underside: Beau Dick Overall: 12.75” H x 16.25” W x 4.75” D $300-500

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184

Erich Glendale (b. 20th century, Kwakwaka’wakw)

A carved wood eagle effigy grease bowl, 1999 Incised signature and date to underside: Erich Glendale / 99 The bowl carved in the form of an eagle with wings pulled back 4.625” H x 19.25” W x 4.875” D $400-600

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185

Two Northwest Coast carved wood items Two works:

Tom Williams (b. 1962, Squamish) A polychrome wood bird plaque, 1985 Incised signature and date verso: Tom Williams The carved wood wall plaque with red, green, and black pigments, depicting a totemic-style bird figure with heads at each end 14.25” H x 2.375” W x 0.625” D A Northwest Coast polychrome wood fishing club, early/mid-20th century Unmarked The club depicting an orca with teeth bared and a raven on its back, decorated with green, red, and black pigments 19.125” L x 2.75” W x 1.875” D 2 pieces

$200-300

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186

Four Northwest Coast carved wood items Four works:

Matthew Baker (b. 1966, Squamish/Kwakwaka’wakw) A carved wood fish plaque, late 20th century Signed and inscribed verso: Matthew Baker / Squamish Nation / Canada With green, red, and black pigments 6.25” H x 16.375” W x 1” D Russell Williams (b. 20th century, Coast Salish) “Eagle Bowl,” 1984 Carved and polychrome yellow cedar grease bowl With penciled signature, titled, date, and inscription: Russell Williams / 09/1984 / Puyalop [sic] Tribe, Wa. U.S. A / Coast Salish / [cipher] / yellow cedar 4” H x 11.25” W x 3.25” D A Northwest Coast carved wood fish club, late 20th century Signed illegibly to underside The totemic club depicting an eagle, bear, and other figures 23.75” L A Northwest Coast carved wood rattle, late 20th century Unmarked The polychrome wood rattle carved in the figure of a wolf baring its teeth 3.5” H x 12” W x 3.625” D 4 pieces $300-500 w w w. j o h n m o r a n . c o m 2 2 5

187

Two Northwest Coast carved wood hammers and a pipe

Mid/late 20th century Comprising a longer hammer, the handle with central beadwork over hide depicting geometric motifs flanked by fur elements and terminating in a large stone (20.25” L), a shorter hammer with hide-wrapped handle mounted with banded beads and terminating in a carved stone (15.25” L), and a pipe wrapped in hide and fur (15.25” L) 3 pieces $400-600

188

Four Northwest Coast carved wood salmon plaques Four works:

Rick Smoker (active 20th century) “Thompson,” 1983 Signed, titled, dated, and inscribed verso: Rick Smoker / Paddle & Salmon / Aug. 24/83; with sticker applied verso: canadiana collection 8.625” H x 24” W x 0.75” D Doug Harper (b. 20th century, Kwakiutl) A polychrome salmon plaque, late 20th century Incised signature verso: Doug Harper 4” H x 15.5” W x 0.625” D Cecil Wadhams (b. 20th century, Tseshaht) “Salmon” Signed, titled, and inscribed verso: Cecil Wadhams / Albert Bay B.C. 5.875” H x 14.875” W x 0.75” D Dick Joseph (active 20th century) “Salmon,” 1985 Signed, dated, and titled verso: Dick Joseph / 1/85 10.5” H x 24” W x 2” D 4 pieces $300-500

189

A Southwest-style turquoise inlaid wood coffee table

Late 20th century Unmarked The custom wood table with single drawer and wrought iron pull, the top featuring six frame rectangular panels inlaid with turquoise shards, raised on square legs 18” H x 50” W x 30.5” D $500-700

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190

A J. Alexander silver alloy and turquoise “Stamped Bible Box”

Early 21st century Incised to underside: [tee pee cipher] / J. Alexander The hammered and antiqued silver, copper, and nickel alloy trinket box with chased Navajo-inspired geometric designs, featuring a turquoise-mounted lid revealing a velvet-lined interior 4” H x 11.25” W x 8” D $600-800

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192

Paolo Soleri (1919-2013)

A Cosanti wind bell, mid/late 20th century; Paradise Valley, AZ With cast Paolo Soleri cipher The cast bronze bell with clapper and copper fin Overall: 6.5” H; Bell: 2.75” H x 3.75” Dia.; Fin: 2.625” H x 3.375” W $300-500

191

A saguaro cactus skeleton floor lamp

Late 20th century Unmarked The custom floor-standing single light lamp housed inside the skeleton of a saguaro cactus that has been shaped with rounded ends, electrified 83” H x 22” W x 17” D $400-600

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193

Paolo Soleri (1919-2013)

A Cosanti wind bell, mid/late 20th century; Paradise Valley, AZ With cast Paolo Soleri cipher The rounded cubical cast bronze bell with clapper, copper fin, and later added S hook Overall without hook: 23.25” H; Bell: 6” H x 5.5” W x 5.5” D; Fin: 5.375” H x 6.25” W $300-500

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194

A Navajo banded blanket

Late 19th century, Diné Woven in red, cream, dark brown, and indigo wool bands on a natural grey field 51.5” H x 76” W $1,000-2,000

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195

A Navajo transitional blanket

Late 19th century, Diné Woven in orange, dark brown, natural grey, and cream wool. with serrated broken chevron motifs 56.5” H x 78” W $800-1,200

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196

A Navajo Germantown Third Phase wearing blanket

Late 19th century, Diné A fine plied wool of red, purple, cream and dark brown/black wool 51” H x 69” W $2,000-4,000

197

A Navajo Late Classic dress half

Late 19th century, Diné Woven with indigo stepped bands and diamonds on a red background and a black center field 49.75” H x 35” W $800-1,200

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198

A Navajo Moki blanket

Late 19th century, Diné Woven in purple, black, red, and cream Germantown wool, with two stacked serrated diamonds on a striped ground, the corners with conforming rows of serrated motifs 53.5” H x 76” W $700-900

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199

A large Navajo Germantown eyedazzler rug

Late 19th century, Diné Woven in dark red, cream, turquoise, blue, dark grey, and other colored wools, with stacked serrated diamond motifs 74” H x 89” W $4,000-6,000

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200

A Navajo Germantown eyedazzler rug

Late 19th century, Diné Woven in red, yellow, purple, brown, green, and maroon wool, with columns of stacked serrated diamond motifs 46.75” H x 66.5” W $600-800

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201

A Navajo regional rug

Early 20th century, Diné Woven in natural grey, dark brown, and cream wool, with floating diamond motifs and stepped triangle border 60.5” H x 87” W $800-1,200

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202

A Navajo regional rug

Early 20th century, Diné A large rug woven in red, cream, and dark brown wool with an elaborate hooked conjoined diamond motif and double border 54” H x 83.5” W $800-1,200

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203

A Navajo regional runner

Early 20th century, Diné Woven in red, pink, dark brown, tan, and natural grey/brown wool, with two columns of serrated diamonds and floating geometric motifs centering a simple line border 43.5” H x 87” W $800-1,200

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204

A Navajo regional rug

Early 20th century, Diné Woven in red, cream, light brown, and dark brown wool, with a central cross, stepped half diamonds, and an elaborate border 63” H x 36.25” W $500-700

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205

A Navajo regional rug

Mid-20th century, Diné Woven in cream, red, brown, and natural grey/brown wool, with three columns of serrated diamonds 40.5” H x 78” W $300-500

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206

A Navajo pictorial runner

Early 20th century, Diné Woven in red, cream, grey, and dark brown wool with three columns of stepped and geometric motifs, featuring an arrow at each corner 42” H x 93” W $800-1,200

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207

A Navajo regional rug

Mid-20th century, Diné Woven in red, cream, grey, tan, and black wool, with a central column of serrated diamonds 35.25” H x 60.75” W $400-600

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208

A Navajo regional rug

Early 20th century, Diné Woven in red, cream, grey, and dark brown wool, with alternating conjoined and floating serrated diamond motifs 41” H x 58” W $400-600

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209

A Navajo eyedazzler rug

Mid-20th century, Diné Woven in red, black, grey, and cream wool, with a conjoined diamond motif 60” H x 97.5” W $500-700

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210

A Navajo regional rug

Early 20th century, Diné Woven in red, cream, brown, light brown, and natural grey/brown wool with conjoined stepped diamonds at center and arrows at corners 47.5” H x 67.5” W $400-600

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211

A Navajo regional rug

Early 20th century, Diné Woven in red, cream, dark brown, and grey wool, depicting two central diamonds with hooked borders encapsulating stacked triangle motifs, bird motifs at corners, and sawtooth border to selvage edges 40.5” H x 67” W $200-400

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212

A Navajo regional rug

Early 20th century, Diné Woven in light and dark brown, red, and cream wool, with a column of four serrated diamonds and a stepped border 38.5” H x 62” W $400-600

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213

A large Navajo Two Gray Hills rug

Early 20th century, Diné Woven in cream, dark brown, light brown, and natural grey/brown wool, with stepped diamond motif at center and a hooked motif border 77.5” H x 107” W $800-1,200

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214

Etta Peacock (b. 20th century, Diné)

A Navajo Yei textile Woven in brown, tan, grey, rust, orange, cream, yellow, black, and blue wool, depicting twelve Yei dancers and a rainbow guardian, with a complex sawtooth border 47.5” H X 64.75” W $4,000-6,000 Notes: Award winning Navajo/Diné Master weaver Etta Claw Peacock is known for her very finely woven Yei tapestry style rugs. Etta’s work is typically very precise and evenly executed with even tension throughout, and her weavings can take at least three months to complete, with traditional striking color choices and designs including complex border motifs inspired by those of her mother. This lot accompanied by a copy of a receipt from Cameron Trading Post, Cameron, AZ, dated August 01, 1991. With a Cameron Trading Post, Cameron, AZ label indicating stock number N91-072.

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216

Late 19th/early 20th century, Diné Comprising a small throw woven green, purple, black, and grey wool, with double concentric diamond motif, and a smaller throw woven in cream, red, purple, grey, and black wool, with serrated central column 2 pieces Green diamond: 19” H x 37.5” W; Cream ground: 19.5” H x 36” W

Late 19th century, Diné Comprising one larger throw central X motif, and a smalle various serrated motifs 2 pieces Larger: 20” H x 21” W; Sma

Two Navajo Germantown throws

$500-700

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Two Navajo Germantow

$400-600

wn throws

w woven in red, pale green, cream, and black wool, with er throw woven in red, cream, black, and grey wool, with

aller: 18.5” H x 18.75” W

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217

Two Navajo Germantown throws

Late 19th century, Diné Each woven in multicolored wool, comprising a pictorial throw with bow and arrow motif on a red background, and a four-section sampler Larger: 23.5” H x 23.5” W; Smaller: 21” H x 20.5” W $500-700

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218

A Navajo saddle blanket

20th century, Diné Woven in multiple vibrantly colored wools on a red, black, and natural grey/brown ground, with serrated floating diamond centering serrated motifs and an elaborate stepped triangle motif border, one fringe edge displaying the vibrant colors in long strands 29.5” H x 33.5” W $400-600

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219

A Navajo double saddle blanket

Early 20th century, Diné Woven in red, beige, cream, black, and natural grey/brown wool, with two panels of geometric motifs flanking a row of chevrons, all within a stepped sawtooth border 31.5” H x 47.5” W $200-400

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220

A Navajo double saddle blanket

Early 20th century, Diné Woven in red, cream, and dark brown wool, with floating blocks of geometric designs 37.25” H x 57” W $500-700

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221

A Navajo twilled double saddle blanket

Mid-20th century, Diné The banded twill weave in a variety of colored wools, with stepped motifs to corners 31.25” H x 61.5” W $200-400

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222

A Navajo weaving

Late 20th century, Diné Woven in bright multicolor wool, with banded and arrow feather motifs 30.5” H x 40.25” W $200-400

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223

A Contemporary Third Phase-style area rug

Early 21st century Woven in black, red, cream, pale orange, and light blue wool, with banded and zig zag motifs 69” H x 95.5” W $400-600

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224

Two Navajo regional rugs

Mid-20th century, Diné Comprising a Two Grey Hills rug woven in black, cream, and tan wool, with conjoined stepped diamond motif, and a small mat woven in red, cream, tan, and black wool, with central elaborate diamond motif centering elaborate zig zags 2 pieces Larger: 27” H x 48” W; Smaller: 18” H x 23.25” W $200-400

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225

Two Navajo Ganado weavings

Mid-20th century, Diné Each woven in red, cream, black, chocolate brown, and grey wool, one with conjoined diamond and floating stepped motifs within a railroad border at two ends, and a intricate double diamond motif with stepped borders at two ends 2 pieces First described: 25.75” H x 44.5” W; Second: 28.25” H x 42” W $400-600

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226

A Navajo Yei weaving

Mid/late 20th century, Diné Woven in multicolored wool, depicting six standing figures holding corn stalks and animal pelts, with a stepped border at two edges 35.25” H x 45” W $300-500

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227

A Navajo pictorial weaving

Mid/late 20th century, Diné Woven in multicolored wool, depicting the Tree of Life emerging from a basket with perched and flying birds 46” H x 27.25” W $300-500

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228

Two Navajo regional rugs

Mid/late 20th century, Diné Comprising an eyedazzler rug woven in mustard, dark brown, cream, and natural grey/brown wool, and a pictorial rug woven in mustard, dark brown, cream, red, beige, and natural grey/ brown wool featuring two rows of feathers to center and a sawtooth border at two edges 2 pieces Eyedazzler: 33.5” H x 39” W; Feathers: 25” H x 42” W $400-600

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229

Two Navajo regional rugs

Mid/late 20th century, Diné Each woven in cream, beige, black, and grey wool, the larger with elongated stepped central diamond with floating elements, the other with various geometric and stepped motifs and a stepped border 2 pieces Larger: 39” H x 60.5” W; Smaller: 30.5” H x 46.5” W $400-600

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230

Two Navajo weavings

Mid-20th century, Diné Comprising a pictorial rug woven in red, black, cream, and natural grey wool, depicting an elongated stepped motif, and a Ganado saddle blanket woven in deep red, black, cream, and brown/grey wool, with banded lozenge and zig zag motifs 2 pieces Larger: 33.5” H x 50” W; Smaller: 27” H x 35.5” W $400-600

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231

Three Navajo weavings

Mid-20th century, Diné Storm pattern with paper tag: Crownpoint Rug Weavers Association / Sally Mailboy / Burnt Corn; the small mat with vinyl tag: Genuine Navajo Rug / Marilyn Sloan Comprising a Ganado double mat woven in browns, black, red, cream, and natural grey/brown wool (20.25” H x 39.75” W), a fine twill weaved storm pattern mat woven in red, black, cream, and grey wool, with feather motifs (19.75” H x 31” W), and a small twill weave matt woven in red, black, grey, and cream wool, with central stepped diamond and zig zag motifs (12.5” H x 13.25” W) 3 pieces $500-700

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232

A group of Navajo Two Grey Hills matts and throws

Mid/late 20th century, Diné One with paper tag: Weaver: Marie P. Howard / of Fruitland (CPA); another with paper tag: Weaver: Dorene Yazzie (XEL) Each woven in variations of browns, black, grey, and cream wool, comprising a Marie P. Howard mat with elongated diamond motif (14.5” H x 23.5” W), a Dorene Yazzie mat with double serrated diamond motif (17” H x 18.75” W), a mat with stepped diamond on grey ground (17.25” H x 24.5” W), and a pair of small mats with central serrated diamond motifs (each: 9.5” H x 10.25” W) 5 pieces $300-500

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233

Two Navajo Yei textiles

Mid/late 20th century, Diné The mat with tag: Weaver / Rena Thompson Each woven in multicolor wool on grey ground, comprising a larger Yei depicting figures and alternating corn stalks, and a smaller mat with three figures and corn stalks 2 pieces Larger: 24” H x 28.5” W; Smaller: 10” H x 12.75” W $200-400

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234

A group of Southwest table weavings

Late 20th/early 21st century, Diné The single with a cloth tag: Ortega’s Weaving Shop / Chimayo, New Mexico Each woven in a variety of earth toned and pink wool, with various geometric and banded motifs, comprising three pairs of mats and a single mat 7 pieces Largest: 10” H x 15” W; Smallest: 11.75” H x 13” W $200-400

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235

A Navajo sampler/ runner

Mid-20th century, Diné A sampler-style runner woven in grey, black, cream, and red wool, with various geometric motifs in three panels 21” H x 75.5” W $500-700

236

A Yei pictorial runner

Late 20th century Signed in the weaving: PG Possibly Pauline Glasses (b. 20th century, Diné), woven light brown, and dark brown wool, depicting eleven da elaborate border 37.5” H x 113” W $400-600

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n in red, ochre, cream, ancing figures centering an

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237

A Scandinavian pictorial Rya rug

Early 20th century The figural folk art rug woven in pale green, red, pink, yellow, cream, and periwinkle wool, depicting a central bird and foliate and floral motifs centered by a chevron border 54” H x 75” W $300-500

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238

A Pendleton “Babbitt Brothers 100th Anniversary” blanket

1989 Edition: 430/1000 Numbered to Babbitt Brothers 100th Anniversary tag; With Pendleton cloth tag; also with original bi-fold paper tag with original plastic fastener: Pendleton Indian Blankets / A Warm and Colorful Heritage / Pattern number: Z494 / Color number: 165 / 82% filling (pure virgin wool) / 18% warp (spool spun cotton) Designed by Jim Babbitt (1948-2021), the reversible blanket woven in red, black, grey, and cream wool, with a central Navajo-style Storm Pattern motif and water bug motifs at edges, housed in original box Blanket: 64” H x 80” W; Box: 5” H x 21” W x 17.5” D $200-400 Notes: Babbitt Brothers has been in Flagstaff, AZ since 1886, and the Babbitt Brothers Trading Company was established three years later in 1889. They have been a wholesaler of Pendleton blankets since 1909.

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239

A Pendleton “Hubbell Trading Post Edition” blanket

1980s Edition: 413/1000 Numbered to graphic Hubbell Trading Post National Historic Site tag; With Pendleton cloth tag; also with original bi-fold paper tag with original plastic fastener: Pendleton Indian Blankets / A Warm and Colorful Heritage / Z494-172 / 82% filling (pure virgin wool) / 18% warp (spool spun cotton) In the style of a Navajo Third Phase chief’s blanket, the reversible blanket woven in red, blue, black, and grey wool, with central Spider Woman motifs centering stripes and banded motifs, housed in original box Blanket: 64” H x 80” W; Box: 5” H x 21” W x 17.5” D $200-400

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240

A Pendleton “Iron Horse Trail” blanket

1994 Attributed to tag: Southwest Trails Blankets / By Ramona Sakiestewa / Iron Horse Trail / A Commemorative Series By Dewey Trading Company; With Pendleton cloth tag; also with original bi-fold paper tag with original plastic fastener: Pendleton Indian Blankets / A Warm and Colorful Heritage / Z494-203 / 82% filling (pure virgin wool) / 18% warp (spool spun cotton); lastly, with additional tag: Rails to Trails Conservancy Designed by Ramona Sakiestewa (b. 1948, Hopi-Tewa), the Germantown-style reversible pictorial blanket woven in multicolor wool, depicting steam engine trains and banded geometric motifs, housed in original box Blanket: 64” H x 80” W; Box: 5” H x 21” W x 17.5” D $200-400

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241

Geoffrey Holt

(1882-1977) “Nevada House” Oil on canvas Signed lower right: Geoffrey Holt; titled on a handwritten tag tied to hanging wire; inscribed on the stretcher: Used for Bekins / calendar 1948 25” H x 30” W $600-800

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242

20th Century American School Weavers Oil on canvas Signed lower right: Arnim 35” H x 45” W $500-700

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243

Theodore J. Richardson

(1855-1914) “Daily Work” Watercolor on paper Signed lower left: J. Richardson; titled by repute 7.5” H x 10.5” W $1,000-1,500 Provenance: Private Collection, CA Merwin E. Anderson, Seattle, WA A. J. Kollar Fine Paintings, Seattle, WA The Estate of Bruce Leven, Mercer Island, WA 2013 Sold: Coeur d’Alene Art Auction, Hayden, ID, “2018 Coeur d’Alene Art Auction,” July 28, 2018, Lot 273

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244

Joni Falk

(b. 1933) “One with the Land” Oil on panel Signed lower left: Joni Falk ©; titled on the frame plaque; with a possible alternative title, “Fire Marshall, ” in ink on the frame’s backing paper Sight: 7.5” H x 9.5” W $400-600 Provenance: Kesler Gallery, San Diego, CA

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245

Heinie Hartwig

(b. 1937) A mountainous landscape with encampment Oil on Masonite Signed lower right: Heinie Hartwig 5” H x 7” W $400-600 Provenance: Portnoy Galleries, Carmel, Ca

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246

Heinie Hartwig

(b. 1937) Landscape with encampment Oil on Masonite Signed lower left: Heinie Hartwig 5” H x 7” W $400-600

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247

248

(b. 1937) Encampment below snowy mountains Oil on panel Signed lower left: Heinie Hartwig 5” H x 7” W

(b. 1937) “Comanche Sunset” Oil on Masonite Signed lower right: Heinie Har 6” H x 12” W

Heinie Hartwig

$400-600 Provenance: Portnoy Galleries, Carmel, CA

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Heinie Hartwig

$600-800

rtwig ©; titled verso

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249

Harrison (Haskay Yahne Yah) Begay

(1917-2012, Navajo/Diné) Navajo mother and daughter weaving Screenprint in colors on paper From the edition of unknown size With the printed signature in the image at lower right: © Harrison Begay; also printed in the lower margin (under the mat): A Silk Screen Reproduction / Copyright, Tewa Enterprises / Santa Fe, New Mexico Sight: 14.75” H x 20.5” W $300-500

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250

R.C. Gorman

(1932-2005, Navajo/Diné) “Navajo Weaver,” 1985 Lithograph in colors on wove paper Edition: 154/200 (there were also 44 artist proofs) Signed, dated, and numbered in pencil along the lower edge: R.C. Gorman; Western Graphics Workshop, Evergreen, CO, prntr./pub., and with their blindstamp at the center of the lower edge Image/Sheet: 25” H x 34” W $400-600 Provenance: The Upstairs Gallery, Costa Mesa, CA Literature: Adams and Newlin 225 Notes: This lot is accompanied by a certificate of authenticity and a copy of the purchase receipt, dated March 12, 1985, from The Upstairs Gallery, Long Beach, CA.

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251

R.C. Gorman

(1932-2005, Navajo/Diné) “Eye Dazzler,” 1990 Lithograph in colors on paper Edition: 30/224 Signed, dated, and numbered in pencil in the lower left and right corners, respectively: R. C. Gorman; titled on a typed label affixed to the frame’s backing paper; Western Graphics Workshop, Inc., Albuquerque, NM, prntr./pub. Image/Sheet: 41” H x 31.5” W $600-800

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252

R.C. Gorman

(1932-2005, Navajo/Diné) “Enchanted Mesa,” 1989 Lithograph in colors on paper Edition: 34/224 Signed, dated, and numbered in pencil along the lower edge of the image: RC Gorman; titled on a label affixed to the frame’s backing paper; Western Graphics Workshop, prntr./pub.; with the artist’s blindstamp at the center of the lower the lower edge Image/Sheet: 29” H x 41.25” W $600-800

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253

R.C. Gorman

(1932-2005, Navajo/Diné) “Yvonne,” State II, 1979 Lithograph in colors on paper Edition: 71/100 Signed, numbered, and dated in pencil along the lower edge: R.C. Gorman; Ben Q. Adams, prntr.; Western Graphics Workshop, Albuquerque, NM, pub; with the artist’s, printer, and publisher blindstamps at the lower edge Image/Sheet: 21.5” H x 29.25” W $600-800 Literature: Adams and Newlin 173

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254

R.C. Gorman

(1932-2005, Navajo/Diné) “Woman from Maui,” 1983 Screenprint in colors on paper Edition: 28/150, second (final) state (there were also 15 artist proofs) Signed and dated lower left: R.C. Gorman; the artist’s blindstamp, lower left; Editions Press, San Francisco, CA, prntr./pub., and with their blindstamp, lower right Image/Sheet: 28.5” H x 33.5” W $400-600 Provenance: The Upstairs Gallery, Costa Mesa, CA Literature: c.f. Adams and Newlin 203 Notes: A certificate of authenticity and a copy of the purchase receipt, dated January 29, 1984 from The Upstairs Gallery, Long Beach, CA.

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255

Burt Proctor

(1901-1980) Horseriders in the desert Oil on Masonite Signed lower left: Burt Proctor 24” H x 30” W $3,000-5,000 Provenance: Portnoy Galleries, Carmel, CA

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256

Burt Proctor

(1901-1980) Seated woman in blue Oil on board Signed lower left: Burt Procter 26” H x 16” W $2,000-3,000

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257

Burt Proctor

(1901-1980) Portrait of a young girl Oil on canvas Signed lower left: Burt Proctor 24” H x 12” W $800-1,200 Provenance: Portnoy Galleries, Carmel, CA

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258

Burt Proctor

(1901-1980) Portrait of a young boy Oil on board Signed lower right: Burt Proctor 24” H x 12” W $700-900 Provenance: Portnoy Galleries, Carmel, CA

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259

Logan Maxwell Hagege

(b. 1980) “High Desert Trail,” 2010 Oil on linen laid to Gatorboard Signed upper right: Logan Maxwell Hagege; signed again, titled, dated, and inscribed on the verso of the Gatorboard 12” H x 9” W $8,000-12,000

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260

Antoine Tzapoff

(b. 1945) “Shirt in Bird Quills,” 1977 Oil on canvas Signed and dated lower left: A Tzapoff; titled on the overlap of the stretched canvas, verso 19.8” H x 20” W $1,500-2,500 Provenance: Sold: Brunk Auctions, Asheville, NC, “Brunk Auction,” March 10, 2012, Lot 122

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261

Bill Hampton

(1925-1977) “Navajo Chief” Charcoal and pastel on light brown paper Signed lower right: Bill Hampton; titled and inscribed in pencil, possibly in another hand, verso Image/Sheet: 20” H x 16” W $500-700 Provenance: Kesler Gallery, San Diego, CA

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262

20th Century American School

Portrait of Native American Graphite on paper laid to matboard Unsigned Sight: 13.25” H x 11” W $200-400

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263

Clarence McGrath

(1938-2007) “Navajo Lady in Shade” Oil on panel Signed lower left: McGrath; titled on the frame plaque; titled again on a piece of tape, presumably in another hand, verso 18” H x 12” W $500-700 Provenance: Kesler Gallery, San Diego, CA

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264

Paul Sollosy

(1911-2012) Portrait of a woman Watercolor on paper Signed and with the artist’s device, lower left: Paul Sollosy Sight: 9.5” H x 6.5” W $200-400

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265

Georgina Elliot Acheson

(20th century) Native American figure Oil on canvas Initialed lower left: G.E.A; with the artist’s name inscribed on the lower portion of the stretcher 18” H x 14” W $400-600

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266

Jim Jordan

(b. 1945) “Navajo Maiden” Oil on canvas Signed and with the artist’s device, lower left: Jordan; titled on the upper portion of the stretcher, verso 16” H x 12” W $600-800 Provenance: Kesler Gallery, San Diego, CA

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267

20th Century American School

Portrait of a woman in profile with turquoise jewelry, 1993 Mixed media on paper Signed and dated lower center: Berk Sight: 18” H x 17.5” W $300-500

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268

Allen Bahe

(b. 1959, Navajo/Diné) “The Green Blanket” Acrylic on canvas Signed and with the artist’s device, lower left: Bahe; signed again and with the artist’s device, titled, and inscribed Navajo Ye in pencil, all verso 14” H x 11” W $500-700

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269

Allen Bahe

(b. 1959, Navajo/Diné) “The Great Ceremonial Blessings” Acrylic on canvas Signed and with the artist’s device, lower left: Bahe; signed again and with the artist’s device, titled, and inscribed in pencil, all verso: (Talking God- Female Yei- Navajo) 16” H x 16” W $500-700

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270

Randall Sahmie

(1950-2008, Hopi-Tewa) Hopi Kachina figure Oil on canvas Signed lower right: RSahmie; illegibly inscribed or dated lower right 34” H x 15” W $400-600

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271

Robert Wesley Amick

(1879-1969) “The Watchers” Oil on canvas Signed lower left: Robert Wesley Amick; titled on a gallery information sheet affixed to the frame’s foamboard backing 18” H x 30” W $2,000-3,000 Provenance: Portnoy Gallery, Carmel, CA Notes: A short biography of the artist is affixed to the frame’s backing foamboard. “HWA #1” inscribed into and on the upper stretcher bar, as well as a possible alternative title: “Indians in Ambush on a Wagon Train.”

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272

Nicholas Coleman

(b. 1978) “Spring Camp” Oil on board Signed and titled, verso: Nicholas Coleman; with the artist’s ink stamp, verso 6” H x 28” W $1,000-2,000

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273

Paul Dyck

(1917-2006) Native American encampment, 1975 Watercolor on artist board Signed lower right: Paul Dyck; Inscribed in ink, verso: “To my good friend Paul Weaver / for many years of / friendship / Paul Dyck 1975” Sight: 9.5” H x 12.5” W $400-600

275

Nicholas Coleman

(b. 1978) “In The River Bottoms” Oil on board Signed lower right: Nicholas Coleman; signed again and titled in pencil, verso 11.5” H x 9” W $1,000-1,500

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274

Carl Oscar Borg

(1879-1947) Landscape with trees, 1911 Watercolor on paper Signed and dated lower left: Carl Oscar Borg Sight: 7.5” H x 10” W $700-900

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276

Heinie Hartwig

(b.1937) “Spring in the Valley” Oil on Masonite Signed lower right: Heinie Hartwig 34.5” H x 58” W $7,000-9,000

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277

Heinie Hartwig

(b. 1937) “Half Dome (Yosemite)” Oil on Masonite Signed lower left: Heinie Hartwig; titled verso 18” H x 24” W $1,500-2,000

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278

Heinie Hartwig

(b. 1937) “Flathead Camp below Mt. St. Helens” Oil on Masonite Signed lower right: Heinie Hartwig; titled verso 30” H x 40” W $5,000-7,000 Provenance: Portnoy Galleries, Carmel, CA

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279

Heinie Hartwig

(b. 1937) “Cheyenne (Colorado Camp)” Oil on Masonite Signed lower left: Heinie Hartwig; titled verso 18” H x 24” W $1,500-2,000

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280

Heinie Hartwig

(b. 1937) “Late in the Day” Oil on Masonite Signed lower right: Heinie Hartwig; titled verso 16” H x 20” W $1,200-1,800

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281

Joseph Velazquez

(b. 1942) “Keeper of the Medicine Pipe,” 1981 Patinated bronze on a wood plinth Edition: 16/21 Signed, numbered, and dated in the casting Object: 41.5” H x 18.5” W x 21” D; Base: 31” H x 14.5” W x 14.5” D $1,500-2,500 Provenance: Collection of Steven De Christopher Sr. Palm Springs Art Museum, acquired as gift from the above

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282

W. Clarence McGrath

(1938-2007) “Clarence” Oil on Masonite Signed lower right: McGrath; titled in ink, possibly in another hand, verso 16” H x 12” W $500-700 Provenance: Kesler Gallery, San Diego, CA

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283

Edward Borein

(1872-1945) Cowboys on the plains Watercolor on paper Signed lower right: Edward Borein Image/Sheet: 7.75” H x 10” W $8,000-12,000

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284

Edward Borein

(1872-1945) “Parting Cattle” Etching and drypoint in brownish-black ink on wove paper From the edition of unknown size Signed and with the artist’s remarque in pencil at the lower margin: Edward Borein Plate: 3.625” H x 8.5” W; Sheet: 9.5” H x 12.5” W $1,000-2,000 Literature: Galvin 97

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285

Edward Borein

(1872-1945) “Running Wild Horses” Etching and drypoint in brown on wove paper From an edition of unknown size Signed and with the artist’s remarque in pencil at the lower margin: Edward Borein Plate: 6.75” H x 10.75” W; Sheet: 10” H x 14.25” W $1,000-2,000 Literature: Galvin 49

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286

Attributed to Edward Borein (1872-1945) Cowboys roping steer Ink on paper Unsigned 14” H x 19” W $1,000-1,500

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287

Attributed to Edward Borein (1872-1945) Three works:

Two cowboys and steer Ink on paper Unsigned Sheet: 8” H x 12” W Cowboy chasing steer Ink on Brother Jonathan Bond paper Unsigned Sheet: 8.5” H x 14” W Cowboy leading steer Ink on Brother Jonathan Bond paper Unsigned Sheet: 8.5” H x 14” W $1,500-2,000

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288

Attributed to Edward Borein (1872-1945) Two horseriders Ink on paper Unsigned Sheet: 6” H x 6.25” W $1,000-1,500

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289

Edward Borein

(1872-1945) “Group of Steers” India ink on paper Unsigned; titled on a sheet affixed to the frame’s backing paper Sight: 8” H x 11.25” W $600-800 Provenance: Twiggs and Moore Gallery, West Jordan, UT Notes: A signed letter by art appraiser Harold G. Davidson attesting to the authenticity of the work as being by artist Edward Borein is housed in a plastic sleeve affixed to the frame’s backing paper.

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290

Edward Borein

(1872-1945) “Roping a Steer” India ink on paper Unsigned 6.5” H x 11.75” W $600-800 Provenance: Twiggs and Moore, South Jordan, UT Elverhoj Museum of History & Art, Solvang, CA Notes: This lot is accompanied by a signed letter by art appraiser Harold G. Davidson attesting to the authenticity of the work by artist Edward Borein.

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291

Attributed to Edward Borein (1872-1945) Cowboy on horseback Ink on paper Unsigned Sight: 4.5” H x 4.125” W $700-900

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292

Edward Borein

(1872-1945) Mexican vaquero on a horse Ink on paper Unsigned Sight: 7” H x 8” W $400-600 Notes: This lot is accompanied by letters from art appraiser Harold G. Davidson attesting to the authenticity of the work. Another letter from Harold G. Davidson attesting to the work’s authenticity is taped to the frame’s backing paper.

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293

Edward Borein

(1872-1945) “The Moon Queen’s House, Walpi” Etching and drypoint on wove paper From the edition of unknown size Signed in pencil in the lower margin, at right: Edward Borein Plate: 7” H x 9.25” W; Sight: 7” H x 9.25” W $700-900 Literature: Galvin 219 Notes: This appears to be a rare image, with few having come to market other than the one sold in The Katherine H. Haley Collection at Christie’s Los Angeles on October 31, 2000.

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294

Edward Borein

(1872-1945) “After the Buffalo Hunt” Etching and drypoint on paper From the edition of unknown size Signed in pencil lower right: Edward Borein Plate: 8” H x 11.75” W; Sight: 8.75” H x 12.75” W $800-1,200 Literature: Galvin 180 Notes: The original artist’s label is taped to the frame’s cardboard backing.

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295

Herman Wendelborg Hansen

(1854-1924) “Boss of the Rancho,” 1924 Etching on paper From the edition of unknown size Initialed and dated in the plate at lower right: HWH; titled and inscribed: “etching by H. W. Hansen / printed by Armin Hansen, his son,” all in pencil, in the lower margin Plate: 6” H x 7.5” W; Sight: 6.5” H x 8.125” W $200-400

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296

Everett Gee Jackson

(1900-1995) Friar with cactus toe Charcoal on paper Signed in pencil lower left: Everett Gee Jackson Sight: 20” H x 14” W $600-900

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297

Paul Sollosy

(1911-2012) Portrait of a chief Charcoal and pastel on gray paper Signed and monogrammed in pencil lower right: Sollosy Sight: 16.75” H x 12.5” W $200-400

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298

Birger Sandzén

(1871-1954) “Rocky Coast,” 1948 Lithograph on paper From the edition of 100 Signed and titled in pencil in the lower margin: Birger Sandzén; possibly inscribed in pencil in another hand at the lower margin: Merry Christmas to Jenny from Pelham and Margaret Image: 9.75” H x 14” W; Sight: 10.625” H x 15.125” W $700-900 Literature: Birger Sandzén Memorial Gallery, L-195 Notes: A signed inheritance label is affixed to the frame’s backing board, as well as a funeral notice for Charles Greenough III.

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299

Gene Kloss

(1903-1996) “New Mexican Winter,” 1934 Etching and aquatint on wove paper From the edition of 50 Signed and tilted in pencil in the lower margin: Gene Kloss Plate: 10” H x 13.75” W; Sight: 10.5” H x 14.5” W $700-900 Literature: Sanchez 140

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300

Gene Kloss

(1903-1996) “Street in Taos,” 1931 Etching and drypoint on wove paper From the edition of 15 Signed and titled in pencil at the lower margin: Gene Kloss Plate: 5.75” H x 6.75” W; Sheet: 8.125” H x 10.25” W $1,000-1,500 Literature: Sanchez 107

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301

Conrad Buff

(1886-1975) “American Pioneers,” circa 1935 Lithograph on wove paper Edition: 24/31 Signed and numbered in pencil in the lower margin, directly below the image at right and left, respectively: Conrad Buff Lynton R. Kistler printer, Los Angeles, and with his monogram in pencil in the lower margin, at left. Image: 9.5” H x 12.5” W; Sheet: 13.125” H x 18.875” W $500-700 Literature: Ebria Feinblatt and Bruce Davis, “Los Angeles Prints: 1883-1980” (Los Angeles, CA: Los Angeles County Museum of Art, 1980), 48.

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302

Conrad Buff

(1886-1975) “Black Canyon,” circa 1932 Lithograph on paper Edition: 40/50 Signed, titled and numbered in pencil in the lower margin: Conrad Buff; also inscribed in pencil along the edge of the lower margin, possibly in another hand: Awarded 2nd Prize Int. Ex Lithography Chgo Art Inst - 1933 Image: 9” H x 16.25” W; Sheet: 12.5” H x 19” W $400-600

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303

Karl Moon

(1879-1948) “Home from the Hunt,” 1908 Photogravure on paper mounted to a paper mount Signed, dated, and titled in ink on the mount: Karl Moon; blindstamp of the copyright 1908 by Fred Harvey in the lower right corner Image/Sheet: 13” H x 16” W; Sight: 15” H x 18” W $500-700 Provenance: Private Collection, Ventura, CA Sold: John Moran Auctioneers, Monrovia, CA, “Decorative Art Auction,” September 10, 2016, Lot 1210 Notes: Photographer Karl Moon signed a contract with the Fred Harvey Company in 1907 to produce photographs for the Fred Harvey Collection of Southwest Indian Pictures. Starting in 1911, Moon operated out of El Tovar Studio in the Grand Canyon. While employed by the Fred Harvey Company, he also worked as a photographer for the Santa Fe Railroad. For seven years, from 1907 to 1914, Moon photographed the native people of the Southwest, in his studio and on location in their pueblos. Blindstamps on the sheets from the Fred Harvey Company would mark the work he produced for them, and when the photographs were printed (this didn’t necessarily mean the photographs were taken in the same year). His work was published, usually uncredited, in brochures and magazines for both The Santa Fe Railroad and Fred Harvey Company. Moon would change the spelling of his name from “Karl” to “Carl” after World War I. w w w. j o h n m o r a n . c o m 3 4 5

304

Karl Moon

(1879-1948) Hopi village Photogravure on paper Signed in ink lower left: Karl Moon; Fred Harvey, prntr., with their blindstamp and copyright [1908] lower right corner Image/Sheet: 14.5” H x 20.5” W $400-600 Provenance: Private Collection, Ventura, CA Notes: Photographer Karl Moon signed a contract with the Fred Harvey Company in 1907 to produce photographs for the Fred Harvey Collection of Southwest Indian Pictures. Starting in 1911, Moon operated out of El Tovar Studio in the Grand Canyon. While employed by the Fred Harvey Company, he also worked as a photographer for the Santa Fe Railroad. For seven years, from 1907 to 1914, Moon photographed the native people of the Southwest, in his studio and on location in their pueblos. Blindstamps on the sheets from the Fred Harvey Company would mark the work he produced for them, and when the photographs were printed (this didn’t necessarily mean the photographs were taken in the same year). His work was published, usually uncredited, in brochures and magazines for both The Santa Fe Railroad and Fred Harvey Company. Moon would change the spelling of his name from “Karl” to “Carl” after World War I.

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305

A New Mexican wood curio cabinet

Early 20th century The painted wood cabinet with architectural cornice and skirting centering a single hinged glazed cabinet door with hook latch lock, revealing a single glass shelf 19” H x 19.25” W x 9.25” D $300-500

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306

A Southwest folk art metal clad trunk

Early 20th century The wood trunk mostly clad with found painted and textured sheet metal scraps, the hinged lid revealing an interior lined with floral pattern paper 13.75” H x 17.5” W x 11.5” D $200-400

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307

Tomas Red Bear Heidebrink

(b. 20th century, Ogala Lakota) Swan figure, 1986 Carved marble on a wood plinth Incised signature and date to base of marble: T. Heidebrink / 86 Marble: 10” H x 12” W x 4.25” D; Plinth: 1.25” H x 12.25” W x 4.5” D $800-1,200

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308

Gregory Lomayesva (b. 1971, Hopi-Tewa)

A Hopi Shalako-style day/night katsina mask, 1995 Signed and dated verso: Gregory Lomayesva / 95 The polychrome carved wood mask with mounted feathers, one side of the face representing day, the other representing night Overall: 26.5” H x 13.5” W x 6” D; Wood: 9” H x 13.5” W x 3.25” D $300-500

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309

Three Southwest dolls

Mid-20th century Comprising a hide and carved polychrome wood doll with a band of beads around waist and webbed strand of beads to neck, a taller cloth-wrapped doll with metal waistband, adorned with beads around neck and head, which is mounted with feathers, and a shorter cloth-wrapped doll with hide and beaded elements around legs and head, depicted holding a small drum and mallet 3 pieces Largest overall: 12.25” H x 3.5” W x 3” D $500-700

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310

Ethel Shields (b. 1926, Acoma Pueblo)

A polychrome pottery storyteller figure, late 20th century Marked to underside: Ethel / Acoma, N.M. The four-color molded ceramic mother figure depicted holding ten children in her arms, her clothing decorated with geometric and kiva step motifs 8.75” H x 5.25” W x 7.625” D $200-400

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311

A Hopi Shalako-style carved cottonwood katsina

Early 20th century Unmarked The polychrome blue corn maiden doll figure with stepped and sawtooth motifs to right side of skirt 11” H x 3.5” W x 3.625” D $200-400

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312

A Southwest carved wood owl katsina figure

20th century The polychrome carved cottonwood bird figure with wings at its side, decorated in white, grey, black, and yellow pigments 16.25” H x 4.25” W x 5.5” D $200-400

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313

Three Hopi Shalako katsina figures Three works:

Bryson Huma (b. 1972, Hopi-Tewa) A “Crow Mother” katsina figure, 1995 Incised signature, title, date, and inscription to underside: “Hopi” / By: Bryson Huma / “95” / 1st Mesa, Az. Polychrome carved cottonwood Overall: 14.875” H x 4.5” W x 4.375” D Garret Honahnie (b. 20th century, Hopi-Tewa) A morning singer katsina figure, 1992 Marked to underside: Garret Honahnie / Morning Kachina / Hopi / “92” Polychrome carved cottonwood Overall: 12.5” H x 4.75” W x 4.25” D Jason Takala (b. 1955, Hopi-Tewa) A cloud guard katsina figure, late 20th/early 21st century Signed and inscribed to underside: Jason Takala / tangik china cloud guard Polychrome carved cottonwood, fur, and felt Overall: 15.5” H x 7.5” W x 5” D 3 pieces $400-600

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314

Four Hopi katsina figures Four works:

Monty Dukepoo (b. 20th century, Hopi-Tewa) An owl katsina figure, late 20th/early 21st century Signed and marked to underside: Monty Dukepoo / Owl Polychrome carved cottonwood, painted hide, feathers, and fur Overall: 13.5” H x 6” W x 6” D A tawa sun face katsina figure, late 20th/early 21st century Marked to underside: Sun Face; signed illegibly Polychrome carved cottonwood, feather, felt, and painted hide Overall: 14” H x 7.25” W x 4.5” D A chipmunk katsina figure, late 20th/early 21st century Marked to underside: chipmunk kachina Polychrome carved cottonwood, vinyl, feathers, shells, and cotton Overall: 11” H x 5.5” W x 3.75” D A parrot katsina figure, late 20th/early 21st century Unmarked Polychrome carved cottonwood, feathers, and cotton Overall: 11.5” H x 6” W x 4.25” D 4 pieces $400-600

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315

Carl McKenzie

(1905-1998) American Indian Carved linden wood, metal, paint, and graphite, articulated Possibly signed in paint to underside: CM; titled likely in another hand: Indian Dimensions variable: 19” H x 5” W x 4.25” D $300-500

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316

Carl McKenzie

(1905-1998) “Wild Bill” Carved linden wood, metal, paint, and graphite, articulated Signed and titled in graphite to base: Carl McKenzie; with other partially legible graphite marks to base, possibly by another hand Dimensions variable: 14.5” H x 3.75” W x 4.5” D $300-500

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317

Carl McKenzie

(1905-1998) Daniel Boone Carved linden wood, metal, paint, rubber, and graphite, articulated Signed twice in graphite to underside: Carl McKenzie Dimensions variable: 18.625” H x 5” W x 4” D $300-500

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318

Four Southwest carved wood katsina figures Four works:

Marvin Martinez (b. 20th century, Hopi-Tewa) “Buffalo Warrior” Signed and titled to underside: Marvin Martinez The painted carved cottonwood figure adorned with leather, shell, feathers, and fur elements 12.75” H x 9” W x 6” D Joe and Ruthi Lameman (b. 20th century, Diné) “Wolfman,” 1980 Signed, dated, and marked to underside: Joe + Ruthi Lameman / 8; titled possibly by another hand The painted carved cottonwood Navajo figure adorned with leather, fur, and metal bells 11” H x 5.75” W x 4.5” D Two carved cottonwood katsina figures, late 20th century One marked to underside: Protection / SMTH Comprising one bat head figure with mounted fur and string, and one figure leaning forward with fur and feathers, 2 pieces Larger: 7” H x 4.25” W x 3.875” D 4 pieces total $300-500

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319

Three Hopi katsina figures Three works:

Raymond Parkett (b. 20th century, Hopi-Tewa) A wolf katsina figure holding a rattle, late 20th/early 21st century Signed and inscribed to underside: The Wolf / Raymond Parkett Polychrome carved cottonwood, feathers, fur, and stone Overall: 13.5” H x 5.5” W x 6.25” D A wolf katsina figure with bow and arrow, late 20th/early 21st century Marked to underside: wolf; further marked illegibly Polychrome carved cottonwood, hide, fur, stone, feathers, and beads Overall: 17” H x 9.75” W x 8” D An eagle katsina figure, late 20th/early 21st century Marked to underside: Wolf; signed illegibly Polychrome carved cottonwood, hide, fur, feathers, and cotton Overall: 15.25” H x 15” W x 12.5” D 3 pieces $200-400

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320

Five Hopi katsina figures

Late 20th/early 21st century Each unmarked The polychrome carved cottonwood figures mounted with feathers, yarn, and hide, comprising two black ogres, one owl with bow and arrow, one wolf with rattle and whip, and a mocking katsina figure 5 pieces Tallest: 11.5” H x 4.5” W x 3.5” D; Shortest: 9.5” H x 4.5” W x 3.5” D $300-500

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321

Four Hopi katsina figures Four works:

Vernon Mansfield (b. 20th century, Hopi-Tewa) A susopa cricket katsina figure, late 20th/early 21st century Signed under skirt: Vernon. M. [artist’s cipher] Polychrome carved cottonwood, grass seeds, hair, and feathers 13.5” H x 8.5” W x 2.5” D Larry Melendez (b. 20th century, Hopi-Tewa) A black ogre katsina figure, late 20th century Signed to feet: LEM / [butterfly cipher] Polychrome carved cottonwood and feathers 14” H x 5” W x 3.5” D A white ogre katsina figure, Late 20th century Unmarked Polychrome wood and feathers 13.5” H x 5.5” W x 4.25” D A hemis katsina figure, mid/late 20th century Unmarked Polychrome carved cottonwood and feathers 13.5” H x 5” W x 4.25” D 4 pieces $300-500

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322

A group of Hopi katsina figures

Late 20th/early 21st century, Hopi-Tewa One wood shard signed and dated: B. Mahle / 1st Mesa Village / ‘06’ / Hopi Land U.S.A.; another shard signed: E. Mahle; cottonwood marked: Hopi War God The polychrome wood dolls comprising two corn maidens constructed from wood shards and mounted with feather and yarn, a carved cottonwood War God figure with mounted feathers, two koshare clowns, one owl katsina depicted with bow and arrow, and another katsina depicted holding a gourd flask and a whip 7 pieces Largest: 10” H x 5.5” W x 3” D; Smallest: 7.625” H x 3.25” W x 3.125” D $300-500

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323

Four Southwest katsina figures Four works:

Porter Timeche (1903-1985, Hopi-Tewa) A koyemsi mudhead katsina figure, 1985 Signed, dated, and inscribed to underside: Made by Porter Timeche at Second Mesa Arizona; additionally inscribed in another hand: Last doll made / Died 10/85 at 82 The polychrome carved cottonwood doll with painted leather garb, depicted with a sack slung over shoulder and carrying a rattle and feather Overall: 12.5” H x 5.25” W x 4.25” D Tyrone “Ty” Duwyenie (b. 20th century, Hopi-Tewa) “Ogre” Signed and titled to underside: Ty Duwyenie The polychrome carved cottonwood wiharu white ogre katsina with leather and felt garb and feathers to headpiece, depicted dancing with a whip in each hand Overall: 15.5” H x 8” W x 5.25” D A koyemsi mudhead katsina figure, late 20th century Marked to underside of left foot proper: Mudhead The polychrome carved cottonwood doll depicted dancing with a drum and mallet, adorned with feather to headpiece 14” H x 6.5” W x 6” D A wiharu white ogre katsina figure, late 20th century Unsigned The polychrome carved cottonwood doll with canvas and cotton garb, adorned with beads and shells, depicted dancing with a whip in hand 14” H x 6.625” W x 6.25” D 4 pieces $200-400

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324

Four Hopi katsina figures

Late 20th/early 21st century Each unmarked The polychrome carved cottonwood figures mounted with feathers, yarn, and hide, comprising one wolf figure with bow and rattle, a black ogre figure with hide cape, a hemis figure, and a mastop death fly figure 4 pieces Tallest: 11” H x 3.75” W x 4.25” D; Shortest: 8.25” H x 5.25” W x 5” D $300-500

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325

A group of miniature Hopi katsina figures

Late 20th/early 21st century One marked: Butterfly maiden; another marked: Hemis The polychrome carved cottonwood figures mounted with feathers, yarn, and hide, comprising a wolf, a blue corn maiden, a koyemsi mudhead, a roadrunner, a butterfly maiden, a hemis figure, a cricket, a morning singer, a kokopelli, an aya rattle runner, and a parrot 10 pieces Tallest: 7.75” H x 3.75” W x 1.75” D; Shortest: 5.625” H x 3” W x 2.75” D $300-500

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326

A group of Navajo Yei Bi Chei kachina dolls

Late 20th century Each unmarked The polychrome carved wood dancer figures, each adorned in various patterned fabrics, leather, beads, and string, headpieces mounted with feathers, and depicted holding a rattle in one hand and corn stalk in the other, comprising seven with blue faces and one with white 8 pieces Each: 10” H x 3.5” W x 2” D approximately $300-500

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327

Gloria Goldenrod Garcia (b. 1942, Santa Clara Pueblo)

Five diminutive sgraffito pottery items, late 20th/early 21st century Each with incised signature to underside: Goldenrod Comprising a blackware jar with avian and banded storm pattern motifs to shoulder, a blackware vessel depicting bears and butterflies within a bear track mark, a blackware vessel depicting two bears and a Hopi tawa sun face, a blackware vessel depicting butterflies with Polik-mana butterfly maiden figures and inset coral, and a redware vessel depicting a bucking horse and sprinting hare featuring inset turquoise 5 pieces Jar: 3” H x 3.5” Dia.; Smallest: 1.875” H x 1.75” Dia. $800-1,200

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328

Four Southwest pottery vessels Four works:

Julia Martinez (b. 1935, Santa Clara Pueblo) A melon-form blackware pottery jar Signed to underside: Julia Martinez / Santa Clara The wide-rimmed pot with incised vertical ribs 4” H x 5.375” Dia. Birdell Vine Flower Burdon (b. 1957, Santa Clara Pueblo/Hopi-Tewa) A blackware pottery seed pot, 2006 Incised signature and date to underside: Birdell Vine Flower / santa clara pueblo / 5 The pot with black slip-painted stepped motif and sgraffito paw track motif on black burnished glaze 2.375” H x 3.375” Dia. Norman Lansing (b. 1950, Ute) A “Sun Chief” pottery seed pot, late 20th/early 21st century Incised signature and title to underside: [buffalo cipher] / © / N. Lansing The low pot with banded geometric painted sgraffito motifs to shoulder, centering a depiction of a face in a celestial body with feathers 1.625” H x 5.5” Dia. Doreen Lansing (active 20th century, Diné) A step-rimmed pottery vase, late 20th/early 21st century Signed to underside: Doreen Lansing / Navajo [within a symbolic cipher] The vase with sgraffito feather band and stepped motifs centering an eagle in flight 3.875” H x 4.625” Dia. 4 pieces $400-600

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329

Four Hopi and Pueblo pottery vessels Four works:

Evelyn Poolheco (1916-1989, Hopi-Tewa) A polychrome pottery vase, mid/late 20th century Marked to the underside: E. Poolheco The three-color vase with brown and red wave and mountain motifs over white 5.5” H x 3.625” Dia. A polychrome pottery jar, late 20th century Marked to underside: A. Gachupin Possibly Antonia Gachupin (b. 20th century, Jemez Pueblo), the three-color jar with red and black banded feather and kiva step motifs and white slip interior 4.25” H x 5” Dia. Two diminutive pottery bowls, mid/late 20th century One with penciled mark to underside: Hopi Comprising a small redware bowl with black hooked motif at rim, and a small bowl with three-color geometric motifs, 2 pieces Larger: 3” H x 4.25” Dia. 4 pieces total Largest: 5.5” H x 3.25” Dia. $300-500

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330

Two turquoise and silver-mounted wood serving utensils

20th century Each unmarked The rustic carved wood serving pieces, each with mounted chased silver and inset turquoise to handle 2 pieces Each: 11.5” L $200-400

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331

A group of Southwest sterling serving utensils

Early/mid-20th century One spoon marked: sterling Three works comprising a small oval salt/nut dish with legs, and two demitasse souvenir spoons, one with set turquoise, and all with various stamped designs and motifs including a thunderbird and whirling logs, 3 pieces Dish: 0.625” H x 2.375” W x 3.25” D; spoons: 4.5” and 5” L 65.6 grams gross $200-400

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332

A Curtis Pete Southwest 14K gold and turquoise ring Curtis Pete (b. 20th century, Navajo Diné/Hopi) Late 20th century Stamped: C Pete [script] / 14K A chunky gold ring with set square turquoise and geometric motifs to shoulders Ring size: 13 33.4 grams gross $1,000-1,500

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334

Two Southwest cobblestone inlay 14K gold rings Late 20th/21st century Two works:

Delphine Tsadiasi (b. 20th century, Zuni) A 14K gold and coral inlay ring Etched: Tsadiasi; stamped: 14K A diminutive ring with a tapered row of raised coral inlay Ring size: 8 A Saunsa Navajo 14K gold and stone inlay ring Etched: Saunsa [workshop name]; stamped: 14K A chunky gold ring with multistone cobblestone inlay including turquoise, coral, and malachite Ring size: 7.75 2 pieces 11.6 grams gross $800-1,200 This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

333

A Southwest 14k gold and mosaic inlay ring

Late 20th/21st century Stamped: 14K; further marked with illegible cipher A tapered gold band with mosaic stone inlay featuring turquoise, coral, onyx, sugilite and lapis lazuli, and with etched motifs to shoulders Ring size: 9.75 13.6 grams gross $700-900

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335

A Sussy-Rose Shields sterling silver and stone inlay brooch

Late 20th/21st century Stamped: Sussy / Sterling A Northwest Coast-inspired asymmetrical brooch with a carved mother of pearl central face surrounded by a cobblestone inlay of abalone, turquoise, onyx and spiney oyster 1.75” H x 1.625” W 28.4 grams gross $200-400

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336

Thomas Fontaine (b. 20th century)

Two stag head jars, 1986/1987 Each signed to underside: Thomas Fontaine; one dated: ‘86; one dated: ‘87 The painted ceramic jars with mounted stag heads, each set inside an acrylic box 2 pieces Larger: 9.125” H x 7” Dia.; Smaller: 7.75” H x 7.325” Dia. $400-600

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337

A Southwest Pueblo turquoise necklace

Mid/late 20th century A double-strand necklace of chunky turquoise tabs separated by heishi shell spacers and with a wrapped neck cord 29” L $500-700

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338

A Southwest Pueblo turquoise and heishi necklace

Mid-20th century A three-strand heishi shell bead necklace suspending two turquoise jaclas with coral and clam shell beads 24” L x 5” H $400-600 This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

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339

A Zuni Pueblo carved hardstone fetish necklace

Mid/late 20th century A seven-strand necklace of carved stone animals in multiple colors including foxes, bears, birds, turtles, frogs, and fish, and with fine turquoise bead spacers and a wrapped neck cord 26” L approximately at narrowest point $800-1,200

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340

A Zuni Pueblo-style multistrand carved fetish necklace

Mid/late 20th century, Southwestern United States Appears unmarked A three-strand carved multistone and shell fetish necklace with kachina figures, bears, and birds including hummingbirds, all in graduated sizes and with silver cone clasp 27” L $200-300

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341

A Southwest Pueblo turquoise “Battery Bird” necklace

Early/mid-20th century Unmarked A double strand necklace of nugget turquoise with heishi shell spacers suspending a “battery bird’ thunderbird pendant in spiney oyster, turquoise, and white shell overlay, with silver cone terminals 28” L x 2.625” H $300-500

343

A Southwest turquoise and shell necklace

Late 20th century A two-strand Santo Domingo style necklace with tapering clam shell, jet, and turquoise beads with jacla-style drops and a traditional wrapped neck cord 30” L x 6” H $400-600

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342

A group of Southwest sterling silver and carved turquoise fetish jewelry

Late 20th century Each stamped for sterling ; Pendant further stamped: VJP; earrings illegibly marked [likely Coriz] Comprising a multi-strand rolled turquoise and heishi necklace suspending a removable large Vincent J Platero (b. 1957, Diné) Navajo turquoise bear fetish pendant/brooch with an elaborate stamped silver bezel and bail, together with a pair of similarly designed silver and carved turquoise bear fetish dangle earrings with set sugilite, 4 pieces Necklace: 21.5 “ L; pendant: 3” H x 2.125” W; each earring: 2.75” H 104.0 grams gross $600-800

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344

Helen Gutierrez (1930-1995, San Ildefonso Pueblo)

A redware pottery vessel, mid-20th century Marked to the underside: Helen Gutierrez / San Ildefonso The clear glazed vessel featuring banded motifs, one side depicting feathers, the other half depicting geometric motifs and an animal figure 6.25” H x 5.5” Dia. $200-300

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345

Garnet (Flower Girl) Pavatea (1915-1981, Hopi-Tewa)

A redware pottery vase, circa 1960s Marked to the underside: Garnet / Pavatea / First Mesa / Polacca The vase with flared piecrust rim above a banded incised shoulder 7” H x 5.875” Dia. $200-300

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346

A Southwest Pueblo squash blossom necklace

Late 19th/early 20th century Unmarked A single strand of silver beads with twelve crosses suspending a cast silver naja with set oval turquoise, with hide wrapped cording to neck 26” L x 3” H 98.0 grams gross $800-1,200

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347

A set of Juan Abeyta Navajo sterling silver and turquoise jewelry

Juan Abeyta (b. 20th century, Diné) Late 20th century Naja stamped: J. Abeyta / Sterling Comprising a chunky squash blossom necklace with a large set Dry Creek turquoise naja and twelve matching blossoms, with a pair of matching earrings, 3 pieces Necklace: 28” L x 3” H; each earring: 1.5” H 246.3 grams gross $1,000-1,500

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348

A set of Nila Cook Navajo sterling silver and turquoise jewelry

Nila Cook (b. 20th century, Diné) Late 20th century Stamped: NC / Sterling Comprising a diminutive necklace with fourteen cluster-set turquoise blossoms on a double strand of silver beads, suspending a central three wire cluster-set naja, together with a pair of matching blossom earrings, 3 pieces Necklace: 20” L x 2.25” H; each earring: 0.625” H 86.0 grams gross $600-800

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349

A set of Effie Calavaza Zuni silver set coral and turquoise jewelry

Effie Calavaza (b. 1928, Zuni Pueblo) Mid/late 20th century Each stamped: Effie C / Zuni Four works, each featuring set coral and turquoise stones with applied silver snake motifs, comprising a double-strand squash blossom necklace with twelve snake blossoms suspending a central naja with dangle, with a pair of matching earrings, as well as a narrow cuff bracelet with oblong stones and stamped terminals, as well as a large ring, 5 pieces Necklace: 22.5” L x 2.5” H; cuff: 6.5” inner C x 0.25” H, with a 1.25” gap; ring size: 10; each earring: 0.75” H 135.3 grams gross $800-1,200 This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information. w w w. j o h n m o r a n . c o m 3 9 1

350

A group of Southwest Navajo sterling silver and coral jewelry Late 20th century Four works:

A set of Paul Jones Navajo sterling silver and cluster-set petit point coral jewelry Paul Jones (b. 20th century, Diné) Each stamped: P. Jones / Sterling [script] Comprising a Zuni-style squash blossom necklace with twelve cluster set blossoms and a central naja, and a pair of matching earrings, 3 pieces Necklace: 26” L x 2.5” H; each earring: 2” H A Lester James Navajo sterling silver and set coral cuff bracelet Lester James (b. 20th century, Diné) Stamped: L. James / S/S [script] A chunky cuff with round and oval row-set coral cabochons and silver ball accents 6.875” inner C x 1” H, with a 1.375” gap A Southwest set coral and silver ring Stamped: MW A small ring with oval coral cabochon and applied silver feather motifs Ring size: 3.75 5 pieces total 208.9 grams gross $800-1,200 This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information. 3 9 2 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, S e p te mb e r 1 0 , 2 0 2 4

351

A set of Southwest sterling silver and coral jewelry

Mid/late 20th century Stamped: VGB / Sterling Comprising an elaborate Zuni style needlepoint and cluster-set coral squash blossom necklace with a pair of matching earrings, 3 pieces Necklace: 28.25” L x 3.5” H; each earring: 2.75” H 148.1 grams gross $800-1,200 This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

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352

A Southwest silver and turquoise squash blossom necklace

Mid-20th century Unmarked Comprising a double strand silver bead necklace with twenty stamped silver and set turquoise box bow blossoms suspending a three-wire turquoise set naja 22.25” L x 2.5” H 136.0 grams gross $800-1,200

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353

A Southwest squash blossom necklace

Mid-20th century Unmarked A double strand of silver beads suspending ten Walking Liberty silver dollars and finished with a sand cast silver naja accented with a large oval turquoise stone 28” L x 2.75” H 228.5 grams gross $800-1,200

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354

A Southwest sterling silver and turquoise jewelry set

Late 20th/21st century Each stamped: FY / Sterling Comprising a double strand necklace of silver beads with ten silver and set stone Yei/katsina figural “blossoms,” suspending a larger central pendant figure, together with a pair of matching figural earrings, 3 pieces Necklace: 25” L x 3” H, each earring: 2.75” H 182.9 grams gross $700-900

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355

A Stephen Hyson Naseyoma Hopi silver necklace

Stephen Hyson Naseyoma (b. 20th century, Hopi) Late 20th century Stamped: HC [conjoined]; further etched: 81 A necklace with geometric Hopi silver overlay central pendant and fourteen tabs suspended from a double strand of tapered silver beads 28” L x 2.25” H 125.4 grams $600-800

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356

A Southwest silver and set stone necklace

Mid-20th century Unmarked A silver bead necklace finished with a sand cast naja pendant topped with an applied plaque with central set spiney oyster and cluster set turquoise 26” L x 3.75” H 175.4 grams gross $500-700

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357

A Hopi-style Southwest sterling silver necklace Late 20th century Stamped: Sterling A pendant necklace with stepped diamond panel links suspending a chunky silver overlay heartline bear 24” L x 1.75” H 113.0 grams $400-600

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358

Two Southwest silver pendant necklaces

Mid/late 20th century Domed pendant marked to bail interior: LN / Sterling Comprising a removable large round domed sterling silver spinner pendant with set coral to one face and an eagle dancer motif verso, suspended from a strand of round silver beads with alternating stamped motifs (20” L x 2.75” H), together with a large fixed turquoise drop naja pendant suspended from a strand of alternating stamped cone and ball beads (24” L x 2.75” H), 3 pieces 183.0 grams gross $600-800 This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

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359

A LaRose Ganadonegro Navajo silver and turquoise necklace

LaRose Ganadonegro (b. 1956, Diné) Late 20th/21st century Stamped: La[rose cipher] / Sterling A chunky multi-strand turquoise and silver beaded necklace with exaggerated stamped barrel terminals and a large turquoise cluster pendant 19” L x 4” H 185.3 grams gross $800-1,200

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360

A Danny Delgarito Navajo sterling silver and malachite necklace

Danny Delgarito (b. 20th century, Diné) Late 20th/21st century Stamped: D. Delgarito / Sterling / CFD [conjoined, for Carol Felley shop] / 88 A Danny Delgarito for Carol Felley double strand malachite and silver bead necklace with central shadowbox malachite cabochon oval pendant 16” L x 1.375” H 107.2 grams gross $200-400

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361

An Ella Peter Navajo sterling silver and turquoise necklace

Ella Peter (b. 20th century, Diné) Stamped: Ella Peter / Sterling A large silver and cluster-set turquoise cross pendant suspended from a graduated strand of chunky cylindrical turquoise beads, 2 pieces 19-21” L x 3.5” H 141.5 grams gross $300-500

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362

Two Southwest multi-stone necklaces

Late 20th century Charms variously marked for sterling Comprising a carved green stone animal fetish necklace on a single strand heishi necklace (26.25” L), and a single strand multistone bead necklace including turquoise, lapis and amethyst, with a variety of Southwest motif silver charm spacers (26” L), 2 pieces Bead necklace: 97.5 grams gross $200-400

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363

Two Southwest necklaces

Mid/late 20th century Barrel bead stamped: LAR Comprising a silver bead and stamped barrel bead necklace, as well as a chunky graduated turquoise nugget necklace, 2 pieces Each: 24” L 319.2 grams gross $200-400

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364

Two trade bead necklaces

Early 20th century Comprising a long strand of multicolored clear and opaque glass beads, including green, blue, yellow, black and clear (54” L), as well as a lariat-style bead necklace with tassel ends, with multiple bead styles, sizes, and colors including blown glass, shell, millefiori, and various ceramic beads (51” L), 2 pieces $500-700

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365

A group of Southwest Pueblo-style turquoise necklaces

Mid/late 20th century Cross and one clasp marked for Sterling Comprising a jacla-style single strand turquoise and spiney oyster necklace (27.5” L), a graduated single strand turquoise necklace (21.5” L), a chunky graduated turquoise nugget necklace (18.5” L), and a small single strand necklace of dark turquoise with diminutive sterling silver cross pendant (16.5” L), 4 pieces $400-600

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366

A group of Southwest silver and turquoise necklaces

Mid/late 20th century Pendant stamped: J*C Comprising a graduated stamped silver bead necklace (17.25” L), a silver bead necklace with alternating cone and round beads with a set turquoise shadowbox pendant (17” L x 3” H), a small turquoise nugget necklace with silver bead spacers (19.5” L), and a chunky graduated turquoise nugget necklace (19” L), as well as a group of five Liberty coin beads (each: 0.625” Dia.), 9 pieces 232.8 grams gross $500-700

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367

A set of Southwest sterling silver and turquoise jewelry

Mid/late 20th century Stamped: _J [obscured] / Sterling Comprising a squash blossom necklace with central turquoise-set blossom and drop with applied silver feather motifs and four further blossoms, all fixed to silver beads, together with a pair of matching pierced earrings, 3 pieces Necklace: 20” L x 2.5” H; each earring: 1” H 100.2 grams gross $500-700

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368

A set of Southwest sterling silver and turquoise jewelry

Late 20th century Each stamped: Sterling; two further stamped: TW [Possibly Terry Williams, Navajo/Diné] Three works comprising a shadowbox sterling silver pendant link necklace with set blue hardstone cabochons, together with a matching three-wire cuff bracelet and a pair of earrings, 4 pieces Necklace: 22.5” L x 3” H; cuff: 6.75” inner C x 1.5” H, with a 1.25” gap; each earring: 1” H 152.9 grams gross $600-900

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370

A set of Southwest Navajo sterling silver and variscite jewelry

Late 20th century Each stamped: R. Charley / Sterling Four works with set green variscite in elaborate settings with applied silver feathers, shadowbox and silver ball accents, comprising a pendant necklace, a two-wire cuff bracelet, a ring, and a pair of earrings, 5 pieces Necklace: 17.25” L x 5” H; cuff: 7” inner C x 1.75” H, with a 1.125” gap; ring: size: 7.5; each earring: 1.75” H 108.8 grams gross $400-600

369

A set of Marcella James Navajo sterling silver and turquoise jewelry

Marcella James (b. 20th century, Diné) Necklace stamped: Marcella James / Sterling; one earring stamped: Sterling A set turquoise and stamped silver link necklace with drop pendant, applied silver accents, and chain clasp, as well as a pair of matching earrings, 3 pieces Necklace: 22” L x 3.25” H 112.3 grams gross $500-700

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371

Tomasita Montoya (1899-1978, San Juan Pueblo)

A redware pottery bowl, early/mid-20th century Marked to underside: Tomasita Montoya / San Juan Pueblo The large bowl with banded sgraffito geometric motifs revealing micaceous clay, centering a terracotta wash to rim and base 8” H x 12.125” Dia. $100-200

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372

Joy Cain ( b. 1947, Santa Clara Pueblo)

A redware pottery bowl, late 20th century Marked to the underside: Joy Cain / Santa Clara Pueblo With deeply incised whirlwind and stepped motifs 3” H x 4.5” Dia. $100-200

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373

A pair of Pueblo pottery vessels

20th century One marked to the bottom: NS 113 Comprising a three-color olla form jar with geometric motifs to shoulder and body above a terracotta wash and puki indentation to underside, and a smaller three-color vessel with hooked rectangular motifs and banded flared rim 2 pieces Larger: 5.75” H x 6.75” Dia. ; Smaller: 4” H x 5.5” Dia. $200-400

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374

A group of Don Lucas Southwest-style jewelry

Late 20th century Each stamped : D. Lucas / Sterling Three works comprising a three-wire cuff bracelet with a large center set sugilite cabochon surrounded by cluster set turquoise, spiney oyster, green stone, and coral, as well as a similar design cluster-set pendant/brooch and a pair of cluster-set oval pierced earrings, 4 pieces Cuff: 6.5” inner C x 1.75” H, with a 1” gap; brooch: 1.375” H x 1.74” W; each earring: 1.125” H 90.3 grams gross $300-500

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375

A Frank Carillo Laguna sterling silver and stone inlay bracelet

Franklin A. Carillo (b. 1956, Laguna Pueblo) Late 20th/21st century Stamped: F.C. Laguna / Sterling A link bracelet with eight square links, each with various silver overlay designs and inlay of multiple stones including turquoise, coral, spiny oyster, lapis lazuli, malachite, and mother of pearl 7” L x 0.75” W 59.4 grams gross $700-900 Notes: Proceeds to benefit various non-profit organizations. This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

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376

A Southwest Navajo silver coin cuff bracelet

Mid/late 20th century, Diné Stamped: KEE [with serif] A heavy gauge silver watch cuff with four large turquoise stones in handmade bezels and topped with an 1897 Morgan silver dollar piece 7” inner C x 2” H, with a 1.25” gap 168.8 grams gross $700-900

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377

A Paul Livingston Navajo sterling silver coin cuff bracelet

Paul Livingston (b. 20th century, Diné) Mid/late 20th century Stamped: Paul Livingston / Sterling A five-wire sterling silver cuff with three central set coins edged with cluster/row set oval turquoise cabochons 6.375” total inner C x 2.125” H, with a 1” gap 85.1 grams gross $700-900

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379

A Southwest silver and turquoise cuff bracelet

Mid-20th century Unmarked A chunky cuff set with seven nugget turquoise stones with color gradation, applied silver accents, and with stamped terminals 7.125” inner C x 1.625” H, with a 1.5” gap 127.7 grams gross $400-600

378

A Fred Guerro Navajo sterling silver and turquoise cuff bracelet Fred Guerro (b. 20th century-d., Diné) Late 20th century Stamped: Fred Guerro / Sterling A chunky silver cuff with ten row-set turquoise stones and stamped edges 6.25” inner C x 1.25” H, with a 1” gap 57.5 grams gross $200-400

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380

A Southwest silver and gold cuff bracelet

Late 20th century Stamped plaque: [partially obscured] Redhorse / Alvarez A sandcast silver cuff with applied gold corn stalk and off-set turquoise stone and seven scattered faceted stones throughout 7” inner C x 1.5” H, with a 1.25” gap 114.6 grams gross $500-700

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381

A Zuni silver and turquoise snake cuff bracelet

Late 20th century, Zuni Stamped: JC [possibly Juan Calavaza, husband of Effie] / Zuni An Effie Calavaza-style cuff with seven turquoise stones wrapped with applied snakes, with stampwork to edges and terminals 7.5” inner C x 1” H, with a 1.625” gap 65.2 grams gross $300-500

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382

A set of Effie Calavaza Zuni silver and turquoise jewelry

Effie Calavaza (b. 1928, Zuni) Mid/late 20th century Each stamped: Effie C. / Zuni; cuff further stamped: Sterling Comprising a sterling silver cuff with five set turquoise stones and applied snakes, together with a matching ring, 2 pieces Cuff: 6.5” inner C x 0.75” H, with a 1” gap; ring: size 8.5 73.5 grams gross $400-600

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383

An Effie Calavaza Zuni turquoise and silver cuff bracelet

Effie Calavaza (b. 1927, Zuni Pueblo) Mid/late 20th century Stamped: Effie C / Zuni A banded cuff with five set turquoise stones amidst applied snakes and stamped edges 6.25” inner C x 0.75” H, with a 1.5” gap 47.7 grams gross $300-500

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384

A Navajo cast silver and turquoise cuff bracelet

Mid/late 20th century Marked with pictorial cypher “stickman” for Carl Luthey shop An openwork cast cuff with four central bezel-set turquoise stones and with stamping to terminal wires 6.75” inner C x 2” H, with a 0.75” gap 60.7 grams gross $500-700

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386

A Southwest silver and turquoise cuff bracelet

Mid/late 20th century Etched verso: 87 A chunky cuff with large oval shadowbox plaque with jagged bearpaw-style surround and central set turquoise, with rope wire accents 6.125” inner C x 2.25” H, with a 1” gap 52.2 grams gross $300-500

385

A Patrick Yellowhorse Navajo sterling silver and turquoise cuff bracelet Patrick Yellowhorse (b. 20th century, Diné) Late 20th century Stamped to plaque: P. Yellowhorse / Sterling An openwork tufa-cast silver cuff with central bezel set turquoise 6” inner C x 1.875” H, with a 1.25” gap 66.0 grams gross $400-600

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387

A Navajo sterling silver and set turquoise cuff bracelet

Mid/late 20th century Stamped: JAG [conjoined, with serifs] / Sterling A two wire cuff with central slab turquoise with heavy matrix and applied feather elements to shoulders 6.6” inner C x 1.75” H, with a 1.125” gap 43.0 grams gross $700-900

388

A Zuni turquoise and silver cuff bracelet

Mid/late 20th century Unmarked A three-wire cuff with cluster-set needlepoint turquoise 6.25” inner C x 2” H with a 1” gap 43.3 grams gross $300-500

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389

A Southwest Leo Feeney sterling silver cuff bracelet

Late 20th century Stamped: LFeeney [conjoined] / for D. Lucas / Sterling A sterling silver three-wire turquoise and coral multi-stone set cluster set cuff with stamped terminals 6.5” inner C x 1.875” H, with a 1.125” gap 79.6 grams gross $300-500 This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

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390

Two Southwest silver and stone set cuff bracelets Late 20th century Two works:

An Ella M Linkin Navajo sterling silver cuff Ella M Linkin (b. 20th century, Diné) Stamped: E.M.Linkin / Sterling A three-wire silver and turquoise cuff with deeply stamped applied motifs 6.75” inner C x 1.25” H, with a 1.25” gap A Teresa Joe Navajo sterling silver and multi-stone inlay cuff Teresa Joe (b. 20th century, Diné) Stamped: TJO / Sterling A three-wire cuff with mosaic inlay of onyx, spiney oyster, turquoise and mother-of-pearl with chased silver overlay plaques to each side 6.5” inner C x 1.625” H, with a 1.25” gap 2 pieces total 78.0 grams gross $400-600

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391

A Southwest silver and turquoise cuff bracelet Early 20th century Unmarked A three-wire silver cuff with three cluster-set turquoise plaques and stamped terminals 7” inner C x 1.75” H, with a 1.125” gap 74.1 grams gross $500-700

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392

A Southwest silver and set turquoise cuff bracelet Early 20th century Unmarked A chunky three-wire cuff with cluster set turquoise and stamped terminals 7” inner C x 1.75” H, with a 1.125” gap 93.9 grams gross $500-700

393

A Rick Martinez Navajo silver and turquoise cuff bracelet

Rick Martinez (b. 20th century, Diné) Mid-20th century Stamped: R. Martinez / Sterling An openwork silver cuff with cluster set turquoise amidst chased and stamped silver accents 6.5” inner C x 1.5” H, with a 1” gap 70.5 grams gross $500-700

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394

A group of Fred Guerro Navajo and Southwest turquoise jewelry

Fred Guerro (b. 20th century-d., Diné) Cuff stamped: Fred Guerro / Sterling Comprising a large Fred Guerro chunky three-wire cuff with cluster set turquoise, together with a pair of associated carved turquoise graduated bear fetish earrings, 3 pieces Cuff: 6.5” inner C x 1.75” H, with a 1.125” gap; each earring: 2.625” H 99.2 grams gross $500-700

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395

A large Southwest silver cuff bracelet

Early/mid-20th century Stamped to terminal: Sterling A chunky cuff with three large turquoise domed cabochons shadowbox-set to a four twisted wire cuff 7” inner C x 1.75” H, with a 1.25” gap 118.8 grams gross $400-600

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396

A Southwest silver and turquoise cuff bracelet

Late 20th century Unmarked An openwork cast silver cuff with central bezel-set heavy matrix turquoise stone 6.75” inner C x 1.875” H, with a 1” gap 83.9 grams gross $500-700

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397

Two cast silver cuff bracelets

Late 20th century One marked with an etched arrow cipher Comprising two chunky openwork cast silver cuffs, one with central oval bezel set turquoise, 2 pieces Larger: 7” inner C x 2.5” H, with a 1” gap; smaller: 6.75” inner C x 2.375” H, with a 1.125” gap 144.7 grams gross $700-900

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398

A Dean Sandoval Jr Navajo sterling silver and turquoise cuff bracelet Dean Sandoval Jr (b. 20th century, Diné) Stamped S/ / Sterling An ornate four-wire cuff with central oval turquoise cabochon and with multiple applied silver and stamped accents 6.5” inner C x 2.25” H, with a 1.125” gap 84.5 grams gross $500-700

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399

A Gary Reeves Navajo sterling silver and turquoise cuff bracelet Gary Reeves (1962-2014, Diné) Late 20th/21st century Stamped: Gary Reeves / Sterling A chunky silver cuff with square set turquoise flanked by applied and stamped thunderbirds 6.75” inner C x 0.875” H, with a 1” gap 74.3 grams gross $200-400

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401

A Southwest silver and turquoise cuff bracelet

Mid-20th century Unmarked A three wire cuff set with a heavily matrixed turquoise slab and with applied silver feather accents 6” inner C x 2” H, with a 1.25” gap 68.2 grams gross $500-700

400

A Dorothy Secatero Navajo sterling silver cuff bracelet

Dorothy Secatero, (b.1942, Diné) Late 20th century Stamped: DS / Sterling A five-wire cuff with a large central set turquoise slab surrounded by multiple deeply stamped applied silver elements 6.5” inner C x 2” H, with a 1” gap 99.1 grams gross $400-600

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402

A Southwest silver and stone set bracelet

Mid/late 20th century Unmarked A chunky cast silver tapered cuff with set turquoise and coral 6.5” inner C x 2” H, with a 1.25” gap 105.3 grams gross $200-400 This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

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404

A Southwest silver cuff bracelet

Mid-20th century Unmarked A chunky double-walled cuff with multiple bands of stamped motifs 6.5” inner C x 2.125” H, with 1.5” gap 136.5 grams $400-600

403

An Emerson Bill Navajo sterling silver cuff bracelet

Emerson Bill (b. 20th century, Diné) Stamped: Emerson [script] / Sterling A wide chunky cuff with elaborate stamped and repoussé medallion motifs, with a leather liner 7” inner C x 2.125” H, with a 1.375” gap 103.1 grams $400-600

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405

A Southwest silver cuff bracelet

Mid-20th century Stamped: W A chunky cuff with multiple bands of stampwork, twisted wire, and incised silver edges 6.75” inner C x 1.125” H, with a 1” gap 109.8 grams $400-600

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406

Three Southwest silver cuff bracelets

Mid/late 20th century Each unmarked Comprising a wide silver repoussé cuff with stamped accents, as well as two narrow cuffs, each with row set turquoise and stampwork edging and accents, 3 pieces Largest: 7” inner C x 1.875” H, with a 1” gap; smallest: 6.5” inner C x 0.25” H, with a 1.25” gap 107.2 grams gross $500-700

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407

A T. Thomas Navajo sterling silver cuff bracelet

Late 20th century, Diné Stamped: T. Thomas / Sterling; further stamped: [sun] / LA [conjoined] A chunky cuff silver overlay cuff with masked Hopi figure set in a serrated lozenge 6.5” inner C x 1.5” H, with a 1.125” gap 109.6 grams $300-500

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408

A Victoria Maase Stoll silver cuff bracelet

Victoria Maase Stoll (b. 20th century) Late 20th century Stamped: VM Stoll / © / Santa Fe A chunky sterling silver gauntlet cuff with multiple rows of incised and applied motifs and three central bezel-set stones including a fossilized mammal tooth, jasper, and jasper with pyrite 6.875” total inner C x 3” H, with a 1” gap 143.7 grams gross $800-1,200

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Dan A. Jackson (1944-2022, Diné)

Dan Jackson, renowned Navajo silversmith, gained wid pattern” etchings in both silver and gold.

Born into a family deeply rooted in the artistry of jewel silversmith with over eight decades of experience, who a wellspring of inspiration for Dan. It was she who app overlay rug design jewelry.

Despite pursuing formal education in engineering, Da Affairs spanning two decades, a life-altering injury in 19 Drawing upon his considerable expertise as a silversm fruitful and fulfilling.

Throughout his career, Dan garnered a multitude of aw recognized at prestigious events such as the Gallup Int State Fairs, and the Shiprock New Mexico Fair, where h Tragically, Dan Jackson passed away in May 2022.

despread acclaim for his exquisite craftsmanship, particularly celebrated for his intricate “rug

lry making, Dan inherited his passion and skills from his father, John Nez Begay, a revered o lived to the remarkable age of 106. His mother, Bernice Charlie, a skilled weaver, served as peared to him in a dream, igniting his creativity and prompting the creation of his iconic triple

an’s true calling lay in the art of silversmithing. Following a career with the Bureau of Indian 985 necessitated a shift in focus to provide for his family, which included four daughters. mith, Dan devoted himself wholeheartedly to jewelry making, a decision that proved both

wards and commendations at esteemed juried art exhibitions. His talents were repeatedly ter-Tribal Ceremonial, the Window Rock Arizona Tribal Fair, the New Mexico and Arizona his mastery of the craft shone brightly among his peers.

409

A Dan A. Jackson Navajo silver and turquoise ketoh bow guard

Dan A. Jackson (1944-2022, Diné) Late 20th/21st century Stamped: D. A. Jackson Centering a silver plaque with high relief inlaid geometric pattern set with a large #8 turquoise stone, mounted on a soft leather band with leather ties 4” H x 2.5” W 208.8 grams gross $500-700

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410

Two Southwest silver and turquoise cuff bracelets

Early/mid-20th century Each unmarked Two chunky cuffs including a cast silver cuff with three turquoise stones, silver ball accents and crimped edges, and a cut-out cuff with nine set turquoise stones and applied leaf motifs to terminals, 2 pieces Larger: 7.5” inner C x 1.375” H, with 1.25” gap; smaller: 6.75” inner C x 1.5” H, with 1” gap 186.8 grams gross $500-700

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411

A group of Southwest silver and set stone cuff bracelets

Early/mid-20th century One stamped: Thunderbird Jewelry Makers / [pictograph] Comprising four cuffs, each with various stamped, chased, and applied silver motifs, including three Fred Harvey style cuffs, two with set turquoise and one with set black stone, 4 pieces Largest: 6.5” inner C x 1.625” H, with a 1” gap; smallest: 6.375” inner C x 1.5” H, with a 0.875” gap 156.6 grams gross $800-1,200

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412

A group of Fred Harvey silver and turquoise cuff bracelets

Early/mid-20th century Three marked for sterling; one further stamped: Maisels / Albuquerque Six narrow ornate silver and set turquoise cuffs, all in various styles and sizes, with motifs including stampwork, thunderbirds, arrowheads, and crossed arrows, 6 pieces Largest: 6.5” inner C x 0.5” H, with a 1” gap; smallest: 5.75” inner C x 0.5” H, with a 0.875” gap 77.8 grams gross $700-900

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413

A group of Fred Harvey silver and turquoise cuff bracelets

Early/mid-20th century One marked for sterling Six narrow silver cuffs, five with set turquoise, and all in various styles and sizes, with motifs including stampwork, arrowheads and crossed arrows, 6 pieces Largest: 6.5” inner C x 0.625” H, with a 1.25” gap; smallest: 6” inner C x 0.5” H, with a 1.125” gap 83.4 grams gross $700-900

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414

A group of Fred Harvey silver and turquoise cuff bracelets

Early/mid-20th century One marked for sterling; one marked: Silver / Mexico Four narrow ornate silver and set turquoise and blue stone cuffs, all in various styles and sizes, with motifs including stampwork, thunderbirds, arrowheads, and arrows, 4 pieces Largest: 6.5” inner C x 0.875” H, with a 1.25” gap; smallest: 6.25” inner C x 0.5” H, with a 1” gap 78.2 grams gross $400-600

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415

A group of Fred Harvey silver and turquoise cuff bracelets

Early/mid- 20th century One marked: Nickel Silver / Bell; one marked: Silver Products / Coin silver [with an arrow] Comprising seven diminutive narrow silver cuffs, five with set turquoise and greenstone, and all in various styles and sizes, with motifs including stampwork, arrowheads, thunderbirds, rattlesnakes, and crossed arrows, 7 pieces Largest: 6.125” inner C x 0.75” H, with a 1” gap; smallest: 5.5” inner C x 0.5” H, with a 0.875” gap 67.2 grams gross $700-900

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416

A group of Southwest silver cuff bracelets

Mid-20th century One marked for sterling Comprising six silver cuffs, including three with set turquoise, one a four wire cuff with four turquoise cabochon plaques, and the others in various styles and motifs such as silver spheres, patterned stampwork, thunderbirds, and arrows, 6 pieces Largest: 6.75” inner C x 1.375” H, with a 1.125” gap; smallest: 6.25” inner C x 0.5” H, with a 0.875” gap 177.9 grams gross $700-900

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417

A group of Southwest silver and turquoise cuff bracelets

Mid/late 20th century Unmarked Comprising seven narrow silver cuffs with various stamped, chased or applied motifs, including one sandcast cuff, four cuffs with set turquoise, and two Fred Harvey-style cuffs with arrowheads, arrows, thunderbirds, and cornstalks, 7 pieces Largest: 6.625” inner C x 0.625” H, with a 1” gap; smallest: 6” inner C x 0.375” H, with a 0.875” gap 135.8 grams gross $600-800

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418

A group of Southwest cuff bracelets

Early/mid-20th century One stamped: RH Begay / Sterling Three works comprising a chunky Roland Hogan Begay (Navajo/Diné) storyteller cuff, together with a twisted silver narrow cuff bracelet, and an early twisted copper wire cuff bracelet, 3 pieces Largest: 6.5” inner C x 0.75” H, with a 1.25” gap; smallest: 6.125” inner C x 0.25” H, with a 1.125” gap 116.7 grams gross $300-500

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419

A group of Southwest silver brooches

Early/mid-20th century Two marked for sterling; one further marked: Spratling Silver / Mexico [for First Design Period] Comprising a large group of brooches in various sizes and designs, eight with set turquoise and green stone, as well as one rectangular repoussé hair clip, 14 pieces Largest: 0.75” H x 3” W; smallest: 0.625” H x 1.5” W 96.1 grams gross $200-400

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420

A group of Southwest-style jewelry

Mid/late 20th century Two marked for Mexico and for sterling; one marked: Copper Four cuffs comprising a silver overlay cuff with Southwest motifs, a copper overlay cuff with thunderbird and dancer motifs, as well as two sterling silver cuff bracelets with stone inlay and central set stone, 4 pieces Largest: 6.75” inner C x 1.375” H, with a 1.25” gap; smaller: 6.5” inner C x 1.25” H, with a 1.125” gap 172.4 grams gross $200-400

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421

Irene Shupla (b. 20th century, Hopi-Tewa)

A yellowware pottery vase, mid-20th century Signed to underside: Irene Shupla The vase with flared rim above brown slip-painted kiva step, whirlwind, and eagle feather motifs 8.5” H x 7” Dia. $100-200

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422

A Hopi polychrome pottery bowl and cup

20th century Each unsigned The three-color yellowware vessels, comprising a bowl with geometric motifs to body, and a cup with eagle feather motif 2 pieces Bowl: 4.125” H x 6.875” Dia.; Cup: 6.875” H x 3.375” Dia. $300-500

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423

Three Hopi low pottery bowls

Mid-20th century One marked to the underside: Violet Huma Each three-color bowl with red and black geometric motifs to interior on yellow ground, comprising one by Violet Huma (1932-1980) and two others, one possibly a piki bread bowl 3 pieces Largest: 3.75” H x 11.5” Dia. $500-700

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424

Three Hopi pottery bowls

20th century Each unsigned Comprising three black on red bowls featuring banded geometric feather and kiva step motifs, the larger vessel featuring interior design 3 pieces Largest: 2.375” H x 6.75” Dia.; Smallest: 2.5” H x 5.625” Dia. $400-600

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425

A David Reeves Navajo sterling silver and turquoise brooch

David Reeves (b. 1949-d., Diné) Late 20th century Stamped: D. Reeves / Sterling A stamped and chased silver oval concho brooch with central set turquoise 1.75” H x 3” W 28.5 grams gross $300-500 Notes: Proceeds to benefit various non-profit organizations.

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426

A Jessie Claw Navajo reversible belt buckle

Jessie Claw (b. 20th century, Diné) Late 20th century Stamped: JC A chunky chased and stamped silver buckle with central spinner featuring set coral and turquoise to one side and set turquoise verso 2.625” H x 3.25” W 172.9 grams gross $300-500

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427

A group of Southwest silver and stone set buckles

Mid/late 20th century Each unmarked Comprising three buckles including a heavy sand-cast openwork concho buckle with internal star motif (2.5” H x 3.375” W), a coral and turquoise shadowbox set oval concho style buckle (2.75” H x 4” W). and a rectangular buckle with central set turquoise and geometric silver overlay (1.5” H x 2.75” W), 3 pieces 171.3 grams gross $700-900 This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

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428

An E. Piaso Navajo silver and turquoise belt buckle

E. Piaso (b. 20th century, Diné) Late 20th century Buckle stamped: E. Piaso / Sterling; belt marked for Max Lang, Houston Texas A chunky wide sterling silver buckle with feather motif and heavy stamping with shadowbox set oval turquoise cabochon, on a commercial black karung snake leather belt 2.625” H x 4” W; belt: 34.25” L x 1.25” W 115.6 grams gross $500-700

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429

An E. Piaso Navajo sterling silver and turquoise concho belt

E. Piaso (b. 20th century, Diné) Late 20th century Buckle stamped: E. Piaso / Sterling A heavy belt with a large elaborate chased and stamped silver buckle with shadow set slab turquoise and eleven oval silver conchos each set with turquoise, all set on a black leather strap Buckle: 2.5” H x 4.5” W; each concho: 1.5” H x 2.125” W; belt: 33.25” L x 1.25” W 427.3 grams gross $1,500-2,500

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430

A Southwest silver and set turquoise concho belt

Late 20th century Buckle stamped: MT / DJ [unknown makers] A long belt with a large oval concho buckle with elaborate stampwork and a central set turquoise stone, with twelve smaller matching oval conchos, all mounted to a black leather strap Buckle: 2.25” H x 3” W; each concho: 1.5” H x 2” W; belt: 39” L x 1.25” H 360.9 grams gross $800-1,200

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432

An Emerson Kinzel Navajo sterling silver and coral concho belt

Emerson Kinzel (b. 20th century, Diné) Late 20th century Comprised of ten rectangular conchos and a matching buckle, each with stepped diamond blanket-style motifs and a central coral cabochon, all mounted to a black leather belt strap Buckle and each concho: 2” H x 2.375” W; strap: 40.5” L x 1.5” H 487.2 grams gross $1,000-1,500

431

A Southwest sterling silver and turquoise concho belt

Mid/late 20th century Buckle stamped: Sterling Comprising a stamped and chased silver oval buckle with set turquoise and eleven matching conchos, all mounted to a black leather strap Buckle and each concho: 1.5” H x 2” W; belt: 41.5” L x 1” H 171.4 grams gross $500-700

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433

A Leonard Gene Navajo sterling silver and turquoise concho belt

Mid/late 20th century Stamped: G [over an arrow either side] / Sterling A chunky belt with a large oval stamped and incised silver concho buckle with set oval turquoise and ten smaller matching conchos, all mounted to a commercial leather belt Buckle: 2.375” H x 3.125” W; each concho: 2.25” H x 3.125” W; belt: 44.5” L x 1.5” H 680.8 grams gross $800-1,200

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434

A Roger Skeet Jr. Navajo silver and turquoise concho belt

Roger Skeet Jr. (b.1933, Diné) Mid/late 20th century Buckle stamped: R S Comprising a rectangular repoussé and stamped silver buckle with set turquoise, and fifteen alternating oval and butterfly conchos, each with set turquoise and all mounted to a black leather strap Buckle: 2.75” H x 2.875” W; each oval concho: 2.5” H x 2.75” W; butterfly conchos: 2” H x 1.25” W; belt: 42.75” L x 1” H 429.2 grams gross $800-1,200

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435

A Southwest silver and turquoise concho belt

Late 20th century Stamped: AL [with guild cypher; possibly Arthur Lomayestewa] A heavy belt comprising an oval silver overlay buckle with set turquoise and matching oval conchos alternating with rectangular conchos, all mounted to a black leather strap Buckle and each oval concho: 2” H x 2.25” W; rectangular concho: 2” H x 1.5” W; belt: 44.5” L x 1” H 346.4 grams gross $700-900

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436

A James Urban Brady “Chief Red Feather” Navajo concho belt

James Urban Brady (1902-1987, Diné/Sioux) Mid-20th century Buckle stamped: JRF [for James Red Feather] A heavy belt comprising ten round silver stamped conchos and a matching buckle set with a ring of small turquoise cabochons, all set to a brown leather belt Buckle and each concho: 3” Dia.; belt: 36.5” L x 0.875” H 608.4 grams gross $1,000-1,500 Notes: Greeting visitors to Southern California’s theme park Knott’s Berry Farm as Chief Red Feather, James Urban Brady was a beloved mainstay. For thirty-five years, he dressed in traditional ceremonial costume, delighting and posing for photos with countless park-goers. A natural storyteller, he certainly had no lack of life experience to draw from. His illustrious career included acting in over eighteen films alongside Hollywood Western stars, working as a deputy marshal, boxing, and riding horses in the rodeo circuit.

437

A Southwest First-Phase style silver concho belt

Mid-20th century Unmarked Comprising a stamped rectangular buckle with six stamped oval conchos all mounted on a dark brown leather strap Buckle: 2.625” H x 3.125” W; each concho: 2.5” H x 2.75” W; belt: 35.5” L x 0.625” H 240.9 grams gross $800-1,200

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438

A Randall Joe Tom Navajo sterling silver and turquoise concho belt

Randall Joe Tom (b. 20th century, Diné) Late 20th century Buckle stamped: R. Tom / Sterling A narrow heavy belt with an ornate openwork concho buckle with heavily stamped applied silver accents and set rectangular green turquoise stone with ten matching rectangular conchos, and all mounted to a brown leather strap Buckle and each concho: 1.75” H x 2.5” W; belt: 40” L x 1” H 541.3 grams gross $800-1,200

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439

A Southwest cast silver concho belt

Mid/late 20th century Unmarked [Old Pawn etched inventory: AZ9AY} A large belt with a cast silver openwork stylized diamond buckle with set turquoise, and alternating round floral and butterfly openwork cast conchos, each set with turquoise, an all mounted to a black leather strap Buckle: 3” H x 3.625” W; each concho: 2.5” H x 2.5” Dia. and 1.125” W; belt: 32.25” L x 1.75” H 515.6 grams gross $800-1,200

440

A Southwest turquoise and tufa cast silver concho hat band

Mid/late 20th century Stamped to buckle : 925 / Sterling A hat band with an openwork cast sterling silver buckle and thirteen matching conchos, each with set turquoise and all mounted to a black leather strap Buckle and each concho: 1.25” H x 1.625” W; strap: 27.5” L x 0.75” H 183.7 grams gross $400-600

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441

A Southwest sterling silver link concho belt

Mid/late 20th century Stamped: Sterling / [unknown pictographs: arrow, sun, circle] A belt comprised of multiple elaborately incised and stamped silver oval concho links with a larger oval buckle, each with central set turquoise 34.5” L to 31.5” L x 1.125” H; buckle: 1.625” H 144.7 grams gross $500-700

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442

A Southwest silver linked concho belt

Mid-20th century Unmarked [Old Pawn etching to buckle] A link belt with finely stamped and repoussé conchos, alternating oval and butterfly forms and with a rectangular buckle 35.5” L x 1.75” H 176.6 grams gross $500-700

443

A Harry H. Begay Navajo silver and turquoise belt buckle

Harry H. Begay (b. 20th century, Diné) Late 20th century Stamped: HHB / [arrow cipher] A chunky rectangular buckle with incised and stamped silver overlay and multiple cluster-set rectangular turquoise stones to center, mounted to a brown leather belt Buckle: 2.5” H x 3” W; belt: 40” L x 1.5” H 208.5 grams gross $500-700

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444

A Julia Martinez Navajo sterling silver ranger belt set

Julia Martinez (b, 20th century, Diné) Stamped to buckle: JJM [stacked, in box]; belt: Max Lang/Houston Texas An elaborate silver ranger set with multiple stamped and applied silver floral and feather motifs, comprised of a buckle, two keepers and a tip, all mounted to a black lizard belt Buckle: 2.125” H x 2.75” W; each keeper: 1.125” H; tip: 1” H; belt: 36” L x 1” H Buckle and keepers only: 63.0 grams 152.0 grams gross $400-600

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445

A group of Southwestern-style belts

Late 20th/21st century One buckle marked sterling Three belts comprising a silver and set malachite cabochon buckle set to a brown alligator belt (2.375” H x 2.875” W; belt size: 28; 1.5” W), a Maltese cross silver metal and multistone buckle on a brown Andrea Barnett skin belt (2.75” H x 2.5” W; belt size 28; 1.5” W), and a chunky sterling silver buckle on a brown leather skin belt (2.75” H x 4.75” W; belt size 32; 1.5” W), 3 pieces Two buckles: 249.9 grams gross $500-700

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446

A group of Southwest silver wristwatches

Mid/late 20th century Each variously stamped: Sterling / W / H. Francisco / 1/20 / 12K / G.F. Four works Comprising two gold filled watch bands, including one with turquoise, coral, onyx, malachite, and mother of pearl inlay, and one with a silver overlay eagle, as well as two silver bands with Hopi-style silver overlay including Kokopelli and sunface motifs, each fitted with quartz watches, 4 pieces Each plate: largest: 1.125” H x 1.75” W; smallest: 1” H x 1.625” W 235.9 grams gross $200-400

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447

A group of Southwest stone inlay wristwatches

Mid/late 20th century Four variously stamped: Sterling / [unknown maker] Five multicolored stone inlay and silver watch bands in various stones including turquoise, coral, mother-of-pearl, onyx, malachite, and lapis lazuli, each band plate with motifs to edges, and each fitted with quartz watches, 5 pieces Each plate: largest: 1.125” H x 1.75” W; smallest: 0.875” H x 1.625” W 289.5 grams gross $200-400

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448

A group of Southwest stone inlay wristwatches

Mid/late 20th century Each variously stamped: Sterling / W / H. Francisco / 1/20 / 12K / G.F. Five multicolored stone inlay and silver and gold filled watch bands in various stones including turquoise, coral, onyx, malachite, lapis lazuli, and tiger’s eye, each band plate with motifs to edges, and each fitted with quartz watches, 5 pieces Each plate: largest: 1” H x 1.875” W; smallest: 1” H x 1.625” W 235.9 grams gross $200-400

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449

A group of Southwest silver and stone inlay wristwatches

Mid/late 20th century Four variously stamped: Sterling / SP / Francisco / [unknown maker] Five stone inlay and silver watch bands in various stones including turquoise, onyx, lapis, white stone, and opal, each band plate with motifs to edges, and each with quartz watches, 5 pieces Each plate: largest: 1.125” H x 1.625” W; smallest: 1” H x 1.5” W 283.8 grams gross $200-400

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450

Two Southwest silver stone set rings

Late 20th century Each stamped for artist; one stamped for sterling Comprising a David Tune (b. 1955, Creek/Navajo) cobblestone inlay ring with an asymmetrical cast sterling silver band (size: 7.5), and a JM silver and double set chunky turquoise ring (size: 9.5), 2 pieces 42.5 grams gross $200-400

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451

A group of Southwest silver and stone inlay rings

Late 20th century Three marked for sterling and for artist: C Benally / Pyne / Hustito Zuni NM Four silver and stone inlay rings including a Chester Benally Navajo blue stone inlay ring with chased silver shoulders, a Zuni shell and multistone inlay ring with sunface motif, as well as a lapis lazuli, coral and multistone oval inlay ring with geometric motifs, and a chunky ring with large rectangular bluestone inlay, 4 pieces Largest: ring size: 13; smallest: ring size: 12 75.8 grams gross $300-500

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452

A group of Southwest sterling silver and stone inlay rings

Mid/late 20th century Each marked for sterling and for artist: BM / RJack [conjoined] / CB [arch across] / BT [in box] / illegible Five silver and stone inlay rings including a Charlie Bowie Navajo/Diné narrow opal and onyx inlay ring, a Ray Jack Navajo/Diné oval inlay ring with lapis, malachite, turquoise, coral, and spiney oyster, as well as three further rings with various stone inlay such as tigers’ eye, sugilite, and mother-of-pearl, 5 pieces Largest: ring size 14; smallest: ring size 12.25 59.9 grams gross $400-600

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453

A group of Southwest silver and stone-set rings

Mid/late 20th century One etched: Curley Six silver rings in various sizes and styles including cluster-set and ketoh-style, as well as three bezel-set rings with variously shaped stones, one with heavy matrix, and a coral and turquoise ring with applied silver feather motif and stamped accents, 6 pieces Largest: ring size: 6.25; smallest: ring size: 4 65.9 grams gross $400-600

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454

A group of Southwest sterling silver rings

Mid/late 20th century Each marked for artist and for sterling: [salamander] / M / N [with circles] / CS Comprising five large chunky rings including a Calvin Peterson Navajo/Diné storyteller ring, a silver kokopelli storyteller ring, and three further rings with set turquoise and coral, 5 pieces Largest: ring size: 13.5; smallest: ring size: 11.5 103.1 grams gross $400-600

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455

A group of Southwest silver and turquoise rings

Mid/late 20th century Three marked for artist; four marked for Sterling Six rings in various styles and sizes in silver with set turquoise including Navajo rings by Calvin Martinez (b.1960, Diné) and Albert Jake (b. 1959, Diné), a Hopi-style kachina ring with turquoise headdress, a wide cluster-set sterling silver band, and an oval heavy matrix turquoise ring, 6 pieces Largest ring size: 8; smallest ring size: 6.75 85.3 grams gross $600-800

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456

A group of Southwest silver and stone set rings

Mid-20th century Two marked for artist: JT and PR A large group of silver and set turquoise rings in various styles and sizes including a chunky set coral and turquoise ring, and a triangular shadowbox set turquoise ring, 11 pieces Largest: ring size 11; smallest: ring size 5.5 100.2 grams gross $500-700

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457

Helen Shupla (b. 1928, Santa Clara Pueblo)

A blackware pottery basket, mid/late 20th century Incised to underside: Helen Shupla / Santa Clara Pueblo The burnished ceramic vessel with twisted handle and deeply incised lightning motif to body 7.25” H x 6.75” Dia. $200-400

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458

An early Navajo silver and turquoise brooch

Early 20th century Unmarked The openwork wire-formed moth motif centering a large bezel-set turquoise domed slab 4.125” H x 4.125” W 93.4 grams gross $600-800

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459

A group of Southwest silver and turquoise jewelry

Mid/late 20th century Two marked for artist; two marked for sterling Five silver brooches, four with set turquoise, including a Mary Cayatineto (Diné) Navajo incised sterling silver butterfly/bow concho brooch, an LE sterling silver round concho style brooch, as well as an oval concho brooch, a large cluster-set turquoise bow brooch, and a repoussé silver bar brooch, 5 pieces Largest: 1.625” H x 3.75” W; smallest: 0.75” H x 3” W 123.8 grams gross $300-500

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460

A group of Southwest earrings

Mid/late 20th century One pair marked: A [within circle] / TM / Sterling Comprising eight pairs of silver and set turquoise earrings in various styles and motifs including a pair of silver conchos, three pairs of Zuni -style cluster set earrings, two pairs of shadowbox-set turquoise earrings, and a pair of sawtooth bezel-set turquoise earrings with applied silver leaf accents, 16 pieces Largest: 2.5” H; smallest: 1” H 90.7 grams gross $400-600

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461

A group of Southwest-style silver and stone-set earrings

Late 20th century Five marked for artist; five marked for sterling Comprising seven pairs of earrings including a pair of Federico Jimenez (b. 1941, Mixtec) turquoise, coral, and peridot cluster set earrings, as well as two further pairs of turquoise, coral and lapis lazuli cluster-set dangle earrings, one by Don Lucas, and one by Oscar Betz, together with a pair of AS chunky set stone, petrified wood, and mixed metal earrings, and three further pairs of diminutive earrings with various stones including turquoise and onyx, 14 pieces Largest: 2.75” L; smallest: 0.25” H 101.2 grams gross $300-500

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462

A group of Southwest-style sterling silver earrings

Late 20th century Each stamped for sterling; three further stamped for artist Five pairs of sterling silver and stone set earrings including two pairs of wide stamped silver crescent earrings with cluster set stones, as well as a pair of Alvina Quam Zuni tapered turquoise drops, a pair of Al Somers (b. 1942, Apache/Blackfoot) stacked green turquoise dangles, and a pair of LG narrow turquoise drops, 10 pieces Largest: 2.5” H; smallest: 1.5” H 63.0 grams gross $200-400

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463

A group of Southwest silver earrings

Mid/late 20th century Comprising nineteen pairs of sterling silver and set turquoise and stone inlay earrings, by various makers in various styles and motifs including two pairs in Hopi overlay by Ramon Dalangyawma, and other styles such as Zuni petit point, Fred Harvey, bear paw, thunderbirds, hearts, conchos, heartline bears, and arrowheads, 38 pieces Largest: 2” H; smallest: 0.375” H 92.3 grams gross $200-400

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464

A group of Southwest-style silver and stone earrings

Mid/late 20th century Comprising eleven pairs of silver and set stone earrings, by various makers in various styles and motifs including one pair in Hopi overlay by Ramon Dalangyawma, as well as conchos, carved stone bird fetish dangles, Hopi ring dancer motifs, crosses, and three pairs of Mexican style earrings with set stones including carved obsidian, 22 pieces Largest: 2.5” H; smallest: 0.5” Dia. 86.5 grams gross $200-400

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465

A group of Southwest-style silver and set stone jewelry

Late 20th century Nine stamped for sterling and six for artist: RH Boyd [for Randy Boyd, Navajo/Diné] / CP / E. Secatero / M / Mexico Comprising thirteen pairs of earrings in various Southwest styles, sizes and designs, some with set stones including opal, turquoise, onyx, sugilite, coral and mother-of-pearl, as well as an ear cuff with feather dangle and a further pair of spiney oyster and turquoise inlay clip earrings together with a matching ring, 30 pieces Largest: 3” H; smallest: 0.625” H; Ring size: 13 (adjustable) 202.8 grams gross $200-400

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466

Four Southwest-style silver and turquoise cross pendants

Mid/late 20th century Silver pendant stamped: Sterling / Mexico / [Eagle 3] / Taxco / 925 / V [within circle] Comprising a large silver and turquoise cluster-set pendant cross, two sandcast silver and set turquoise pendant crosses, and an elaborate Mexican sterling silver openwork overlay cross pendant, 4 pieces Largest: 3.5” H x 1.875” W; smallest: 2.5” H x 1.875” W 72.3 grams gross $300-500

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467

A group of Southwest style silver cross pendants

Mid/late 20th century One marked: Sterling Four silver cross pendants in various designs and styles including a large pendant with set white stone cabochons, and a smaller stamped sterling silver cross, together with a diminutive pair of pierced earrings, 6 pieces Largest: 2.75” H x 2” W; smallest: 1.625” H x 1” W; earrings: 0.375” H 39.5 grams gross $200-300

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468

A group of Southwest-style sterling silver and jet jewelry

Late 20th century Each marked for sterling; two further marked: D. Lucas Comprising a Don Lucas multi-strand jet bead necklace accented with stamped silver crosses and a large cross pendant, with a traditional wrapped neck cord (26” L x 3” H), and a Don Lucas large silver cross pendant suspended from a black leather cord (36” L x 3” H), together with a black velvet cord necklace with a large stamped silver cross pendant (16” L x 3.5” H), and a pair of onyx set silver naja-style pierced earrings (each: 1.75” H), 5 pieces 231.0 grams gross $800-1,200

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469

A group of Southwest cross pendants Late 20th century Three works:

A Rose Boy Navajo pendant necklace Rose Boy (b. 20th century, Diné) Stamped: AJB [conjoined; for Rose and Alvin Boy, Diné] / Sterling A cast sterling silver cross brooch/pendant with set turquoise suspended from a Pueblo jacla-style turquoise and coral strand 18.5” L x 3” H x 2.5” W Two Southwest cross necklaces One marked: Sterling Comprising a cast silver colonial-style cross pendant with central set turquoise on silver chain, and a chunky sterling silver stamped cross pendant with a wide stamped bail and central set turquoise stone, suspended from a turquoise and incised silver bead strand, 2 pieces Larger: 25” L x 4.375” H; smaller: 18” L x 3.25” H 3 pieces total 185.6 grams gross $700-900 5 0 8 A r t o f t h e Am e r i c a n We s t l Tu e sd ay, S e p te mb e r 1 0 , 2 0 2 4

470

A group of Southwest sterling silver and sugilite jewelry

Late 20th/21st century Each marked for sterling; three further marked for artist Three works comprising an Albert Jake (b. 1959, Diné) Navajo wire wrapped cuff bracelet with central set oval sugilite, as well as a silver Aldrich inlaid stone cross pendant suspended from a sterling silver and multistone Peyote Bird Designs necklace, with a pair of similar design earrings with sugilite and opal inlay, 5 pieces Cuff: 6.25” inner C x 0.5” H, with 1” gap; pendant: 2.25” H x 1.5” W; necklace: 36” L; earrings: 1.5” H 165.6 grams gross $500-700

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471

A group of Southwest-style silver and turquoise jewelry

Late 20th century Three stamped: D. Lucas / Sterling A Don Lucas sterling silver bead bracelet with seven cross-shaped charms of various sizes, each with stamped motifs and turquoise-colored cabochons, together with a pair of matching crossshaped earrings, as well as a chunky cross pendant with multiple set stones including turquoise, spiny oyster, sugilite, malachite, and lapis lazuli, suspended on a black cord, 4 pieces Necklace: 18” L x 3” H; bracelet: 8” L x 1.75” H; each earring: 2” H 83.5 grams gross $300-500

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472

A group of Southwest silver and turquoise jewelry Mid/late 20th century Two works:

Wilson Begay (b. 20th century, Diné) A Navajo silver, turquoise and coral pendant necklace Stamped: WB [hat cipher] A single strand bead necklace finished with a double bar silver cross/dragonfly pendant and asymmetrical coral accent 18.25” L x 2.75” H A Southwest silver and turquoise cross pendant Unmarked With cluster set turquoise, suspended from a delicate stamped paperclip chain 24” L x 3.5” H 2 pieces 76.1 grams gross $300-500

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473

A set of Don Lucas sterling silver and muti-stone jewelry

Late 20th century Each stamped: Don Lucas / Sterling; two further stamped : L Feeney [for Leo Feeney] Comprising a squash blossom-style cross pendant necklace with colored set stones, and a Leo Feeney cluster set cuff bracelet, together with a matching brooch, 3 pieces Necklace: 20.5” L x 2” H; cuff: 6.25” inner C x 1” H, with a 0.75” gap; brooch: 1.375” H x 2” W 133.0 grams gross $700-900

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474

A group of Southwest silver jewelry

Mid-20th century Each unmarked Six works comprising a ketoh/bow guard plaque with set turquoise, a stamped triangular wire bangle bracelet, a single First-Phase-style concho, and three set turquoise oval concho style brooches in various sizes, 6 pieces Ketoh: 3.125” H x 2.125” W; bangle: 7.5” Dia.; concho: 2.5” H x 3” W; brooches: 2.75” W, 2” W, 1.75” W 137.3 grams gross $300-500

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475

A group of Southwest silver and stone inlay jewelry

Early/mid-20th century One ring stamped: Boone A large group of Zuni stone set jewelry comprising two Knifewing brooches with turquoise and stone inlay, two “pendant” Knifewing tie clips, a sunface pendant/brooch with mother of pearl and coral inlay, three smaller brooches with sunface motifs, three rings with mulitstone inlay, and two further Southwest pendant tie clips, one a thunderbird and one an elephant, 13 pieces Largest: 3.5” H x 3” W (tie clip); smallest: 1” Dia. (pin); Rings: sizes 5.5 & 5 115.7 grams gross $500-700

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476

A group of Southwest silver and stone inlay jewelry

Mid/late 20th century One marked: Bear [paw] / Sterling Comprising two Zuni turquoise, coral, and shell inlay bolos, one a thunderbird and one a sun face motif, each on a braided leather cord with silver tips, as well as two Zuni Knifewing silver stone inlay bolos without cords, a sterling silver steer skull bolo fastener with feather dangles, and a silver Ranger set with incised and stamped buckle and two keepers, 8 pieces Largest bolo: 4” H; smallest: 1.875” H; cords: 38” L & 36” L; buckle: 2” H x 2.25” W 132.3 grams gross $400-600

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477

A group of Southwest silver and turquoise jewelry

Mid/late 20th century Each unmarked Comprising a three-wire silver cuff bracelet with three set turquoise plaques together with a similar design ring, as well as a set turquoise single squash blossom pendant on a single strand silver bead necklace with a similar design ring, and a chunky graduated silver bead necklace, 5 pieces Cuff: 6” inner C x 1.25” H, with a 1.125” gap; Rings: sizes 7 & 5.5; Necklaces: 26.5” L & 15.5” L 199.1 grams gross $200-400

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478

A group of Southwest silver and stone set jewelry

Mid/late 20th century Four marked for artist; one marked for sterling etched: A. Dishta / Zuni; R.E. Zuni; JTS [for Juan Singer, Navajo/Diné] Six necklaces, with three suspended from turquoise strands, and three from silver chains, comprising four silver and set stone pendant/brooches in various motifs including an A. Dishta Zuni stone inlay thunderbird, a Juan Singer Navajo/Diné mosaic inlay peyote bird, a signed turquoise set katsina figure, and a heavy cast silver stylized kachina figure with set turquoise, together with a mosaic peyote bird pendant and an RE Zuni arrow motif pendant with set turquoise, 6 pieces Largest: 2.375” H x 2.125” W; smallest: 2” H x 0.75” W; necklaces: 24” L to 17” L 124.7 grams gross $800-1,200

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479

A group of Zuni silver and inlay jewelry

Mid-20th century Each unmarked Three works with multistone inlay comprising an eagle pendant/brooch with turquoise, shell and jet inlay suspended from a silver bead necklace (17” L x 2.25” H), a chief’s head pendant/ brooch with feather headdress in shell, coral, and turquoise inlay, and a coral, turquoise, and shell inlay dancer pendant on a multistone bead necklace (18.5” L x 2.25” H), 3 pieces 97.9 grams gross $500-700 This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

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480

A group of Southwest silver and coral jewelry

Mid/late 20th century One stamped: LM / Sterling Nine works comprising two sandcast silver naja pendants (3” H and 2” H), a shadowbox set coral teardrop pendant on a chain (24” L x 2” H), a cluster set coral ring (size 8.5) and a bezel-set red stone ring (size 6), as well as three pairs of earrings including two in silver overlay with figurative motifs such as antelope and yei dancers (1.125” H and 2” H), and a pair of coral set earrings (1.25” H) and a shadowbox set coral stick pin (0.875” Dia.), 12 pieces 154.1 grams gross $500-700 This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

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481

A group of Southwest silver jewelry

Late 20th century Buckle marked: J. Johnson [likely Janice Johnson, Navajo/Diné) / Sterling Comprising three silver cuff bracelets of various sizes, each with applied graduated silver domes and stampwork accents, as well as a sand cast silver cuff with central set nugget turquoise, together with a sand cast silver openwork brooch and a concho brooch, as well as a Janice Johnson Navajo oval stamped sterling silver belt buckle, 7 pieces Largest cuff: 6.5” inner C x 1.5” H, with a 1” gap; smallest brooch: 2” x 2”; buckle: 1” H x 2” W 152.1 grams gross $400-600

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482

A group of Southwest silver and stone jewelry

Mid/late 20th century One marked HC [conjoined; for Hopi Crafts]; Two marked: Sterling Comprising eleven brooches in various sizes, styles, and motifs including a large Hopi Crafts silver overlay bird brooch, a silver overlay katsina brooch/pendant, a Kokopelli brooch, a Zuni-style Knifewing brooch and a sunface brooch, each with set turquoise and coral inlay, as well as six set turquoise brooches, including a Fred Harvey style thunderbird brooch, and a pair of cuff links and a small petit point turquoise ring, 14 pieces Largest: 2.125” H x 2” W; smallest: 0.75” H; ring size: 4 111.8 grams gross $300-500

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483

A group of Southwest silver and set stone jewelry

Mid/late 20th century Two stamped: Sterling; further variously stamped: JP / _W_ / Sybil Cachini / E.C.K. / G.B. Natachu / SM / ATM A large group comprising five multistone chip inlay pendants and a pair of earrings, two silver and set turquoise pendants, as well as four Zuni diminutive silver and stone inlay pendants, together with two silver scarf rings, four silver buttons, and eight stone set rings, 27 pieces Largest pendant: 3” H; smallest: 1” H; Ring sizes: 7 to 1.75; each button: 0.75” Dia. 93.9 grams gross $300-500 This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

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

484

A group of Southwest silver and stone set jewelry

Mid/late 20th century Five marked for Sterling; four further marked for artist; one for Mexico Comprising an F. Cheama Zuni sterling silver turquoise and coral pendant, as well as six silver rings with various set stones such as turquoise, coral, and boulder opal, including a Calvin Martinez Navajo/Diné sterling silver ring with three set oval turquoise stones, and a large rectangular ring with row-set coral, 7 pieces Pendant: 1.625” H; Rings: largest ring size: 8.8; smallest ring size: 4.25 72.0 grams gross $400-600 This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

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485

A group of tin tobacco advertisement containers

Late 19th/early 20th century Biscuit tin stamped to underside: NBC / Trademark / Uneeda The tin containers advertising tobacco plug companies, comprising a George Washington lunch pail with handle, a Union Leader lunch pail with handle, a J.G. Dill’s cut plug tobacco container, an Osterloh’s lidded tobacco container, a Twin Oaks pocket hinged tobacco tin, and an unmarked container, together with a National Biscuit Company biscuit tin, 7 pieces Largest: 4.5” H x 8” W x 5.5” D; Smallest: 4.125” H x 3.375” W x 1.25” D $100-200 Provenance: The Estate of John Simpson McKaughan Jr.

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486

Two Hopi pottery vessels Two works:

Sylvia Naha (1951-1999, Hopi-Tewa) A polychrome pottery vase, late 20th century Signed with artist’s feather cipher and: S The egg-form, white ware pottery vase with polychrome lizards and sunflowers on white burnished slip glaze 5.75” H x 5” Dia. Joy Navasie, Second Frog Woman (1919-2012, Hopi-Tewa) A polychrome pottery jar, late 20th century Signed with artist’s frog cipher The white ware pottery vase with stepped collar and polychrome avian motifs on white burnished slip glaze 6.5” H x 5.5” Dia. 2 pieces $500-700

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487

Fred (Grey Squirrel) Stevens, Jr.

(1922-1983, Diné) “The Black Male Yei” and “The White Female Yei” Pulverized sandstone and silicone on particle board Each signed and inscribed in pencil verso: Grey Squirrel (Fred Stevens, Jr.) / Navajo Indian Sandpainter and Medicine Man; each with lengthy description and care instructions inscribed verso 2 pieces Sight of each: 15.75” H x 7.5” W $100-200

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488

Two Navajo sand paintings Two works:

Ernest Hunt (b. 20th century, Diné) “The Holy Men & Holy Plants,” 1979 Pulverized stone on particle board Signed, dated, and titled verso: Ernest Hunt / 3/6/79; further inscribed by artist verso, with a paper clipping from “The Arizona Republic: Sun Living” about the artist 16” H x 16” W Jerome Begay (b. 20th century, Diné) “Storm Figure” Pulverized stone on particle board Signed and titled verso: Jerome Begay Sight: 12.625” H x 12.625” W 2 pieces $200-400

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489

A pair of framed groups of stone points

Prehistoric or later Comprising two trays of various points of differing stones, shapes and sizes, including arrowheads, points, and hooks, one with sixteen points and a glass bead necklace, the other with eighteen points, each placed in cotton padding 2 pieces Largest point: 5” H x 2.875” W $200-400

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490

A group of books on Southwest subjects

The group of hardcover, softcover, and staple-bound publications comprising twenty-six works: Parks, Walter P. “The Miracle of Mata Ortiz: Juan Quezada and the Potters of Northern Chihuahua.” Riverside: The Coulter Press, 1993 Signed by the author: Juan Quezada Curtis, Edward Sheriff. “Visions of a Vanishing Race.” Boston: Houghton Mifflin Company, 1986 Coulter, Lane. “Navajo Saddle Blankets: Textiles to Ride in the American West.” Santa Fe: Museum of New Mexico Press, 2002 Lacy, Alberto Ruy Sanchez. “Artes de Mexico Numero 45: Ceramica de Mata Ortiz” Mexico D.F., 1999 Harmsen, Bill. “Patterns and Sources of Navajo Weaving.” Denver: Harmsen Publishing Company, 1990 James, H. L. “Rugs & Posts: The Story of Navajo Weaving and Indian Trading.” Atglen: Schiffer Publishing Ltd., 1999 Hayes, Allan and John Blom. “Southwestern Pottery: Anasazi to Zuni.” Flagstaff: Northland Publishing, 1996 Turnbaugh, William A. and Sarah Peadbody. “Indian Jewelry of the American Southwest.” Atglen: Schiffer Publishing Ltd., 2007 Hollister, U. S. “The Navajo and his Blanket.” Glorieta: The Rio Grande Press, Inc., 1972 Underhill, Ruth. “People of the Crimson Evening.” Riverside: Sherman Institute, 1951 Bahti, Tom. “Southwestern Indian Tribes.” Las Vegas: KC Publications, 1968 Bahti, Tom. “Southwestern Indian Ceremonials.” Las Vegas: KC Publications, 1979 Bahti, Tom. “Southwestern Indian Arts & Crafts.” Las Vegas: KC Publications, 1977 Cahill, Rick. “The Story of Casas Grandes Pottery.” Tucson: Boojum Books, 1991 Smith, Watson. “Prehistoric Kivas of Antelope Mesa.” Cambridge: Peabody Museum of Archaeology and Ethnology, 1972 Curtis, Edward S. “Prayer to the Great Mystery: The Uncollected Writings and Photography of Edward S. Curtis.” New York: St. Martin’s Press, 1995 Look, Alfred A. “The Hopi Snake Dance.” Grand Junction: Crown Point, Incorporated, 1981 Walker, Willard and Lydia L. Wyckoff. “Hopis, Tewas, and the American Road.” Albuquerque: University of New Mexico Press, 1983 Wright, Barton. “Hopi Kachinas: The Complete Guide to Collecting Kachina Dolls.” Flagstaff: Northland Publishing, 1993 Brugge, David M. “Hubbell Trading Post National Historic Site.” Tucson: Southwest Parks and Monuments Association, 1993 Wherry, Joseph H. “Indian Masks and Myths of the West.” New York: Thomas Y. Crowell Company, 1974 Haile, Berard. “Head and Face Masks in Navajo Ceremonialism.” Salt Lake City: University of Utah Press, 1996 Hartmann, Gayle Harrison. “Kiva: The Journal of Southwest Anthropology and History Volume 60 Number 1 Fall 1994.” Tucson: Arizona Archaeological and Historical Society, Inc., 1994 Jones, Joan Megan. “The Art and Style of Western Indian Basketry.” Blaine: Hancock House Publishers, 1982 Kirk, Ruth F. “Zuni Fetishism.” Albuquerque: Avanyu Publishing Inc., 1988 Bennett, Noël. “Genuine Navajo Rug...How to tell.” Palmer Lake: The Filter Press, 1979 26 pieces Largest: 13” H x 9.75” W x 0.875” D; Smallest: 8.25” H x 5.375” W x 0.125” D $100-200

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Consign Today

Art of the American West November 13, 2024 A Clarence Lee Sterling Silver Story Teller Necklace

Price Realized: $9,240

Consignment and Auction Inquiries: info@johnmoran.com

SINCE 1969

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

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

A JB Moore Navajo Textile

Price Realized: $8,890

SINCE 1969

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

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

Condition Reports

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1 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 15.5” H x 18.5” W x 2.25” D 2 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 13.75” H x 15.75” W x 2” D 3 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 14.5” H x 17.5” W x 2.5” D 4 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 17.5” H x 21.5” W x 2” D 5 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 9.25” H x 13.25” W x 1.75” D

Condition Reports

6 Visual: Overall good condition. Stable craquelure scattered in the sky.

536

9 Visual: Visual: Overall generally good condition. Occasional, stable craquelure scattered primarily in the lower half of the work. A 3” diagonal surface scratch into the Masonite with attendant pigment loss in the upper left corner. A faint 1” diagonal surface scratch near the upper portion of the right edge. Blacklight: No evidence of restoration. Frame: 26.75” H x 32.75” W x 2.5” D 10 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 21.5” H x 25.75” W x 3” D 11 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 18.25” H x 22.25” W x 3” D 12 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 12.5” H x 14.5” W x 2.5” D 13 Visual: Overall good condition. Blacklight: No evidence of restoration.

Blacklight: No evidence of restoration.

Frame: 36.75” H x 46.75” W x 3” D

Frame: 30” H x 33.5” W x 2.5” D

14 Visual: Overall good condition. Dust accumulation and specks of grime throughout. A very soft stretcher bar crease along the upper edge, at left.

7 Visual: Overall good condition. A pinhead-sized spot of stray black pigment in the upper right corner. Blacklight: No evidence of restoration. Frame: 16.25” H x 18” W x 2” D 8 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 12” H x 16.5” W x 1.25” D

Blacklight: No evidence of restoration. Frame: 31.5” H x 43.5” W x 3.5” D 15 Visual: Overall good condition. Blacklight: Occasional pea-sized or smaller areas scattered throughout the sky fluoresce under blacklight. Frame: 40.25” H x 56.25” W x 1.5” D

Blacklight: No evidence of restoration. Frame: 25.5” H x 31.5” W x 2” D

24 Overall good condition. Not examined out of the frame. Framed under glass: 16.25” H x 18.25” W x 1.75” D

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

25 Overall good condition. The sheet is hinged to the back mat with white archival tape in two places from the verso of the upper sheet edge.

Framed under Plexiglas: 20.75” H x 32.75” W x 1.75” D

Framed under Plexiglass: 22.75” H x 22.25” W x 1.25” D

18 Overall good condition with scattered minor scuffs, scratches and normal wear commensurate with age and use. The leather in good condition, flexible, and has been regularly oiled and taken care of. Blanket and stand each in good condition.

26 Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. Three areas of verdigris to bronze base underneath left side horses, measuring 1” or 2” diameter. Oxidation/rust to plaque.

19 Visual: Overall good condition. Blacklight: No evidence of restoration.

27 Visual: Overall good condition. Scattered areas of pinhead-sized spots of grime primarily scattered in the right half of the work.

Frame: 38” H x 32” W x 2” D

Blacklight: No evidence of restoration.

20 Visual: Overall good condition. Dust accumulation and a few pinhead-sized specks of grime. The underlying surface of the Masonite showing through very slightly in places, however, these appear to be in the hand of the artist.

Frame: 32.5” H x 42.5” W x 1.5” D

Blacklight: No evidence of restoration.

28 Visual: Overall generally good condition. Two pinhead-sized punctures through the canvas, one near the upper left corner, and the other near the lower left corner. A small horizontal line of grime near the upper portion of the left edge.

Frame: 13.5” H x 16.5” W x 1.75” D

Blacklight: No evidence of restoration.

21 Visual: Overall good condition.

Frame: 32” H x 44” W x 2” D

Blacklight: No evidence of restoration. Frame: 18.5” H x 22.5” W x 2.75” D

29 Visual: Overall good condition. A few pinhead-sized spots of grime scattered in the background of the upper left quadrant.

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

Blacklight: No evidence of restoration.

Framed under glass: 25” H x 29.25” W x 2.25” D

30 Visual: Overall good condition.

Frame: 31.75” H x 37.75” W x 2.75” D

23 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 33” H x 45” W x 2” D

Frame: 13.5” H x 19.25” W x 2” D

Condition Reports

16 Visual: Overall good condition.

537

31 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 15.5” H x 17.5” W x 2.25” D 32 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 35.5” H x 47.5” W x 4” D 33 Visual: Overall generally good condition. Fine, stable craquelure throughout. Stretcher bar creases along the left, right, and upper edges, with a hairline split along the crease near the right edge. Occasional pinhead-sized areas of pigment loss scattered throughout the upper half. Minor frame abrasion along the extreme left and upper right edges. A pinhead-sized puncture near the upper edge of the upper right quadrant. Blacklight: No evidence of restoration. Frame: 32.25” H x 44.25” W x 1.75” D 34 Overall good condition. Not examined out of the frame. Framed under Plexiglas: 30” H x 36.75” W x 1.75” D 35 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 30.25” H x 54.25” W x 3.25” D

Condition Reports

36 Overall good condition with dust accumulation and slight darkening to bronze commensurate with age.

538

37 Visual: Overall good condition. A very faint, unobtrusive 2” H scuff mark into the lower edge of the lower right quadrant. A pinhead-sized spot of minor surface abrasion with some pigment loss near the right of the rockface in the upper right quadrant.

38 Visual: Overall generally good condition. A 0.25” H x 0.5” W area of pigment loss near the lower left edge of the lower left quadrant. Occasional areas of fine and stable craquelure in the trees and larger rock formations. Blacklight: A quarter-sized touch-up in the canvas in the upper right quadrant, attendant with a repair patch, verso. A 3.5” H x 6.5” W area of possible touch-up or overpaint in the upper left quadrant at the upper left edge. Other occasional quarter-sized or smaller spots of touch-up in the rock formation and trees. Frame: 29” H x 34” W x 2” D 39 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 38” H x 59.5” W x 3.5” W 40 Visual: Overall good condition. Very fine and stable craquelure scattered throughout, a faint stretcher bar crease along the upper edge, and minor varnish discoloration, all commensurate with age. Blacklight: A 2.5” H x 2” W area of touch-up above the figure and in the tree foliage of the lower right quadrant. Frame: 29” H x 34” W x 3” D 41 Overall good condition with scattered scuffs, scratches, and indentations commensurate with age. The seat leather with darkening, cracking, and scattered spots, stains, and scratches. The pillows similarly aged with some loss of shape. 42 Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Slight separation to one side of medial stretcher, with attendant slight shakiness. The original leather seat has been removed and the chair has been upholstered. Upholstery in good condition with rubbed wear, mild soiling, dust accumulation, and minor stiffness.

Blacklight: Occasional pinhead-sized spots of touchup in the rocks of the upper left quadrant, the ground of the lower right quadrant, and in the sky of the upper right quadrant.

43 Visual: Overall good condition.

Frame: 16.25” H x 19.75” W x 1.75” D

Frame: 21.25” H x 25.5” W x 2.5” D

Blacklight: No evidence of restoration.

44 Visual: Overall good condition.

52 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 22” H x 26” W x 2.5” D

Frame: 11.75” H x 9.25” W x 1” D

45 Visual: Overall good condition.

53 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Unframed

Framed under glass: 12.25” H x 9.5” W x 1” D

46 Visual: Overall good condition.

54 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 12” H x 9.75” W x 1” D

47 Visual: Overall good condition.

48 Visual: Overall good condition.

55 Each overall good condition. Occasional, soft, and unobtrusive abrasions and handling creases primarily scattered in the extreme outer edges and corners. “Dacherel” with pale and uneven light-staining throughout. “Pat, Jack, Tom” with very pale and occasional flecks of staining in the outer edges. “One of Mollies Sweetest Dreams” with paper remnants on the verso. Each sheet is loose, not matted.

Blacklight: No evidence of restoration.

Each unframed

Frame: 12” H x 9.75” W x 1” D

56 Overall good condition. A few rice-sized and smaller stray black pigment marks, possibly in the hand of the artist, scattered above the head of the bear in the upper right quadrant.

Frame: 12” H x 9.75” W x 1” D

49 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 11.75” H x 9.5” W x 1” D 50 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 12” H x 9.75” W x 1” D 51 Visual: Overall good condition. Occasional soft scuffing to the surface primarily scattered throughout the sky.

Framed under glass: 20.25” H x 26.75” W x 1.25” D 57 Overall good condition with minor scattered small scuffs and darkening/oxidation to bronze commensurate with age. 58 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 22.5” H x 26.5” W x 2” D

Blacklight: No evidence of restoration.

59 Visual: Overall good condition.

Frame: 11.75” H x 9.5” W x 1” D

Blacklight: No evidence of restoration. Frame: 24” H x 32” W x 3.5” D

Condition Reports

Blacklight: No evidence of restoration.

539

60 Visual: Overall good condition Blacklight: No evidence of restoration. Frame: 23.5” H x 27.5” W x 1.25” D 61 Visual: Overall good condition. A very soft stretcher bar crease along the upper portion of the right edge, primarily visible in raking light.

Blacklight: No evidence of restoration. Frame: 19.75” H x 23.5” W x 1.75” D

Framed under glass: 41” H x 21” W x 2.5” D

63 Visual: Overall good condition.

69 Overall good condition. The colors good. The extreme sheet edges with thin pieces of masking tape along the lower portion of the right and lower edges, and each edge with remnants of old glue attendant with the previous masking tape used, not affecting the image. A speck of stray black pigment adhered to the lower portion of the extreme left edge. A small piece of painters tape with the number “7” affixed to the verso of the right sheet corner. The sheet is hinged to the back mat by two long pieces of tape along the upper sheet edge.

Frame: 25.25” H x 31.25” W x 3.5” D 62 Visual: Overall good condition. A few, occasional pinhead-sized spots of grime scattered throughout.

Blacklight: No evidence of restoration. Frame: 17.5” H x 21.25” W x 1.5” D 64 Visual: Overall good condition. Light dust accumulation and specks of grime commensurate with age. A small area of very fine, stable craquelure to the right of the figure’s shoulder. A 0.75” vertical chip to the canvasboard on the figure’s right arm. A 7” vertical line of soft surface abrasion and scuffing scattered in the upper right corner. A 2.5” horizontal soft surface scratch in the upper left corner. Blacklight: No evidence of restoration. Frame: 26.5” H x 25.5” W 2” D

Condition Reports

Framed under glass: 15.75” H x 12.75” W x 0.75” D 68 Overall good condition. Toning throughout and time staining along the extreme sheet edges. Very occasional specks of pale foxing scattered in the blank, not affecting the image. A thin 8” diagonal line of residue and soft surface skinning near the upper edge, at center. A thin 2” horizontal area of paper loss along the upper edge, right of center. A small tape remnant near the upper edge, at center. Three pinholes near the upper edge. Cockling along the extreme sheet edges. The sheet is loose, not matted.

Blacklight: No evidence of restoration.

540

67 Overall generally good condition. Pale light- and mat staining. The board is affixed to the overmat in various places along the edge of the mat window, as well as with pieces of scotch tape from the verso of the board’s edges

Framed under Plexiglas: 29” H x 22” W x 1.5” D 70 Overall good condition with minor scattered small scuffs and darkening/oxidation to bronze commensurate with age. The bronze is loose from its mounting.

65 Overall good condition. Pale light-staining, with the colors slightly attenuated. Not examined out of the frame.

71 Visual: Overall good condition.

Framed under glass: 29” H x 23” W x 1.5” D

Frame: 37.75” H x 49.75” W x 2” D

66 Visual: Overall good condition.

72 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 30” H x 18” W x 1.75” D

Frame: 34” H x 34” W x 1.25” D

Blacklight: No evidence of restoration.

74 Visual: Overall good condition. Occasional specks of grime scattered throughout. Blacklight: No evidence of restoration. Frame: 49.25” H x 50.75” W x 2” D

82 Each: Overall good condition. Not examined out of the frame. Each framed under glass: 11.25” H x 9.25” W x 1.5” D 83 Overall good condition. Not examined out of the frame. Framed under glass: 21” H x 17” W x 2” D

Blacklight: No evidence of restoration.

84 Overall good condition. Pale light-staining to the portion of the sheet exposed through the mat window. The sheet is tipped to the back mat from the verso of the upper left and right sheet corners.

Unframed

Framed under glass: 16” H x 13” W x 1.25” D

76 Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. Plinth with scattered crazing in the lacquer and scattered scuffs and scratches.

85 Overall generally good condition. Pale light-staining to the portion of the sheet exposed through the mat window. The sheet is hinged to the overmat with a long strip of tape from the verso of the upper sheet edge.

75 Visual: Overall good condition.

77 Overall good condition with soiling, dust accumulation, and typical signs of wear commensurate with age and use. One side stitched closed. Issues include, but not limited to: wear to edges and fringing overall and a few stains to center of beaded motif at one side. 78 Overall good condition with mild soiling, dust accumulation, and typical signs of wear commensurate with age and use. Issues include, but not limited to: slight distortion to edges of yoke and to wear to fringing overall and scattered losses to red fringe beads. 79 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 48.5” H x 48.5” W x 1.75” D 80 Overall good condition. Framed under glass: 15.75” H x 31.25” W x 1.25” D 81 Overall good condition. Not examined out of the frame. Framed under glass: 15.25” H x 23.25” W x 1.5” D

Framed under glass: 18” H x 16” W x 1.25” D 86 Overall good condition. Pale light-staining throughout. Stray pink pencil marks above the figure’s head, at right, and between its legs. Artist pinholes at each sheet corner. The sheet is loose and secured to the back mat with four clear archival corners. Framed under glass: 14.25” H x 18.25” W x 1.25” D 87 Overall good condition. Not examined out of the frame. Framed under glass: 11.75” H x 14.5” W x 1” D 88 Overall good condition. A 0.25” band of time staining along the upper and right edges of the sheet, and not visible under framing. Framed under glass: 15.5” H x 13.5” W x 1.5” D 89 Overall good condition. A pale 0.25” W band of time staining along each extreme sheet edge, not visible under framing. A pinhead-sized stray mark near the upper portion of the left edge. Framed under glass: 18.5” H x 15.5” W x 1.75” D

Condition Reports

73 Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. With dust accumulation and some soiling, concentrated to bronze base and area of marks.

541

90 Overall good condition. The sheet with handling creases, folds, staining, and tears to the sheet commensurate with age and handling. The sheet is framed floating and mounted to the back mat. Not examined out of the frame. Framed under glass: 18.5” H x 22.5” W x 1.25” D 91 Overall good condition. The sheet with handling creases, folds, and tears commensurate with age and use as ledger paper. The sheet is framed floating and mounted to the back mat. Not examined out of the frame. Framed under glass: 22” H x 17.75” W x 1” D 92 Overall generally good condition. The colors somewhat attenuated. Not examined out of the frame. Framed under glass: 12.25” H x 16.75” W x 0.75” D 93 Overall good condition with wear, dust accumulation, soiling, and scattered scuffs and scratches commensurate with age. Darkening to the stone above hands, arms, and top of basket. The base with multiple chipped losses concentrated left side proper, the largest measuring 2” H x 1.5” W. 94 Overall good condition. Cockling to the sheet. Not examined out of the frame. Framed under glass: 36” H x 30.5” W x 1.5” D

Condition Reports

95 Visual: Overall good condition.

99 Overall good condition with scattered minor scuffs and darkening/oxidation to bronze commensurate with age. 100 Overall good condition with scattered minor scuffs and darkening/oxidation to bronze commensurate with age. 101 Overall good condition with scattered scuffs, scratches, nicks, and small indentations commensurate with age. Scattered small bumped/ chipped losses to front side edges, with a few small repairs. Dresser top with more scratches, scattered stains, and a drink ring. The mirror with scattered desilvering, concentrated at edges. Soiling to drawer interiors. Lacking key. 102 Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. The tabletop with more scratches, a 6” diameter area of lightening, scattered stains, and a drink ring. Each foot with a 1” long crack in the wood near joints with legs at each side. Subsequently, the table is slightly shaken. 103 Overall good condition with scattered scuffs, scratches, nicks, and small indentations commensurate with age. Scratches and indentations concentrated to tabletop and legs.

Blacklight: No evidence of restoration.

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

Frame: 33.75” H x 44.75” W x 2.25” D

Blacklight: No evidence of restoration.

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

Framed under glass: 20” H x 21.5” W x 1.75” D

Blacklight: No evidence of restoration. Framed under glass: 12” H x 10” W x 1.5” D 97 Visual: Overall good condition. Blacklight: A possible 3” dia. area of over-painting or touch-up around the lower part of the gun. Frame: 60” H x 40” W x 4” D

542

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

105 Visual: Overall good condition. A nickel-sized, very soft, reverse pressure mark at each of the upper corners, primarily visible in raking light. Occasional minor craquelure. An unobtrusive 1” H x 3” W crosshatched area of apparently fine pigment loss in the purple background, left of center, possibly attendant with the artist’s working methods. Blacklight: No evidence of restoration. Frame: 67.5” H x 55.5” W x 3” D

Blacklight: Two irregularly shaped touch-ups, each approximately quarter-sized, attendant with the repairs mentioned-above. Frame: 22.5” H x 27” W x 1” D 107 Overall good condition. Not examined out of the frame. Framed under glass: 26” H x 32.5” W x 2” D 108 Overall good condition. Not examined out of the frame. Framed under glass: 33” H x 33” W x 1.25” D 109 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 29.5” H x 39.25” W x 2.25” D 110 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 18” H x 30” W x 1.75” D 111 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 22.5” H x 28.5” W x 1.75” D 112 Visual: Overall good condition. A soft stretcher bar creases along the upper edge. Blacklight: No evidence of restoration. Frame: 18.5” H x 55.5” W x 2” D 113 Overall good condition with inherent flaws and wear commensurate with age. Not examined out of frame. Framed: 27.875” H x 21.75” W

114 Overall good condition with dust accumulation and wear commensurate with age and use. 115 Overall good condition with dust accumulation and wear commensurate with age and use. The rim with a few small stitch breaks. 116 Overall good condition with dust accumulation and wear commensurate with age and use. Fading to exterior. 117 Overall good condition with dust accumulation and wear commensurate with age and use. Darkening and an area of soiling to interior. 118 Overall good condition with dust accumulation and wear commensurate with age and use. Two stitch losses to rim. 119 Overall good condition with dust accumulation and wear commensurate with age and use. Darkening/ soiling to interior with some soiling to exterior as well. The rim with a 1.25” long area of stitch loss with possible small repair. 120 Overall good condition with dust accumulation and wear commensurate with age and use. Fading to exterior. 121 Overall good condition with dust accumulation and wear commensurate with age and use. With some soiling and darkening to interior. Two small breaks to rim. 122 Overall good condition with dust accumulation and wear commensurate with age and use. 123 With dust accumulation and wear commensurate with age and use. The center of base loose with stitch breaks. A 1.25” long break to one row of rods near rim. The rim with a small repair and 1.375” long area of loss to rods and stitches. 124 Overall good condition with dust accumulation and light wear commensurate with age and use. Scattered stitch losses to rim and coil below, the largest measuring 0.5” long. Interior and exterior with a few breaks in the stitching. Scattered stitch losses to base. Previous dealer’s sticker applied to underside.

Condition Reports

106 Visual: Overall good condition. Two unobtrusive, approximately quarter-sized repairs in the rocky background, to the right of center, primarily visible from the related patches, verso.

543

125 Overall good condition with dust accumulation and light wear commensurate with age and use. With about 10 losses to stitch at rim and a few to underside. 126 Overall good condition with dust accumulation and light wear commensurate with age and use. With three stitch losses at rim, and a 1” area of sticker residue to rim interior.

135 Overall good condition with dust accumulation and light wear commensurate with age and use. Scattered areas of stitch loss, concentrated to bottom of shoulder, as well as near the base. With a 1.5” long white stain to rim interior.

127 Overall good condition with dust accumulation and light wear commensurate with age and use. With a few scattered breaks in the stitching, concentrated at shoulder.

136 Overall good condition with dust accumulation and light wear commensurate with age and use. Two stitch losses to underside, one at shoulder, and a few scattered to body.

128 Overall good condition with dust accumulation and light wear commensurate with age and use. With a break in four rows of rim rods. A few scattered stitch losses. A 1.25” diameter stain/darkening to interior. With two wires woven through the rim ostensibly for mounting. Previous dealer’s sticker applied to interior.

137 Each overall good condition with dust accumulation, fading, and light wear commensurate with age and use. Each with one or two minor breaks to stitching at rim.

129 Overall good condition with dust accumulation and light wear commensurate with age and use. Darkening throughout. A few loose stitches at rim and minor rubbed wear to the body. 130 With dust accumulation and wear commensurate with age and use. The rim with multiple breaks/ losses in the rods, the largest measuring 2” long, each with attendant stitch losses.

Condition Reports

131 With dust accumulation and wear commensurate with age and use. Three tears to the rim with subsequent breaks to rods and stitch losses, the largest measuring 1” long. Rubbed shelf wear to underside.

544

134 Overall good condition with dust accumulation and light wear commensurate with age and use. A few stitch breaks/losses to rim.

132 Each overall good condition with dust accumulation and wear commensurate with age and use. Each with darkening throughout. One with an area of stitch loss at rim measuring 0.25” long. The other with a tear at the rim with attendant breaks to three rods and surrounding stitching. 133 Overall good condition with dust accumulation and light wear commensurate with age and use. With a few scattered stitch losses, mostly to exterior, and one at rim measuring 0.25” long. With previous collection stickers applied to underside and interior at base.

138 Overall good condition with dust accumulation and light wear commensurate with age and use. The polychrome is very faded on both sides. Scattered stitch breaks and losses, concentrated at center and underside, the largest area measuring 0.75” long. Knotted cloth fiber through central hole. Previous dealer’s stickers applied to underside. 139 Each overall good condition with dust accumulation and light wear commensurate with age and use. Each with fading to side A. The medium sized with a small possible stitch repair and a white scuff to underside with two small losses to stitches. The largest with detached woven mounting loop, retained with the lot. 140 Each overall good condition with dust accumulation and light wear commensurate with age and use. Each with fading to side A. The plaque with woven wall-hanging loop. Sun face with stitch losses at bottom. 141 Each overall good condition with dust accumulation and light wear commensurate with age and use. Each with fading to side A. Two with woven hanging loops, the smallest with a hanging string embedded in the stitching verso.

143 Each overall good condition with dust accumulation and wear commensurate with age and use. The winnowing baskets with scattered minor stitch breaks, concentrated to the rims and interiors. The canteen with wear to exterior, some losses to spout. pitch sealant, and wear to handles. 144 Overall good condition with dust accumulation, scattered inherent flaws, and wear commensurate with age and use. 145 Overall good condition with dust accumulation and wear commensurate with age and use. With inherent imperfections, warped base, and slightly out of round shape. Two areas of repaired breaks and small losses to rim, the larger measuring 0.75” long. 146 Each overall good condition with dust accumulation and wear commensurate with age and use. The taller with a 0.5” long split at the rim and a 1.5” area of rim out of shape. The shorter possibly missing a lid. 148 Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Each slightly shaken and with scattered small losses to the weaving. One with a three breaks in the woven seat at the front edge. 149 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The chair is slightly shaken and the seat is worn with some bowing, a few breaks in the weave, and a few loose areas in the weave. The black paint with rubbed wear throughout. 150 Overall good condition with minor shelf wear and dust accumulation commensurate with age. The tongue of left side proper needs repair to screw mounting hole, subsequently, it is detached and retained from the lot. Some strands of cedar bark shedding.

151 Overall good condition with minor shelf wear and dust accumulation commensurate with age. A few strands of cedar bark starting to shed. Two segments to side of mask detached and retained with the lot. 152 Overall good condition with minor shelf wear. With a 0.25” diameter black smudge/spot to chin. 153 Overall good condition with mild shelf wear. Two small dark spots to chin area, possibly of wood finish. 154 Overall good condition with minor shelf wear and dust accumulation commensurate with age. Verso with small 1.5” long crack, not surface reaching, to one arm of sun. 155 Overall good condition with minor shelf wear and dust accumulation commensurate with age. 156 Overall good condition with minor shelf wear and dust accumulation commensurate with age. 157 Overall good condition with minor shelf wear and dust accumulation commensurate with age. With string and hook mounting hardware verso. 158 Overall good condition with minor shelf wear and dust accumulation commensurate with age. A few scattered nicks to edges. One black paint smudge to left side border and two faint smudges near chin. 159 Overall good condition with minor shelf wear and dust accumulation commensurate with age. Mild stiffening to pelt accents. Moran’s does not guarantee the working condition of the articulated mechanism, which opens the outer mask to reveal the inner face. 160 Overall good condition with minor shelf wear, dust accumulation, and scattered minor scuffs and scratches commensurate with age. 161 Overall good condition with scattered minor shelf wear. Moisture spotting to mask interior. Some shedding to cedar bark hair. 162 Overall good condition with minor shelf wear. Mounting hardware verso. Two previous dealer’s stickers applied verso.

Condition Reports

142 Each overall good condition with dust accumulation and light wear commensurate with age and use. Each with fading to side A. The star with two loose stitches. The eagle with minor soiling/scattered tiny spots, a hole drilled for hanging, and a few loose or broken stitches, concentrated to side B.

545

163 With minor shelf wear and dust accumulation commensurate with age. Repaired breaks to each of the protruding elements at the junctures. A 2” long crack in the right side proper of mouth and two 1” long shallow cracks below and above right eye proper.

174 Overall good condition with minor shelf wear and dust accumulation commensurate with age. Some wear and fraying to the feathers, fur, and cedar bark accents, the top accent loose from its mounting. One bundle of feathers detached and retained with the lot.

164 Overall good condition with minor shelf wear. With a 0.5” scuff and paint loss to chin.

175 Overall good condition with minor shelf wear and dust accumulation commensurate with age. The white side with losses to the paint.

165 Overall good condition with minor shelf wear, dust accumulation, and minor fraying to cedar bark commensurate with age. 166 Overall good condition with minor shelf wear and dust accumulation commensurate with age. 167 Overall good condition with minor shelf wear and dust accumulation commensurate with age. Left side proper with 1.75” long black scuff. 168 Overall good condition with minor shelf wear and dust accumulation commensurate with age. Some wear to the base of the feathers. The feather detail is articulated and removable from the mask.

Condition Reports

169 Overall good condition with minor shelf wear and dust accumulation commensurate with age. With some wear to the feathers and oxidation to copper elements.

546

176 Overall good condition with minor shelf wear and dust accumulation commensurate with age. 177 Each overall good condition with minor shelf wear and dust accumulation commensurate with age. The wolf with rubbed wear to the black accents and feathers unmounted and retained with the lot. As well, with previous dealer’s sticker applied verso. 178 Each overall good condition with minor shelf wear and dust accumulation commensurate with age. 179 Overall good condition with inherent losses, weathering, soiling, and imperfections commensurate with age and use. 180 Overall good condition with minor shelf wear and dust accumulation commensurate with age.

170 Overall good condition with minor shelf wear and dust accumulation commensurate with age.

181 Overall good condition with minor shelf wear and dust accumulation commensurate with age. Possibly lacking a front component to figure’s head.

171 Overall good condition with minor shelf wear, dust accumulation, and some shedding to cedar bark hair commensurate with age.

182 Overall good condition with minor wear and dust accumulation commensurate with age. Frame with some soiling.

172 Overall good condition with minor shelf wear, dust accumulation, and some fraying to cedar bark hair commensurate with age. One pea-sized chipped loss at chin.

Framed: 22.375” H x 12.5” W x 5” D

173 Overall good condition with minor shelf wear and dust accumulation commensurate with age. With some stiffness to animal pelt.

183 Overall good condition with minor shelf wear, dust accumulation, and stiffening to pelt and hair commensurate with age. 184 Overall good condition with shelf wear, scattered scuffs and scratches, and a few scattered nicks commensurate with age. With a chipped loss to tip of beak.

186 Each overall good condition with minor shelf wear, scuffs, and scratches commensurate with age. Eagle Bowl with previous dealer’s sticker to underside. 187 Each overall good condition with dust accumulation, soiling, rubbed wear, scuffs, and scratches commensurate with age. The longer hammer with break in the wood band mounting the stone. Subsequently, the stone is loose from its mounting. 188 Each overall good condition with minor shelf wear, scattered scuffs, scratches, and nicks, and dust accumulation commensurate with age. The Harper plaque with pea-sized nick to gills area. 189 Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. The wood drawer supports with later updated replacements. Some repairs at joints and refinishing, with dripping to the finish along a few legs. 190 Overall good condition with scattered scuffs, scratches, and mild tarnishing commensurate with age. The German silver alloy contains copper and nickel and has been treated with an antiquing patina. The base with 6” of starting separation to hinge side. 191 Overall good condition with scattered minor scuffs, scratches, indentations, and slight dust accumulation commensurate with age. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment. 192 Overall good condition with scuffs, scratches, oxidation, and verdigris to bronze commensurate with age. 193 Overall good condition with scuffs, scratches, oxidation, rust, and verdigris to bronze commensurate with age and outdoor use.

194 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: mild fading throughout, scattered areas of slightly loose weave, scattered breaks to selvage edges with attendant loose threads, and possibly later reinforced at edges with updated cording. Blanket is out of square at selvage edges. 195 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: minor soiling, scattered stitched repairs throughout with one 3” diameter area of possible reweaving, stains/yellowing to both sides, losses at corners, and scattered breaks to the cording at edges. 196 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: slight fading to side A, scattered areas of dye migration, a few scattered faint stains/spots, scattered small stitched repairs and possible reweaving, particularly at edges with possibly newer selvage cords, and gaps in the lazy lines. 197 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered losses to edges, with attendant loose weave, some with breaks in the cording, one 1.5” long hole in the center, a 1.25” diameter hole with patched repair at center near edge, and scattered spotting/stains. 198 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered stitched repairs at center, the longest measuring 9” long, scattered areas of loose weft revealing holes between the warp, mostly to central diamonds, scattered spots to side B, and breaks to edges. 199 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: evidence of edge fringe remnants to shorter edges, scattered spotting and staining, scattered small holes throughout, and dye migration throughout.

Condition Reports

185 Each overall good condition with minor shelf wear and dust accumulation commensurate with age. The club with scattered nicks, scuffs, and scattered moisture spotting and rubbed wear to the polychrome.

547

200 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: stiffness overall, scattered small holes, fading to both sides, loose and frayed ends of threads throughout, with breaks at selvage edges, and a few small losses at short ends.

206 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: side A with slight fading as well as more trafficked wear and a few scattered small spots, and scattered loose threads at selvage edges.

201 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: hardening agent impregnated to 3” of shorter edges, scattered small stitched repairs, fading to side A, lazy lines with a few tiny openings between the stitching, small scattered spots to both sides, the largest one measuring 4” diameter and one darker measuring 2” diameter, and scattered minor breaks in selvage edges. Rug is slightly out of square.

207 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: sight fading to side A, a few pulled threads throughout, concentrated to selvage edges, and a 3” wide reweaving/repair along one short end, with some fraying at one corner.

202 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to both sides, particularly side A, side B with spotting and staining, the largest measuring 2.5” x 1”, and a few scattered loose threads at edges. 203 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading and soiling to both sides, scattered spotting/staining, concentrated to side A, and small breaks in selvage edges.

Condition Reports

204 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to lower half on both sides, some soiling and scattered stains/spots, primarily to side A, scattered small breaks to selvage cords of each edge, with a couple of areas of loose threads, and a 4” long stitched repair.

548

205 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, mild wear with a few scattered breaks in selvage edges, side A with some dye migration and a small spot, and a few scattered areas of loose weave at center including a quarter-sized hole near one selvage edge and a dime-sized hole at center near one short edge.

208 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: losses at corners, scattered breaks to cording, scattered stitched repairs, two holes at one end, and minor soiling throughout. 209 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: losses and fraying at corners, the selvage edges reinforced with later added stitching, and a few scattered spots/ stains. 210 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered stitched repairs to the weaving, scattered breaks in the selvage edges, scattered areas of loose weave, faint areas of dye migration and minor soiling to side B, and cloth tag stitched into corner of side B. 211 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to side A with a few scattered small stains/spots, breaks in the selvage edges throughout with a 5” long area of stiffening from a stain, and breaks in the shorter ends, one end with four areas of loss to the weft with attendant loose warp stitches, the largest measuring 3” x 3” large. 212 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: possible reweaving to one short edge, scattered breaks in the selvage cording, and a few scattered pulled threads.

214 Overall good condition with light dust accumulation and typical signs of wear commensurate with age and use. Very slight fading to one side. A single discrete hole to one side, two stitches wide, on lower body of one figure. 215 Each with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: the cream ground rug with scattered moth grazing and attendant loss to threads, the largest dime-sized at center, scattered spotting/staining, and two 1” long stitch repairs and loose weave at opposing ends of one short end, and some losses to fringe; the green ground slightly wider at one end. 216 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: the larger with scattered small areas of moth grazing with losses to threads, and fraying to one fringe edge, which has been trimmed; the smaller with a 1.75” diameter stain to both sides, dye migration, and slight fading to side B. 217 Each with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: the smaller with scattered moth grazing, breaks in the cording at edges, and loss to one corner with attendant loose weave; the larger with fading to each side, dye migration, and scattered spots, stains, soiling, and stiffening. 218 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to bottom edge border at both sides and two pulled threads at side B.

219 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: soiling to both sides, a few scattered spots and stains, areas of loose weave concentrated at borders with breaks in the selvage edges, and corners with losses and fraying to loose threads. 220 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: an 8” long stitched repair, scattered dye migration, and a few small spots, one from a hardened substance. 221 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a quarter-sized hole near one short end and a few scattered breaks to selvage cording. 222 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, a few pulled threads at edges, and a few areas of spotting/staining to both sides, concentrated at edges, the largest area measuring 3” long. 223 Overall good condition with dust accumulation, minor soiling throughout, a few scattered small spots, scattered minor pulled threads, and typical signs of wear commensurate with age and use. 224 Each overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few loose threads at selvage edges and some fuzziness to the threads throughout. 225 Each overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: each with slight ruckling and slightly fuzzy. 226 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: half of one short end is slightly smaller, likely inherent in the construction, and slight fuzziness, particularly to side A.

Condition Reports

213 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to side A, scattered areas of loose weave, scattered break in edges with attendant frayed threads, scattered stitched repairs, two holes from wear to the warp revealing the weft, the largest area measuring 2” diameter, and a few spots, the largest measuring 2” diameter.

549

227 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: slight fuzziness to side A and a few scattered pulled threads. 228 Each overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: the eyedazzler slightly out of square with curling at corners; the pictorial with a few scattered breaks in the selvage edge and slightly ruckled. 229 Each with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: the larger with one shorter end rewoven and a 5” long stitched repair with scattered minor pulled threads throughout; the smaller with a few breaks in the selvage cording and scattered areas of loose weft, revealing the warp. 230 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: the saddle blanket with faint dye migration to side A, each with some fuzziness. 231 Each overall good condition with dust accumulation, slight fuzziness, and typical signs of wear commensurate with age and use.

Condition Reports

232 Each overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: each with curling at corners and slight ruckling and some fuzziness to the fibers.

550

233 Each overall good condition with dust accumulation, slight fuzziness, and typical signs of wear commensurate with age and use. 234 Each overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: most with some fuzziness to the fibers. 235 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: some fuzziness to the threads, concentrated at side A from trafficked wear.

236 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 B, losses to fringes, concentrated at one end, a few scattered small areas of dye migration, two small breaks in the selvage edge, and a few small spots to side B. 237 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to side A, scattered holes throughout, two measuring about 2” diameter and one at center of bird motif, with losses and attendant loose weave at selvage edges, and scattered spotting/staining throughout. 238 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: moth grazing to the weft in small scattered areas, concentrated near folds and to corner where the tags are applied. Box in good to fair condition with some indentation, soiling, and shelf wear commensurate with age. 239 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered moth grazing to the weft to side A in small scattered areas, concentrated near folds. Box in good to fair condition with some indentation, soiling, and shelf wear commensurate with age. 240 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered small areas of moth grazing to the weft. Box in good to fair condition with some indentation, soiling, and shelf wear commensurate with age.

241 Visual: Overall generally good condition. Soft stretcher bar creases along the four sides. A soft, 8” diagonal line of a possible repaired tear or raised area of pigment at the center of the work. Occasional and unobtrusive areas of pinhead-sized spots of pigment loss scattered throughout the wagon and sky. Some lines of transfer attendant with the silver frame to the canvas along the upper left extreme edge.

247 Visual: Overall good condition.

Blacklight: A 2.5” H x 3” W area of touch-up at the lower left corner. A line of pea-sized or smaller spots of touch-up along the extreme right edge. Other occasional pea-sized or smaller spots of touch-up scattered throughout.

Blacklight: No evidence of restoration.

242 Visual: Overall generally good condition. Very fine and stable craquelure throughout. A shallow, ricesized puncture to the canvas near the upper edge, at center. Possible visible pea-sized repairs on the left side of the figure. Blacklight: Possible repairs on the figure. Difficult to read under the heavy varnish application. Unframed 243 Overall good condition. Remnants of the previous mounting on the verso of each sheet corner. The sheet is hinged to the back mat in two places with pieces of white archival tape from the verso of the upper sheet edge. Framed under glass: 16” H x 18.75” W x 1.75” D 244 Visual: Overall good condition. Not examined out of the frame. Blacklight: No evidence of restoration. Framed under glass: 17.5” H x 19.25” W x 1.75” D 245 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 11.25” H x 13.5” W x 1.75” D 246 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 11.25” H x 13.5” W x 1.5” D

Frame: 11.25” H x 13.25” W x 1.25” D 248 Visual: Overall good condition.

Frame: 9.5” H x 15.5” W x 1.5” D 249 With margins. Toning throughout the sheet, more noticeably along the edges of the mat’s window opening, and with all of the colors slightly attenuated. Occasional scattered areas of minor insect damage, showing primarily in the lower right quadrant. Framed under glass: 18.25” H x 24.25” W x 1.25” D 250 Overall good condition. The full sheet with deckled edges. Pale light-staining throughout. The sheet is framed floating and mounted to the back mat. Not examined out of the frame. Framed under Plexiglas: 32.5” H x 41.5” W x 1.5” D 251 Overall generally good condition. The full sheet with deckled edges, and the colors fresh. A very delicate, approximately 0.5” diagonal abrasion near the lower left corner (not affecting the signature), and another smaller abrasion of the same type in the upper left corner. The sheet is framed floating and hinged to the back mat in multiple places along the verso of the sheet edges. Framed without glazing: 55” H x 45.5” W x 0.75” D 252 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 glass: 39” H x 51.25” W x 1” D 253 Overall good condition. Not examined out of the frame. Framed under glass: 27.75” H x 35.75” W x 1.25” D

Condition Reports

Frame: 32.5” H x 40.5” W x 2.5” D

Blacklight: No evidence of restoration.

551

254 Overall good condition. The full sheet with deckled edges. Pale light-staining throughout. The sheet is framed floating and mounted to the back mat. Not examined out of the frame.

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

Framed under Plexiglas: 36” H x 41” W x 1.75” D

262 Overall generally good condition. The sheet is mounted to the backmat.

255 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 32.5” H x 38.5” W x 1.5” D 256 Visual: Overall generally good condition. Occasional pea-sized or smaller spots of flaking pigment loss scattered throughout, primarily in the lower portion of the work. Blacklight: No evidence of restoration. Frame: 31” H x 20.75” W x 2” D 257 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 30.25” H x 18.25” W x 2” D

Condition Reports

258 Visual: Overall good condition.

Framed under glass: 21.5” H x 19.25” W x 1” D 263 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 29” H x 23” W x 4” D 264 Overall good condition. Not examined out of the frame. Framed under glass: 20” H x 16” W x 1.25” D 265 Visual: Minor dust accumulation, grime, and discoloration commensurate with age. Soft stretcher bar creases showing along the upper edge, at center, and along the right edge, with attendant, occasional hairline splitting along the crease. A soft 2” pressure mark on the figure’s head, and a pea-sized reverse pressure mark to the left of the figure’s head. Blacklight: No evidence of restoration.

Blacklight: No evidence of restoration.

Frame: 21.5” H x 17.5” W x 1.75” D

Frame: 30.25” H x 18.25” W x 2” D

266 Visual: Overall good condition.

259 Visual: Overall good condition. A pea-sized area of grime near the center of the upper edge. Slight frame abrasion and a pinpoint-sized fleck of stray paint at the extreme lower edge. A 0.125” diagonal line of pigment loss across the extreme tip of the lower right corner. Blacklight: No evidence of restoration. Frame: 15.5” H x 12.5” W x 1” D 260 Visual: Overall good condition. A faint, rice-sized area of surface abrasion at the extreme lower left edge. A soft pea-sized pressure mark in the background of the upper left quadrant. Blacklight: No evidence of restoration. Frame: 20.5” H x 20.75” W x 1.25” D

552

Framed under glass: 30.25” H x 25.5” W x 3” D

Blacklight: No evidence of restoration. Frame: 22.5” H x 18.5” W x 1.75” D 267 Overall good condition. Not examined out of the frame. Framed under glass: 25” H x 24.5” W x 1.5” D 268 Visual: Overall good condition. Blacklight: No evidence of restoration. Unframed

269 Visual: Overall good condition.

275 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Unframed

Frame: 14.5” H x 17.5” W x 1.5” D

270 Visual: Overall generally good condition. Soft stretcher bar creases along the left and right edges, with attendant hairline and occasional splits in the canvas along the stretcher bar crease to the left edge.

276 Visual: Overall good condition.

Blacklight: No evidence of restoration.

277 Visual: Overall good condition.

271 Visual: Overall generally good condition. Stable craquelure throughout the yellow pigment, and fine, stable craquelure scattered in the brown pigment in the upper left quadrant. A soft stretcher bar crease showing occasionally along the upper edge. Blacklight: A 1.5” H x 8” W area of touch-up in the yellow pigment of the water in the lower left quadrant. A 1.5” H x 0.5” W diagonal area of touchup in the arm of the figure on the right, as well as a 1” H x 2” W touch-up in the rocks between the two figures. A possible 2.5” H x 11” W area of touch-up and crack fill under heavy varnish at the upper edge in the upper left quadrant.

Frame: 46.25” H x 68” W x 3.25” D

Blacklight: No evidence of restoration. Frame: 24.5” H x 30.5” W x 2.5” D 278 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 41.5” H x 50” W x 2.5” D 279 Visual: Overall good condition. Blacklight: No evidence of restoration.

Frame: 27.25” H x 39.5” W x 3” D

Frame: 25.5” H x 31.5” W x 2.5” D

272 Visual: Overall good condition.

280 Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 10.5” H x 32.5” W x 1.75” D

Frame: 21” H x 24.75” W x 1.75” D

273 Overall good condition. Pale light-staining to the sheet. Not examined out of the frame.

281 Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. The base with 2” long scratch, sticker ghost, and a scuff at the mounting to topside.

Framed under glass: 16.75” H x 20” W x 2.25” D 274 Overall generally good condition. The sheet toned throughout and the colors attenuated. Occasional, pale spots of reverse foxing, primarily scattered throughout the background. Not examined out of the frame. Framed under glass: 16.75” H x 18.75” W x 2” D

282 Visual: Overall good condition. Blacklight: No evidence of restoration. Frame: 22.25” H x 18.25” W x 2” D

Condition Reports

Unframed

Blacklight: No evidence of restoration.

553

283 Overall good condition. Old mat staining near the extreme sheet edges, not visible under the current overmat. Artist pinholes at the tips of the sheet corners. The sheet is hinged to the overmat with white archival tape from the verso of the upper sheet edge, at center, as well as from the verso of the upper sheet corners Framed under glass: 15.5” H x 17” W x 1” D 284 Overall generally good condition. Full margins with deckled edges. Pale mat staining in the margins, attendant with the window opening of the current, as well as a previous, overmat. Pale backboard staining to the verso of the sheet. The sheet is hinged to the overmat with pieces of clear tape from the verso of the upper margin edge. Framed under glass: 13” H x 16.75” W x 1” D 285 Overall generally good condition. Full margins with deckled edges. Pale light-staining recto, and pale backboard staining, verso.The sheet is hinged to the overmat with pieces of clear tape from the verso of the upper margin edge. Framed under glass: 16.5” H x 19.5” W x 1” D 286 Overall generally good condition. Pale light-staining throughout. A 7” diagonal crease along the middle of the sheet, a 4” crease along the left half, and other small handling creases scattered throughout. The sheet is sealed in the mat just along the upper edge.

Condition Reports

Framed under glass: 14.25” H x 18.75” W x 1.25” D

554

287 Each: Overall generally good condition. Toning throughout the sheets. Possible binding holes in the extreme lower edge of the “Cowboy leading steer” and along the extreme upper edge of the “Cowboy chasing steer.” The top sheet is taped to the overmat with pieces of scotch tape from the verso of each sheet corner. Each lower sheet is taped to the overmat from the verso of each sheet corner and along the center of the upper and lower sheet edges. Framed under glass: 25” H x 33” W x 1.25” D

288 Pale light-staining, with darker staining attendant with the window opening of the mat. Pale timestaining along the extreme edges of the sheet. The paper torn at the extreme lower right sheet corner. A 2.75” diagonal cut and a 1.75” vertical cut in the lower right quadrant, with the vertical cut slightly affecting the image. A small and unobtrusive area of surface soiling directly underneath the horse in the background. The sheet is mounted to the back mat. Framed under glass: 17” H x 15.5” W x 0.75” D 289 A diagonal crease along the image, a 5.5” and 8.5” hard diagonal creases in the upper right quadrant, and other various handling creases throughout. Not examined out of the frame. Framed under glass: 26.25” H x 30.25” W x 1.25” D 290 Overall generally good condition. Pale light-staining throughout. Handling creases scattered throughout. Not examined out of the frame. Framed under glass: 26” H x 30.25” W x 1.25” D 291 Overall generally good condition. Pale light-staining to the sheet. Small handling creases scattered throughout. Not examined out of the frame. Framed under glass: 14.75” H x 13.75” W x 1.75” D 292 Overall generally good condition. Light-staining from previous matting showing through the current mat window. Not examined out of the frame. Framed under glass: 15.75” H x 16.75” W x 1.25” D 293 Overall good condition. With margins. Slight cockling to the sheet. Not examined out of the frame. Framed under glass: 14.75” H x 19.75” W x 0.75” D 294 Overall good condition. With margins. A printer’s crease in the upper left corner of the image. A soft 6” crease down the middle of the image. Not examined out of the frame. Framed under glass: 18.75” H x 22.5” W x 1.25” D

Framed under glass: 13.75” H x 15” W x 1” D 296 Overall good condition. Pale light-staining. Not examined out of the frame. Framed under glass: 30” H x 24” W x 1.5” D 297 Overall good condition. Two small and unobtrusive, soft handling creases scattered in the upper right quadrant, not affecting the image. Not examined out of the frame. Framed under glass: 28.5” H x 23.25” W x 2.5” D 298 Overall good condition. With margins. Pale lightstaining throughout. Not examined out of the frame. Framed under glass: 18.75” H x 24.75” W x 0.75” D 299 Overall generally good condition. With margins. Light-staining throughout. An approximately pinheadsized pale foxmark in the lower portion of the right margin edge. Not examined out of the frame. Framed under glass: 18.75” H x 22.75” W x 1.75” D 300 Overall good condition. With wide margins. Pale staining at the upper left and right margin corners, attendant with the previous hinging, and not affecting the image. The sheet is loose and secured to the back mat with four clear archival corners. Framed under glass: 13.5” H x 19” W x 0.75” D 301 Overall good condition. With full margins, deckled along the lower edge. One tiny and very unobtrusive foxmark in the left margin. A short crease across the tip of the lower left margin corner and a faint pencil notation “10A” in the same margin corner. The work is hinged to the back mat with glassine hinges at the verso of the upper margin corners. Unframed

302 With wide (possibly full) margins. Time and a variety of other old, uneven staining showing in the margins and on the verso. A few, approximately 0.5” tears in the outer margins edges, not affecting the image. The sheet is loose, not matted. Unframed 303 Overall good condition. Pale light-staining throughout. Occasional specks of foxing scattered throughout the photogravure. Scattered areas of pale staining along the lower edge of the original mounting paper. Minor remnants of glue staining at the four corners of the paper mount. The photogravure is mounted to the original mounting paper from the verso of each corner. Not examined out of the frame. Framed under glass: 26” H x 30” W x 1.75” D 304 Occasional areas of damp staining along the upper edge. A 0.75” diagonal tear in the upper right corner and 0.75” vertical tear in the lower left corner of the sheet. Some rippling and soft handling creases scattered throughout, primarily the upper right quadrant of the sheet. Not examined out of the frame. Framed under glass: 25.5” H x 32” W x 1.5” D 305 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Losses to wood and paint throughout, including scattered evidence of older insect grazing. 306 Overall good condition with scuffs, scratches, indentations, losses to paint, and oxidation/rust to metal commensurate with age. Interior paper with soiling, tears and losses, and a slight odor. Locking mechanism missing hardware and not functional. 307 With wear, dust accumulation, and minor scuffs commensurate with age. Chipped losses to wing tips at the rear of figure. The plinth with felt applied to underside. 308 Overall good condition with scattered scuffs and scratches, shelf wear, soiling, and dust accumulation commensurate with age. Wear to feathers, the largest of which is unmounted and retained with the lot.

Condition Reports

295 Overall good condition. With margins. Occasional, unobtrusive pinhead-sized foxing scattered throughout. Not examined out of the frame.

555

309 Each overall good condition with dust accumulation, soiling, and general wear commensurate with age and use. The feather elements with some losses and wear. Two are set on metal stands. 310 Overall good condition with shelf wear, scattered minor scuffs, dust accumulation, and inherent firing flaws commensurate with age. Mild soiling throughout and small spots of rubbed losses to the polychrome. 311 With scuffs, scratches, nicks, and indentations commensurate with age. As well, verso with a vertical spit in the wood. Rubbed wear and loss to the polychrome throughout. 312 With scattered scuffs, scratches, nicks, and soiling commensurate with age. Losses to figure’s left ear. Upper and lower beak repaired. As well, a repair to front of base. Scattered losses to the polychrome. 313 Each overall good condition with shelf wear and dust accumulation commensurate with age. The Takala missing three feathers, two retained with the lot. The morning singer possibly missing a component in left hand proper. 314 Each overall good condition with shelf wear and dust accumulation commensurate with age. Wear to feathers. The chipmunk with a loss to the base, retained with the lot, and missing two ears.

Condition Reports

315 Overall good condition with scattered minor scuffs, scratches, and shelf wear and inherent imperfections commensurate with age. With previous dealer’s sticker applied to underside.

556

316 Overall good condition with scattered minor scuffs, scratches, and shelf wear and inherent imperfections commensurate with age. With previous dealer’s sticker applied to underside. 317 Overall good condition with scattered minor scuffs, scratches, and shelf wear and inherent imperfections commensurate with age. With previous dealer’s sticker applied to underside.

318 Each overall good condition with scattered minor shelf wear, scuffs, and dust accumulation commensurate with age. The Martinez with moisture stain and previous dealer’s sticker applied to underside. The shortest missing left ear proper. 319 Each overall good condition with shelf wear and dust accumulation commensurate with age. Wear to feathers. 320 Each overall good condition with scattered scuffs, scratches, dust accumulation, and wear to feathers commensurate with age. One ogre missing a hand element, the other possibly missing both. An associated but uncoupled copper bow is retained with the lot. 321 Each overall good condition with scattered minor scuffs, scratches, dust accumulation, and wear to feathers commensurate with age. The hemis with a break and repair to left arms and foot proper. 322 Each overall good condition with shelf wear, rubbed losses to polychrome, scattered minor scuffs and scratches, and dust accumulation commensurate with age. The owl with one broken wing of headpiece, retained with the lot. Feathers in worn condition. 323 Each overall good condition with scattered scuffs, scratches, small nicks, and dust accumulation commensurate with age. Each with some wear to feathers. The Timeche missing feathers to head of figure. The Duwyenie missing one rattle. The last piece with more soiling, rubbed wear, and missing each whip, with losses to right hand proper. 324 Each overall good condition with scattered minor scuffs, scratches, dust accumulation, and wear to feathers commensurate with age. Two possibly missing handheld components. Hemis with some rubbed wear and small chips. 325 Each overall good condition with scattered minor scuffs, scratches, dust accumulation, and wear to feathers commensurate with age. Some possibly with missing handheld or headpiece elements. 326 Each overall good condition with shelf wear, dust accumulation, and general wear commensurate with age.

328 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 329 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The Gachupin with felt pads applied to underside and two small areas of polychrome migration/bleed from the red slip paint. The two small bowls with rubbed losses, fire clouding, and later touchups throughout, one with a 3” long vertical crack in the glaze. 330 Each overall good condition with minor scuffs and scratches commensurate with age. Some tarnishing and scratches to silver components. 331 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stone with scattered abrasions. 332 Overall good condition with light scratches commensurate with age and use. Stone with scattered light abrasions. 333 Overall good condition with light wear and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. 334 Each in overall good condition with light wear and scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures. 335 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stone inlay with light abrasions. 336 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Minor shelf wear to acrylic boxes. 337 Overall good condition with light wear and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.

338 Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. 339 Overall good condition with light wear and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. 340 Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. 341 Overall good condition with light wear, tarnishing, and scratches commensurate with age and use. Stones and elements with scattered abrasions and surface reaching fractures. 342 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. 343 Overall good condition with light wear and scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. 344 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With sticker and felt pads applied to underside. 345 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With previous dealer’s sticker to underside. 346 Overall good condition with light tarnishing and scratches commensurate with age and use. Stone with scattered light abrasions and surface-reaching fractures. Wear to hide wrapping. 347 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures.

Condition Reports

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

557

348 Each in overall good condition with tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures.

359 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures.

349 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures.

360 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures.

350 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures.

361 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures.

351 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures.

362 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures.

352 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures.

363 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. Turquoise untested for stabilization.

353 Overall good condition with tarnishing and scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures. 354 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures.

Condition Reports

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

558

356 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions. 357 Overall good condition with light tarnishing and scratches commensurate with age and use. Light rubbed wear to shadowbox sections. 358 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures.

364 Each in overall good condition with wear and scratches commensurate with age and use. A few glass beads with minor losses or breaks. 365 Each in overall good condition with light wear and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. 366 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. 367 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. 368 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. Stones with pyrite and quartz inclusions.

369 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures.

378 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures.

370 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures.

379 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. Wear to stamped terminals.

371 Overall good condition with shelf wear, scattered scuffs, and inherent firing flaws commensurate with age. With multiple dealer tags, sticker ghosts, and a felt pad remnants to underside. Fire clouding to base.

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

373 Each overall good condition with shelf wear, scattered minor scuffs and scratches, and inherent firing flaws commensurate with age. Each with some rubbed wear to the polychrome. One with previous dealer’s sticker to underside, the other with felt pads applied and fire clouding to underside. 374 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. 375 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. 376 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. 377 Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.

382 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. 383 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. 384 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. 385 Overall good condition with light tarnishing and scratches commensurate with age and use. Stone with scattered light abrasions and surface reaching fractures. 386 Overall good condition with light tarnishing and scratches commensurate with age and use. Stone with scattered light abrasions and surface reaching fractures. 387 Overall good condition with light tarnishing and scratches commensurate with age and use. Stone with scattered light abrasions and surface reaching fractures.

Condition Reports

372 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Mild craquelure to areas of slip paint inside corners of incised design.

381 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures.

559

388 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions. 389 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. A couple of stones with a minor chip. 390 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures.

Condition Reports

399 Overall good condition with light tarnishing and scratches commensurate with age and use. Stone with scattered abrasions and surface reaching fractures. 400 Overall good condition with light tarnishing and scratches commensurate with age and use. Stone with scattered light abrasions and surface reaching fractures.

391 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. A few stones with minor horizontal hairline fractures.

401 Overall good condition with light tarnishing and scratches commensurate with age and use. Stone with scattered abrasions and surface reaching fractures. With “Old Pawn” markings verso.

392 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. A few stones with minor horizontal hairline fractures.

402 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. Tapered turquoise with small fracture to one end.

393 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures.

403 Overall good condition with light tarnishing and scratches commensurate with age and use. Wear to leather liner.

394 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures.

560

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

395 Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. 396 Overall good condition with light tarnishing and scratches commensurate with age and use. Stone with scattered light abrasions and surface reaching fractures. Minor chip to stone near bezel edge. 397 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stone with scattered light abrasions and surface reaching fractures. Minor horizontal fracture to center of stone.

404 Overall good condition with light tarnishing and scratches commensurate with age and use. 405 Overall good condition with light tarnishing and scratches commensurate with age and use. 406 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. 407 Overall good condition with light tarnishing and scratches commensurate with age and use. 408 Overall good condition with light tarnishing and scratches commensurate with age and use. Stones

409 Overall good condition with light tarnishing and scratches commensurate with age. Stone with scattered light abrasions. Very light wear to leather. 410 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. 411 Each in overall good condition with tarnishing and scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures. Two stones with horizontal fractures, and black stone with associated chipped losses near break. 412 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. 413 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures. 414 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. 415 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures. 416 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. A few with minor distortion from wear. A few minor dents to silver spheres. 417 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface

reaching fractures. Largest stone with horizontal fracture at one end. A few cuffs with minor distortion to terminals, from wear. 418 Each in overall good condition with light tarnishing and scratches commensurate with age and use. 419 Each in overall good condition with tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. A few stones with minor fractures or small chips. 420 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and a couple of minor nicks. 421 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Scattered small rubbed losses to the decorations. With scattered pin-sized losses to the glaze and one pea-sized at shoulder. Tape applied to underside. 422 Each overall good condition with shelf wear, rubbed wear, scattered minor scuffs and scratches, and inherent firing flaws commensurate with age. The bowl with two previous dealers’ stickers and penciled marks to underside. The cup with more loss to glaze from shelf wear. The cup with fire clouding. 423 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. One with penciled markings to underside and more significant wear to underside. Each with varying degrees of soiling to interiors. 424 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Two with previous dealer’s stickers to underside. The smallest with inherent flaw to rim and bowl interior. The middle sized bowl with an older fleabite chip to rim and fire clouding to underside. The largest with a 1” long scratch to underside and rubbed wear to the black decorations. 425 Overall good condition with light tarnishing and scratches commensurate with age and use. Stone with light abrasions and surface reaching fractures.

Condition Reports

with scattered light abrasions. Tests for sterling.

561

426 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. A few stones with minor single hairlines.

436 Each in overall good condition with tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. Wear to leather.

427 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures.

437 Each in overall good condition with tarnishing and scratches commensurate with age and use. Wear to leather.

428 Overall good condition with light tarnishing and scratches commensurate with age and use. Stone with scattered light abrasions and surface reaching fractures. Light wear to leather. 429 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. Light wear to leather. 430 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. A faint hairline to stone on buckle. 431 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. Light wear to leather.

Condition Reports

432 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions. Light wear and a few faint marks to leather.

562

433 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. Light wear to leather belt. 434 Each in overall good condition with tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. Light wear to leather. 435 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. A couple of scattered stones with single hairlines. Light wear to leather.

438 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Light wear to leather. 439 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. A couple of stones with a single minor chip to edge. Light wear to leather. 440 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. Wear to leather strap, with scattered areas of faint verdigris staining verso. 441 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. A few stones with hairline fractures and minor chips. 442 Overall good condition with tarnishing and scratches commensurate with age and use. 443 Overall good condition with tarnishing and scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures. A couple of stones with minor hairlines. Light wear to leather. 444 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Light wear to leather. 445 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. Belts with light wear to leather.

447 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stone inlay with scattered abrasions. One with minor loss to inlay at one corner. Moran’s does not guarantee the working condition of clocks and watches. 448 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stone inlay with scattered abrasions. Moran’s does not guarantee the working condition of clocks and watches. 449 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stone inlay with scattered abrasions. Moran’s does not guarantee the working condition of clocks and watches. 450 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. A tiny hairline to one section of stone inlay. JM ring with minor chip and circular hairline fracture to one stone. 451 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. 452 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. A few inlay panels with a single fine hairline. 453 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. Two stones with a few scattered fine hairlines.

454 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. 455 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. One ring with fine hairline to stone. 456 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. A few stones with minor scattered hairlines and a few minor small chips. 457 Overall good condition with shelf wear, scattered scuffs, and inherent firing flaws commensurate with age. 458 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. With a partial faint hairline and a few minor chips to lower tip of stone. 459 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. Bow brooch with minor hairline to stone. 460 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. Three pairs with clip backs; five with pierced fittings, and three pairs lacking post backs. 461 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. Five pairs are pierced, two are clips. 462 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures.

Condition Reports

446 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stone inlay with scattered abrasions. Moran’s does not guarantee the working condition of clocks and watches.

563

463 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions. One petit point pair with loss to one stone, retained. A mix of pierced, screwpost and clip earrings. One pierced pair lacking post backs. 464 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions. A mix of pierced, screwpost and clip earrings. Some pierced pairs lacking post backs.

Condition Reports

465 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. Seven pairs of clip earrings, remainder pierced.

564

472 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. 473 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions. 474 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. 475 Each in overall good condition with tarnishing and scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures.

466 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures.

476 Each in overall good condition with tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. Light wear to leather cords.

467 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions. One earring lacking post back.

477 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures.

468 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures.

478 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures.

469 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. A few minor subtle chips to a few scattered turquoise beads.

479 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. Minor chip to eagle’s beak.

470 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures.

480 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. One pair earrings lacking post backs. Cluster ring with cut to band.

471 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures.

481 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stone with scattered light abrasions and surface reaching fractures.

482 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. 483 Each in overall good condition with tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. A few rings out of round with minor distortions from use. 484 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. 485 Each with scattered scuffs, scratches, nicks, indentations, soiling, dust accumulation, and oxidation commensurate with age. Scattered loss to the paint and rust throughout. Some components bent out of original shape. Two with lids stuck closed and interiors not inspected. 486 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The Navasie with a 1.5” long chipped loss to rim. 487 Each overall good condition. Each framed: 18.375” H x 10.25” W 488 Each overall good condition. The Hunt with two scuffs near bottom corner and one edge.

489 Each in overall good condition with intrinsic flaws to stones. Each framed: 23.25” H x 19.625” W 490 Each overall good condition. This lot is sold as-is. Issues including but not limited to: “Navajo Saddle Blankets” with water damage to upper portion throughout and the Tom Bahti books with highlighting throughout.

Condition Reports

Hunt unframed Begay framed: 16” H x 16” W

565

John Moran Auctioneers, Inc SPECIALISTS

President, Auctioneer Jeffrey J. Moran Head of Sale, Vice President, Silver, Western & American Indian Art Maranda Moran Director, Fine Art Jenny Wilson Associate Specialist, Fine Art Bobby Cullen Associate Specialist, Fine Art Ian Anderson

Department Administrator, Fine Art Lori Kassabian Cataloguer, Silver Jewelry & Decorative Arts Sally Andrew

Cataloguer, Furniture & Decorative Arts Cataloguer, Fine Art Cataloguer, Fine Art Cataloguer, Fine Art Senior Specialist, Furniture & Decorative Art Post-War & Contemporary Design Specialist

Grant Stevens Anne Spink Madison Ari Clark Silva Angela Past Matthew Grayson

Department Administrator, Furniture & Decorative Arts

Alek Ellis

Director, Jewelry & Watches Tom Burstein Specialist, Jewelry & Watches Kelly Sitek

TRUSTS & ESTATES

Senior Vice President, Director Trusts & Estates

Morgana Blackwelder, ISA AM

Director, Appraisals Mariam Whitten, ISA AM Associate Appraiser Shannon Dailey Consignment Manager Jennifer Kurtz

CLIENT SERVICES

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

OPERATIONS

Vice President, Business Director, Auctioneer Stephen Swan Controller Joseph Scott Consignment Coordinator Jean Rapagna Warehouse Supervisor, Senior Art Handler Richard Corral Transport Supervisor, Senior Art Handler Joe Miranda Art Handler Joseph Corcoran Art Handler Romero Corral

MARKETING

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

PHOTOGRAPHY

Photographer Photographer Photographer Photography Assistant

FOUNDERS

Nathan Martinez Brenda Smith Brian Olivas

Keith Berson Madison Torres Matthew Mizerowski Jacob Baer

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

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

BUYER’S PREMIUMS: BUYER’S PREMIUM is calculated at 27% on the first $1,000,000 of the hammer price, plus 21% on any amount between $1,000,001 - $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check or wire transfer. Credit card payments will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards. Buyers outside of the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside of the United States.

BIDDING INCREMENTS:

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

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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. AUCTION HOUSE AS AGENT Except as otherwise expressly stated in writing, Moran acts as an agent for the seller. Thus, any contract for the sale of property through Moran is made between the respective seller and buyer. BEFORE THE AUCTION (a) Public Preview. All property is available for inspection by public or private preview according to the auction information posted online and in the catalogue. In many cases, particular lots can be examined in advance by private appointment by contacting a customer service representative at info@johnmoran. com or by dialing 626-793-1833. Prospective buyers are strongly encouraged to personally examine any property in which they are interested. (b) Buyer’s Responsibility. Buyers are responsible for determining to their own satisfaction the true nature and condition of any lot prior to bidding. Though buyers are not legally required to inspect lots prior to purchase, failure to do so may constitute a waiver of complaint that an item was not delivered in a condition equal to the existent condition at the auction. (c) Property Sold “As Is”: Neither Moran nor the seller provides any guarantee in relation to the nature of the property, or to any errors or omissions in the catalogue or supplemental material, apart from the Limited Warranty stated in Section 5 below. ALL PROPERTY IS SOLD “AS IS.” Condition reports are offered as a courtesy and are typically published in Moran’s catalogue, or online, or can be made available upon request. The absence of a condition report does not imply that an item is free from defects or restoration, nor does reference to particular defects imply the absence of others. AT THE AUCTION (a) Admission. Moran’s auction is open to the public, although Moran reserves the right to, in its sole discretion, refuse admission or participation to anyone at any time. The auction may be recorded (visually, aurally, or otherwise) and all participants or attendees at the auction consent to such recording. (b) Buyer Registration. Prospective buyers must register with Moran before bidding. Moran may, in its sole discretion, require identification, financial references, or a deposit in advance of buyer eligibility. Registered bidders accept personal liability to pay the purchase price, including the Buyer’s Premium, as described in Section 4(a) below, plus all applicable charges, unless Moran agrees in advance that the bidder is acting as agent on behalf of an identified third party that Moran, in its sole discretion, deems acceptable. In such case, Moran will look to the third party for payment. Successful bidders may be required to further verify their identity before property is released. (c) Bidding Guidelines. Bidding, whether in person or by agent, absentee bid, telephone, or internet, constitutes a bidder’s acceptance of these Terms. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer retains the absolute right to reject any bid; withdraw, pass, or divide any lots; combine multiple lots; advance the bidding at their absolute discretion; and—in the case of error or dispute, whether during or after the sale—determine the successful bidder; continue the bidding; cancel the sale; or re-offer and sell the lot in question. Under no circumstances are sellers, or agents acting on their behalf, permitted to bid on their own property. In the event of any dispute after the auction, Moran’s sale record shall be conclusive as to the successful bidder and the price of the successful bid. (d) Absentee, Telephone, and Internet Bidding. Moran offers absentee, telephone, and internet bidding as a convenience to clients and does not accept liability for errors or failures to execute bids. Absentee and telephone bids must be recognized by Moran prior to auction day. When identical absentee bids are submitted that become the highest bids at the auction, the bid first received by Moran shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure.

(e) Reserves. Unless Moran expressly indicates otherwise, lots may be offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve for any lot shall not exceed its published estimate. Moran shall act to protect the reserve by bidding through the auctioneer, who may open bidding on any lot below the reserve by placing a bid on the seller’s behalf. The auctioneer may continue to bid on behalf of the seller up to the reserve amount, either by placing consecutive bids or by placing bids in response to other bidders. Lots without reserves are typically opened for bidding at 50% of their low estimate. In the absence of a bid at that level, the auctioneer may proceed backward at their discretion or deem the lot unsold if a bid is not recognized. AFTER THE AUCTION (a) Payment and Title Transfer. The buyer agrees to pay the sum of the hammer price plus Buyer’s Premium, plus any applicable sales tax. The Buyer’s Premium will be calculated as follows: 27% on the first $1,000,000 of the hammer price, plus 21% on any amount between $1,000,001 and $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check, or wire transfer. Successful bidders using Live Auctioneers or Invaluable platforms will be charged a Buyer’s Premium calculated as follows: 32% on the first $1,000,000 of the hammer price, plus 26% on any amount between $1,00,001 and $5,000,000, and 20% on any amount above $5,000,000 when paying by cash, check, or wire transfer. Credit card payments made directly to Moran will be subject to an additional 3% acceptance fee. This fee is not more than the cost of accepting these cards. The name and address associated with the credit card must match the name and address of the successful bidder. Credit Cards are not an accepted form of payment for buyers outside the United States. Buyers are strongly encouraged to provide full payment at the auction. Payment must be received by Moran within five business days immediately following the auction. The buyer does not acquire title to and may not take possession of the lot until all amounts (including the hammer price, premium, and applicable taxes) due to Moran have been paid in full. Unless alternate payment arrangements are made immediately following the auction, successful Live Auctioneers bidders will be automatically charged via Live Auctioneers’ LivePayments 24 hours after the auction. Payments made through Live Auctioneers LivePayments are subject to an additional processing fee and any applicable state sales tax. (b) Collection: Buyers are strongly encouraged to collect purchased items from the sale site at the time of the auction. Packing material and labor are provided free of charge at the sale site during the auction. Packing and handling of purchased lots is undertaken by Moran solely as a convenience to customers. If a buyer opts to use this courtesy packing and handling service, Moran is not liable for damage to property, regardless of cause. (c) Storage and Abandonment. Following the auction, uncollected lots shall be relocated to and stored in Moran’s warehouse. Moran shall retain possession of all purchases until full payment has been received from the buyer. Lots remaining uncollected after the fifth business day following the sale, regardless of payment status, are subject to a per-lot daily storage charge of $10.00. In addition to other remedies available by law, Moran reserves the right to impose upon delinquent buyers a separate 1% monthly charge (of the purchase price, or the maximum permitted by law) commencing on the sixth business day after the sale date. If a buyer fails to retrieve a purchased lot within thirty (30) days after the date of sale (the “Retrieval Period”), Moran may, without further notice, (a) continue to store the lot in Moran’s warehouse, or at the warehouse of a third-party, subject to the storage charge described above; (b) deliver the lot to the buyer at the buyer’s expense; or (c) sell the lot at auction without reserve at a place and time determined by Moran in its sole discretion.

Conditions of Sale Cont’d (d) Consequences of Late Pick-Up/Abandoned Property. Notwithstanding the foregoing, Moran has no duty to store any lot indefinitely. Any purchased lot that remains in Moran’s possession sixty (60) days after the Retrieval Period (collectively, ninety (90) days) will be deemed abandoned (“Abandoned Property”) and title to it will pass to Moran. Moran may, in its sole discretion, discard or sell any Abandoned Property and may keep any proceeds from any such sale. Moran may not be held liable for any claims related to Abandoned Property. Moran is not responsible for damage or loss that occurs to Abandoned Property and Moran is not responsible for insuring Abandoned Property after the Retrieval Period. (e) Shipping. As a courtesy to buyers, Moran provides a list of preferred shippers who are in the business of transporting antiques and works of art. Buyers are responsible for arranging their own shipping estimates and deliveries. Moran, in its sole discretion and as a courtesy to buyers, may arrange to have purchased lots packed, insured, and forwarded by a third-party shipper at the request, expense, and risk of the buyer. In circumstances where Moran arranges for such third-party services, Moran may apply an administration charge of 15% of that service fee. Moran assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers, even if recommended by Moran. Moran also assumes no responsibility for any damage to picture frames or to the glass therein. (f) All Sales Final. Notwithstanding other terms mentioned herein, refunds may be given in Moran’s sole discretion. Refunds requested on the grounds of authenticity must be made within 180 days of the auction and accompanied by a supporting written statement from a recognized authority (defined as a person who has authored, edited, or substantially contributed to a monograph on the artist; a person who has curated, organized, or substantially contributed to a solo exhibition on the artist; or a person who has represented the artist’s estate or someone who represented or worked closely with the artist while they were alive and, in any of the foregoing instances, physically handled works of the period, medium, and subject matter in question during the course of their duties) stating that the object sold is incorrect or not the work of the artist. Dealers, appraisers, and representatives of other auction firms do not qualify as authenticators of individual artists unless they have had such specific involvement with that artist’s work, as specified above, in addition to their daily duties. Refunded lots must be returned to Moran in the same condition as when sold. Moran does not grant extensions to refund considerations based upon authenticity due to shipping delays. There are no exceptions to this refund policy. LIABILITY AND LIMITED WARRANTY (a) Liability. The buyer expressly agrees that (i) neither Moran nor the seller shall be liable, in whole or in part, for any special, indirect, or consequential damages, including, without limitation, loss of profits, and (ii) the buyer’s damages, if any, are limited exclusively to the original purchase price paid for the lot. (b) Limited Warranty. ALL PROPERTY IS SOLD AS IS. Neither the seller nor Moran or its associates make any representation, express or implied, warranty (including merchantability and fitness), or guarantee in condition, age, size, provenance, medium, signature, inscription, exhibition history, importance, rarity, country of origin, genuineness, historical relevance, monetary or other value, framing or lack thereof, mounting, conservation, coloring, palette, inscription, edition, style, label, or other descriptor. No statement in the catalogue, brochures, website, bill of sale, invoice, any supplementary material, or statements by any Moran employee shall be deemed a warranty, representation or assumption of liability. (c) Descriptions. No warranty, whether express or implied, is made with respect to any description contained in this auction or any second opinion. Any description of the items or second opinion is for the courtesy of identifying the items for those bidders who do not have the opportunity to view the lots in person, and no description of items has been made part of the basis of the transaction or has created any express warranty that the goods would conform to any description made by the auctioneer. Color variations can be expected in any electronic or printed imaging and are not grounds for the return of any lot. (d) Estimates. All estimates provided are carefully considered opinions of Moran’s specialists and are merely suggested guidelines for interested buyers. Buyers must be aware that all property sold is subject to fluctuating values depending on the subjective interests of collectors and a wide variety of other uncontrollable factors. The lots auctioned may sell at prices above, within, or below estimate. (e) Notices, Demands, and Refunds. Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be made (1) in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016 or (2) via email at info@johnmoran.com.

(f) Notices, Demands and Refunds: Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016. ADDITIONAL MATTERS (a) Copyright. The copyright on all images, illustrations, and written material produced by or for Moran for its auction is and will remain at all times the property of Moran. Moran and the seller make no representation or warranty that the buyer will acquire any copyright or reproduction rights to a purchased lot. (b) Buyer’s Breach of Conditions. If a buyer fails to comply with any of these Terms, Moran may, in addition to asserting all remedies available by law, including the right to hold that buyer liable for the purchase price, (i) cancel the sale, retaining as liquidated damages any payment made by the buyer; (ii) resell the property without reserve at public auction or privately upon notice to the buyer; or (iii) take such other action as Moran deems necessary or appropriate. If Moran resells the property, the original defaulting buyer shall be liable for the payment of any deficiency between the original sale price and any subsequent mitigation sale, including warehousing, the expenses of both sales, reasonable attorney’s fees, commissions, incidental damages, and all other charges due hereunder. In the event that such buyer pays a portion of the purchase price for any property, Moran’s shall apply the payment received to such property that Moran, in its sole discretion, deems appropriate. Moran shall have the benefit of all rights of a secured party under the Uniform Commercial Code as adopted in the State of California. (c) Governing Law. The rights and obligations of the parties with respect to these Terms and the conduct of the auction shall be governed and interpreted by the laws of the State of California. (d) Arbitration. Any dispute, claim, or controversy arising out of or relating to these Terms or the breach, termination, enforcement, interpretation, or validity thereof, including the determination of the scope or applicability of this agreement to arbitrate, shall be determined by private arbitration before an arbitrator. The arbitration shall be administered by JAMS pursuant to its Comprehensive Arbitration Rules and Procedures. Judgment on the award may be entered in any court having jurisdiction. This clause does not preclude the parties from seeking provisional remedies in aid of arbitration from a court of appropriate jurisdiction. The parties shall maintain the confidential nature of the arbitration proceeding and the award, including the hearing, except as may be necessary to prepare for or conduct the arbitration hearing on the merits, or except as may be necessary in connection with a court application for a preliminary remedy, a judicial challenge to an award or its enforcement, or unless otherwise required by law or judicial decision. In any arbitration arising out of or related to these Terms, the arbitrator shall award to the prevailing party, if any, the costs and attorneys’ fees reasonably incurred by the prevailing party in connection with the arbitration. If the arbitrator determines a Party to be the prevailing party under circumstances where the prevailing party won on some but not all of the claims and counterclaims, the arbitrator may award the prevailing party an appropriate percentage of the costs and attorneys’ fees reasonably incurred by the prevailing party in connection with the arbitration. (e) Severability. Should any of these conditions be deemed unenforceable, invalid, or illegal in any court having jurisdiction, that part shall be severed from these Terms and shall have no effect on the enforceability of the remaining provisions contained herein, which shall remain valid to the fullest extent permitted by law.

AUCTIONEERS & APPRAISERS

Est. 1969

55 Years

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