Art of the American West — November 30, 2021 | John Moran Auctioneers by johnmoranauctioneers

Tuesday, November 30, 2021

SINCE 1969

AUCTIONEERS & APPRAISERS

SINCE 1969

AUCTIONEERS & APPRAISERS

Art of the American West Tuesday, November 30, 2021—10am Art of the American West Online to follow at 4pm Sale 216 145 East Walnut Avenue, Monrovia CA 91016 Previews: Friday, November 19th: 12-4pm Saturday, November 20th: 12-4pm Monday, November 22nd:: 12-4pm Tuesday November 23rd:: 12-4pm Monday, November 29th:: 12-4pm Or by appointment

Meet the Team Maranda Moran

Head of Sale, Specialist marandam@johnmoran.com

Morgana Blackwelder

Fine Art Director, Senior Vice President morgana@johnmoran.com

Shannon Dailey

Furniture & Decorartive Arts Cataloguer, shannon@johnmoran.com

Anne Spink

Fine Art Cataloguer anne@johnmoran.com

Sally Andrew

Silver Jewelry Cataloguer sally@johnmoran.com

Client Services Mario Esquivel

Office Manager mario@johnmoran.com

Ella Fountain

Client Services ella@johnmoran.com

5001

A Chemehuevi basket

First-Half 20th Century With six vertical stepped bands and conjoined diamonds 4.5” H x 5.5” Dia. $800-1,200

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5002

A Chemehuevi basket

First-Half 20th Century The basket with three divided sections each featuring a foliate motif separated by vertical stacked elements 5” H x 6” W $800-1,200

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5003

500

First-Quarter 20th Century An olla form basket with scattered circular motifs 7” H x 6.5” Dia.

First-Q Two w

A Chemehuevi basket

$800-1,200

A Ch

A Che With 2” H . A sm 2.25”

$500-

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hemehuevi and Pima basket

Quarter 20th Century works:

emawevi basketry bowl five bands of radiating stepped arms x 9” Dia

mall Pima basketry bowl finely woven with stepped motifs throughout ” H x 4.5” Dia.

-700

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5005

A Hupa/Kurok basketry hat

First-Quarter 20th Century The twined basket with a banded geometric motif throughout 3” H x 6.75” Dia. $600-800

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5006

A small Hupa/Kurok polychrome basket

First-Quarter 20th Century The twined polychrome basket with elaborate geometric bands 3.25” H x 4.25” Dia. $200-300

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5007

A Pima basketry tray

First-Quarter 20th Century With a five-pointed star radiating from black center finished with a herringbone edge 4” H x 15” Dia. $800-1,200

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5008

A Pima basket

First-Quarter 20th Century The woven basketry tray with a meandering band 5” H x 18” Dia. $400-600

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5009

A Havasupai pictorial basket

First-Quarter 20th Century; Western Arizona The woven basketry tray with four figures and a horse atop geometric motifs centering a star 4” H x 13.5” Dia. $800-1,200

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5010

A Western Mono basket

First-Quarter 20th Century The basketry bowl woven with three bands circling the body and repeating lozenge motif 10.25” H x 5.25” Dia. $800-1,200

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5011

Two Yokuts baskets

First-Quarter 20th Century Comprising a bowl woven with double bands of zig-zags (3” H x 6.5” Dia.) and a polychrome bowl with bands of black hourglasses and red diamonds (4.25” H x 9.5” Dia.), 2 pieces $500-700

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5012

Two Native American baskets

First-Half 20th Century Comprising a finely woven miniature Pima tray woven with radiating hooked arms (0.75” H x 5.5” Dia.) and one Papago figural bowl woven with five standing figures and floating elements (3” H x 5.25” Dia.), 2 pieces $400-600

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5013

5014

Mid-20th Century Two works:

First-Quarter 20th Ce Comprising an oval b basketry bowl with ra

Two Northwest Coast polychrome imbricated baskets

A Lene Atti basket (20th Century, Tlingit/Alaskan) Beach grass and dyed sealgut 6î H x 6.5” Dia. A lidded basket with polychrome geometric motif and domed lid 6.5” H x 7” Dia. 2 pieces $300-500 Provenance: Acquired from Ivory Exchange Gallery, Anchorage, AK

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Two Papago bask

$200-400

kets

entury basketry tray with geometric border (2.5” H x 12.75” W x 8.25” D) and an oval adiating polychrome arms of stepped squares (6.5” H x 15.5” W x 11” W), 2 pieces

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5015

A Northern California sinew-backed bow

Fourth-Quarter 19th Century The polychromed, sinew-backed bow with a hide wrapped grip and painted black geometric motifs on a red ground 43” H x 2.25” W $800-1,200

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5016

A collection of Native American arrows

Late 19th/Early 20th Century Comprising seven carved wood arrows with metal points and feather fletching, and one blunt-tipped fish point, 8 pieces Larger: 29.25” L; Smaller: 23.5” L $300-500

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5017

A Haida argillite totem carving

Fourth-Quarter 19th Century Possibly by Charles Edenshaw (1839-1920, Haida), the Pacific Northwest Coast argillite totem carving featuring a raven and a bear with a detachable base Overall: 13.875” H x 3.75” W x 2.75” D $3,000-5,000 Provenance: Acquired during the Alaskan gold rush on a world tour with major stops in Alaska, China and Japan Thence by decent in the family, Santa Barbara, CA

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5018

A Northwest Coast carved cedar grease bowl

Fourth-Quarter 19th Century The polychrome carved wood grease bowl in the form of a beaver holding a log 2.625” H x 13” W x 6” D $1,500-2,500

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5019

A Northwest Coast Sisutl (sea monster) mask

Mid-20th Century; British Columbia Signed, titled, and inscribed to inside: Jimmy Joseph / Alert Bay / Kwakiatl / sisutl Mask A large carved cedar mask and detachable wings painted in polychrome colors of red, blue, green, black and white with two wings 18.5” H x 58” W x 9” D $600-800

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5020

Two Northwest Coast polychrome masks Mid-20th Century Two works:

A carved mask with polychrome features and raffia hair Signed, titled and dated: Nick Andrews / Hawk ? Nooktka BC / Jan ‘93 10.75” HG x 9’ W x 6.25” D A carved mask with polychrome features Signed, titled and dated: Manny Gerogeson / April ‘98 / Chief Mask 11” H x 7.5” W x 6” D 2 pieces $400-600

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5021

A Northwest Coast cedar moon mask

Fourth-Quarter 20th Century Inscribed verso: Jimmy Joseph / Kwakiutl / Alert Bay / Moon mask / Raven The cedar plaque polychrome painted in red, black, green, white, and red with a raised central face 23” H x 22” W x 6” D $400-600

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5022

Two Northwest Coast polychrome masks Mid 20th Century Two works:

A polychrome painted cedar mask in red, blue, white and black with raffia hair Inscribed verso: Carl Simeon 10” H x 8.5” W x 6.5” D A polychrome painted cedar mask in red, blue, white and black with feather hair Inscribed verso: Jacob Joe / Raven 13” H x 15” W x 6” D 2 pieces $400-600

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5023

Two Northwest Coast masks Mid-20th Century Two works:

A carved mask with polychrome features and raffia hair Signed, titled, inscribed and dated verso: Carl Simeon / Cambell River BC / ‘99 / Misquite Mask 11.5” H x 8” W x 6” D not including raffia A carved mask with polychrome features and raffia hair Signed, titled, inscribed verso: Gitksan / Gitsan Warrior/ Glen Harry 9.5” H x 7.25” W x 6.5” D not including raffia 2 pieces $400-600

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5024

A Northwest Coast polychrome cedar mask

1987 Signed, dated, and inscribed: Ben Della / Makau / 6-10-87 A carved cedar mask with red and black painted details with horse hair 10.75” H x 6.5” W x 6” D $300-500

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5025

A Kwakuitl Raven mask, Alex Hunt

Mid-20th Century Inscribed to verso: Alex Hunt / Kwakiutl / Raven / Fort Rupert BC / 8-95 A transformational raven mask in carved cedar with polychrome painted red, black, and yellow and hinged lower beak 7” H x 6” W x 18.25” D $300-500

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5026

A Sioux beaded hide war shirt

Second-Half 20th Century A Native American sinew-sewn hide shirt with beaded overlay to arms and across the shoulders using red, white, yellow, and blue glass beads, accented with hair lock fringe front and back as well as short hide fringe 30” H x 60” W (arm tip to arm tip) $500-800

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5027

A pair of beaded hide and fur trimmed gauntlets

Mid-20th Century Each glove with fur trim, a tassel edge, found-fabric lining, and floral beadwork in blue, orange, green, pink, and red, 2 pieces Each glove: 14” L x 8” W, wrist opening: 9” C approx. $200-300

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A r t of t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 3 0 , 2 0 2 1

John Sloan

(1871-1951, New York, NY)

Inspired by summer trips to Santa Fe during 1916-1917, John Sloan re-

turned fully invigorated to paint the southwest during the summer of 1919. Leaving Gloucester, Massachusetts, with the responsibilities of formal teaching behind him, Sloan was no doubt filled with the excitement and sense of adventure Old Santa Fe offered. Indeed, Sloan’s biographer Rowland Elzea recalls “The majority of his paintings of the summer of 1919 show his response to the life of the people there: Indian, Hispanic, and Anglo.” This oil on canvas projects the experience Sloane and many of his fellow colleagues were looking for in New Mexico: Cowboys and charros whooping on horseback with dogs, all herding hundreds of stampeding cattle in a driving rainstorm. The cast of unknown characters depicted in this painting all come together in this one frenzied instant - to create a perfect western back drop for the urbanist painter from Philadelphia.

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5028

John Sloan

(1871-1951, New York, NY) Cowboys rustling cattle herd in rain, circa1920 Oil on canvas Signed lower right: John Sloan 33” H x 49.75” W $40,000-60,000

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5029

5030

(1872-1945 Santa Barbara, CA) “Mission Santa Barbara, No. 1” Etching and drypoint in brown on paper under glass Signed in pencil in the lower margin: Edward Borein Plate: 9” H x 14.5” W; Sheet: 13.375” H x 18.75” W

(20th/21st Ce “Power of Pea Oil on canvas Signed lower 20” H x 30” W

Edward Borein

$1,000-1,500 Literature: Galvin 248

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Joseph S. V

$1,000-1,500

Venus

entury, American) ace,” 1987 s right: Venus ©; signed again, titled and dated on the stretcher W

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5031

Joe Abbrescia

(1936-2005, Kalispell, MT) “First Jump,” 1973 Acrylic on Masonite Signed lower right: J Abbrescia ©; titled, dated and numbered verso: 12-73-14-1418 18” H x 24” W $2,000-3,000

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5032

Loren G. Fry

(b. 1924, American) “Muddying up the New Fork,” 1979 Acrylic on panel Signed and dated lower right: Loren G. Fry; titled on the frame plaque 16” H x 36” W $2,000-3,000

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5033

Esther Morrison

(20th/21st Century, American) Roping a calf Pencil on paper under glass Signed lower left: Esther Morrison © Sight: 16.75” H x 16.75” W $300-500

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5034

William Hoffman

(1925-1995, American) “End of the Day” Pencil on paper under glass Signed and titled lower right: William Hoffman AICA Sight: 17.5” H x 23.5” W $300-500

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5035

Sid Burns

(1916-1979, Arizona) “Eight Plus Two,” 1977 Patinated bronze on wood base Editoin 8/15; signed and dated: Sid Burns © / 1977 / [S cipher]; titled to sculpture, titled again to plaque 22” H x 23” W x 17” D $4,000-6,000

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5036

Donald Polland

(1932-2003, California) “He Aint No Keg a Nails,” 1969 Patinated bronze on wood base Edition 31/50; signed and dated: Polland © / 69; titled to sculpture 5” H x 13.25” W x 7.5” D $500-700

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5037

David Lemon

(b. 1945, Montana/California) “True Grit,” 1992 Cold painted bronze on wood base Edition 10/30; signed, dated, and numbered: Lemon © / A.I.C.A. [American Indian and Cowboy Artists] / 92; titled to plaque 12.25” H x 5.25” W x 4” D $500-700 Provenance: Estate of Dr. Gregory Hemingway, Ennis, Montana

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5038

Dale Ford

(b. 1934, American) A functional covered wagon miniature model, 1989 Mixed media model Signed and dated in black ink: Dale Ford / ‘89 16” H x 11” W x 35” L $1,000-1,500

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5039

John Henry Kittelson

(1930-2018, Colorado) “Calf Roper,” 1968 Polychromed wood Signed and dated: John H. Kittelson / [cipher] / CA [Cowboy Artists of America] / 68; titled by hand in pencil to tape on underside 4.5” H x 16.25” W x 4.5” D $800-1,200 Notes: The Cowboy Artists of America is an exclusive organization of artists that was founded in 1965 by four prominent western artists, Joe Beeler, Charlie Dye, John Hampton and George Phippen.

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5040

John Henry Kittelson

(1930-2018, Colorado) “Mad Moma,” 1968 Polychromed wood Signed and dated: John H. Kittelson / [cipher] / CA [Cowboy Artists of America] / 68; titled by hand in pencil to tape on underside 7.25” H x 14.75” W x 5.75” D $800-1,200 Notes: The Cowboy Artists of America is an exclusive organization of artists that was founded in 1965 by four prominent western artists, Joe Beeler, Charlie Dye, John Hampton and George Phippen.

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5041

Marjorie Reed

(1915-1996, Vallecito, CA) “Night Herd” Oil on canvas board Signed lower left: Marjorie Reed; signed again and titled on a gum label affixed verso 12” H x 16” W $2,500-3,500

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5042

Marjorie Reed

(1915-1996, Vallecito, CA) “Vaquero” Oil on canvas Signed lower right: Harvey Day; titled on the frame plaque 20” H x 24” W $2,500-3,500 Notes: Marjorie Reed painted under the pseudonym “Harvey Day,” the name of her second husband, during the 1950s.

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5043

Marjorie Reed

(1915-1996, Vallecito, CA) “Before the Storm” Oil on canvas board Signed lower right: Marjorie Reed; signed again and titled on a gum label affixed verso 8” H x 16” W $1,200-1,800 Literature: G. Fillmore, “All Aboard: The Life and Work of Marjorie Reed,” Schiffer Books, Atglen, PA, 2009, p. 172, illustrated.

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5044

Marjorie Reed

(1915-1996, Vallecito, CA) “Sam Takes ‘em to Water,” circa 1955 Oil on canvas board Signed lower right: Marjorie Reed; signed again, titled, dated and inscribed on a gum label affixed verso: Apache Pass 8” H x 10” W $1,000-1,500 Provenance: Eric Firestone Gallery, Tucson, AZ

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5045

Marjorie Reed

(1915-1996, Vallecito, CA) Stagecoach in rocky terrain Oil on canvas board Signed lower right: Marjorie Reed 8” H x 10” W $800-1,200 Literature: G. Fillmore, “All Aboard: The Life and Work of Marjorie Reed,” Schiffer Books, Atglen, PA, 2009, p. 127, illustrated.

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5046

Marjorie Reed

(1915-1996, Vallecito, CA) “Navajo Shepherdess” Oil on canvas board Signed lower right: Marjorie Reed; signed again and titled on a gum label affixed verso 8” H x 9” W $700-900 Literature: G. Fillmore, “All Aboard: The Life and Work of Marjorie Reed,” Schiffer Books, Atglen, PA, 2009, p. 132, illustrated.

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5047

Howard Post

(b. 1948, American) “Three Roys” Oil on canvas Signed lower right: HE Post ©; titled by repute 36” H x 83.5” W $6,000-8,000

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5048

Conrad Buff

(1886-1975, Laguna Beach, CA) “Sierra, Owens Valley” Oil on board Estate signed lower right: Conrad Buff; titled on a label affixed to the backing board 12” H x 16” W $2,000-3,000 Notes: With the estate stamp signed by Mary Elizabeth Buff affixed to the backing board.

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5049

Conrad Buff

(1886-1975, Laguna Beach, CA) Two peak mountain landscape Oil on board Estate signed lower right: Conrad Buff 16” H x 24” W $3,000-5,000 Notes: With the estate stamp signed by Mary Elizabeth Buff verso.

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5050

Carlos Hall

(1928-1997, Taos, NM) “Monument Valley” Oil on canvas Signed and inscribed lower left: Carlos Hall / Taos; titled on a gallery label affixed to the stretcher 20” H x 30” W $2,000-3,000 Provenance: Gallery A, Taos, NM

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5051

Arthur Hill Gilbert A.N.A.

(1894-1970, Monterey, CA) “Simons Brick Yard #3” Oil on canvas Signed and inscribed lower left: Arthur Hill Gilbert / Simons, Calif.; titled by repute 24” H x 30” W $3,000-5,000

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5052

After Thomas Moran

(1837-1929, Santa Barbara, CA) “The Grand Canyon of Arizona, from Hermit Rim Road,” 1913 Chromolithograph on paper under glass; Atchison, Topeka and Santa Fe Railway Company, prntr; American Lithographic Company, pub. With the signature and 1912 date of the original painting this reproduces printed in the lower left corner of the image: T Moran Image/Sheet: 26” H x 34.875” W $500-700 Provenance: Sold: John Moran Auctioneers, Monrovia, CA, Decorative Arts Sale, July 30, 2013, Lot 1177

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5053

James Swinnerton

(1875-1974, Palm Springs, CA) Three field sketches: “Desert View Grand Canyon / S. Rim” Oil on canvas board Signed and titled lower right: J. Swinnerton; with artist’s field notes verso 16” H x 12” W “Near Hope & Salome - Ariz” Oil on canvas board Signed and titled lower right: J. Swinnerton; with artist’s field notes verso 12” H x 16” W “Entering Zion Park - Virgin River Following Along Under the Green Trees” Oil on canvas board Signed lower right: J. Swinnerton; titled lower left 12” H x 16” W $1,000-1,500 Provenance: Gerald Peters Gallery, Santa Fe, NM Santa Fe Art Auction, Santa Fe, NM

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5054

Curt Walters

(b. 1950, Sedona, AZ) “The Grand Teton” Oil on canvas Signed lower right: Curt Walters; titled on the stretcher, inscribed in another hand verso 30” H x 24” W $3,000-5,000 Provenance: Altermann Galleries & Auctioneers, Santa Fe, NM

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5055

Ray Renfroe

(1918-1989 Prescott, AZ) Winter landscape with elk Oil on canvas laid to Masonite Signed lower left: Ray Renfroe © 24” H x 18” W $800-1,200

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5056

A Southwest silver and turquoise belt buckle and ring

Second-Half 20th Century Each stamped: Geronimo / G with arrow [Geronimo shop mark] Comprising a large multiple stone set heavy matrix turquoise buckle with applied 14K gold accents, feather and stampwork designs (3.375” H x 5” W), and a large double nugget turquoise set ring with applied 14K gold accents, stamped bezels and edging (Ring size: 9.5; 2.75” H x 1.5” W), 2 pieces 312.1 grams $600-800

5058

A Southwest coral and silver squash blossom necklace Mid-20th Century Appears unmarked A double strand of silver beads supporting ten coral set blossoms and finished with a matching coral set naja 27” L x 2.5” H 104.4 grams $500-700

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5057

An Isleta Pueblo cross necklace and earrings

Late 20th/Early 21st Century Double-struck ‘A’ with a long foot for either Anthony Lovato or Ambrose Lincoln / Sterling A single strand of silver beads supporting twenty cast crosses and finished with a large cast cross pendant (24.25” L x 4” H), with a pair of unmarked cast cross earrings (1.75” L x 0.875” W), 3 pieces 140.4 grams gross $800-1,200 Provenance: The Goodenough Estate, benefiting St. James Episcopal Church, Waimea, HI

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5059

A mother-of-pearl and silver squash blossom and bracelet set

Second-Half 20th Century Appears unmarked Comprised of a necklace on a double silver strand with ten blossoms, finished with a stone set naja (27.5” L x 3” H), a two wire cuff bracelet with three stone set plaques (6.5” total inner C x 1.5” H, wrist opening: 1.25”) and a matching stone set ring (ring size: 8.75”), 3 pieces 284.7 grams gross $500-700

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5060

A Kirk & Mary Eriacho silver and turquoise necklace

Fourth-Quarter 20th Century, Zuni Each marked: Kirk & Mary/ K. Eriacho A cluster set collar with detachable round drop cluster pendant / brooch, 2 pieces 17.5” L x 3.5” H (pendant) 170.3 grams gross $800-1,200

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5061

A Zuni silver and turquoise necklace

Second-Half 20th Century Stamped: JCS A three-section necklace of elaborate needlepoint row and starburst set turquoise suspended on a chunky paper-clip type chain 20” L x 2.5” H 78.6 grams $500-700

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5062

A Zuni petit point suite Second-Half 20th Century Three works:

A stone set concho style pendant necklace with leaf motif discs suspended from a paper clip chain Etched: Zuni ‘88 / Floyd Estate 27.5” L x 3” H A stone set leaf motif oval ring Stamped: JCS Ring size: 8.5; 2.75” H x 1.5” W A pair of flower motif earrings Each appears unmarked; screwpost stamped: Sterling Each: 2” L x 1.25” W 4 pieces 118.7 grams gross $800-1,200

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5063

An Alvin & Lula Begay Navajo reversable necklace

Mid-20th Century, Diné Stamped to clasp: Alvin within a feather [for Alvin & Lula Begay] A design of silver overlay motifs on eight plaques and a single drop plaque, each with cobblestone inlay in coral to one side and in turquoise on the opposite side 27.25” L x 2.25” H 258.7 grams $1,000-1,500 Provenance: The Goodenough Estate, benefiting St. James Episcopal Church, Waimea, HI

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5064

A Navajo turquoise eagle motif necklace

Second-Half 20th Century, Diné Stamped: CB [for Charlie Bowie] A carved turquoise central eagle with hinged silver-backed carved turquoise wings suspended by two detachable strands of graduated turquoise 20” L x 1.5” H 72.4 grams gross $500-700

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5065

A Jimmie Nezzie Navajo turquoise and silver pendant necklace

Fourth-Quarter 20th Century, Diné Stamped: J. Nezzie [for Jimmie Nezzie] A double strand squash blossom style necklace of silver beads with set turquoise and applied feather motif elements with a central pendant and openwork turquoise drop 20.5” L x 3.5” H (at center) 102.9 grams $500-700

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5067

A group of Southwes

Mid-20th Century or ear Each appears unmarked Ten works:

5066

A Santo Domingo Pueblo coral and inlaid necklace

Mid-20th Century A triple strand of coral spaced with silver beads supported by multi-stone and silver inlaid shells

A multistrand of heishi b 28” L

$300-500

A stamped butterfly broo central turquoise 3.125” H x 2.375” W

Provenance: The Goodenough Estate, benefiting St. James Episcopal Church, Waimea, HI

An inlaid turquoise Santo 6.375” C x 0.625” H, wri

28.5” L x 1.375” H (shells)

A Pueblo-style turquoise three strands of turquois turquoise, coral, and clam 27” L x 6.5” H

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st jewelry items

rlier

e and heishi shell necklace of se tabs with heishi spacers and a m shell jacla drop

beads

A turquoise inlay ring Ring size: 10.25 An oval turquoise bezel set ring Ring size: 10.5 A small oval stone set ring Ring size: 6 A pair of stone set dangles 1.75” L A running stag brooch with stone set turquoise 1.5” H x 1.5” W

och with stone set small oval

A trio of loose turquoise stones 1.8” x 1.75”; 1.3” x 1.1”; 1.1” x 0.75” 13 pieces

o Domingo-style cuff bracelet ist opening: 1.125”

$600-800 Provenance: The Estate of Loren Ingraham, Montecito, CA

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5068

Two Southwest silver pendant necklaces Two pieces:

A large and heavy cast spear point pendant Late 20th/Early 21st Century Marked: BR With feather, floral, and applied turquoise nugget suspended from a feathered chain 21” L x 4” H A large double headed eagle pendant Late 20th/Early 21st Century Set with turquoise and a silver feather drop 5.5” L 286.9 grams gross $300-500

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5069

A group of Southwest jewelry Mid-20th Century or Later Three works:

An ornate swivel cuff with bezel set turquoise, coral and mother-of-pearl, edged with rope wire and flanked by leaves and silver balls Appears unmarked 6.75” total inner C x 2.5” W, wrist opening: 1.25” A similar design ornate swivel necklace with a stampwork collar Stamped: N 17” L x 2.75” H A turquoise, coral and mother of pearl bezel set pendant on a stamped silver chain Stamped: N 24.5” L x 2.5” H 242.1 grams gross $700-900

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5070

A group of Santo Domingo Pueblo-style necklaces Second-Half 20th Century or later Three works:

A multi-strand necklace in heishi, turquoise, coral, jet and clam, with central knot motif Unmarked: possibly by Paul Tenorio / Santo Domingo 26.5” L approx. x 4” H A long graduated turquoise disk necklace with silver bead closure 35” L A turquoise and multi-stone necklace with three jacla drops featuring shells 33” L x 9” H 551 grams gross $600-800

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5071

A group of Pueblo jewelry Mid-20th Century Four works:

A single strand graduated turquoise disk necklace with 3 tumbled center stones and a stamped silver bead closure 26” L x 1.5” H A Santa Domingo Pueblo inlaid shell necklace with graduated turquoise disks 15” L x 2.25” H A four strand turquoise bead necklace with chunky dot accents and a silver bead closure 29” L x 4.5” H (at drop) A four strand turquoise fine bead necklace with red accents and tips 25.5” L 362.9 grams $600-800

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5072

A Wes Willie Navajo mosaic inlay coral cuff bracelet

(b. 1957, Diné) Stamped for Wes Willie with artist’s W cypher / Sterling A geometric sand cast cuff inlaid with coral, turquoise, spiney oyster, charoite and lapis 6.125” total inner C x 0.75” W, wrist opening: 1.125” 104.6 grams $1,200-1,800 Provenance: The Goodenough Estate, benefiting St. James Episcopal Church, Waimea, HI

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5073

An Andrew Redhorse Alvarez silver and gold cuff bracelet

(b. 1953, Apache) 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” total inner C x 1.5” W, wrist opening: 1.25” 114.6 grams $600-900 Provenance: The Goodenough Estate, benefiting St. James Episcopal Church, Waimea, HI

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5074

A Pete Sierra Navajo cuff Bracelet

Late 20th/Early 21st Century, Diné Marked: PS [with half sun for Pete Sierra] / Sterling A silver and cobblestone set turquoise cuff bracelet 7” total inner C x 1.25”H, wrist opening: 1.25” 104.1 grams gross $400-600

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5075

A Cleve Honyaktewa Hopi stone-set cuff

Fourhth-Quarter 20th Century Marked with conjoined CH Comprising a modern style cuff with raised inlay including malachite, turquoise, and coral 6.25” total inner C x 2.25” H, wrist opening: 1.125” 119.0 grams $400-600

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5076

A Navajo silver and turquoise cuff bracelet

First-Quarter 20th Century, Diné Appears unmarked A rolled silver ingot cuff bracelet set with five hand-cut turquoise stones with stamped terminals 6.25” total inner C x 0.875” H 56.8 grams $500-700

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5077

A Zuni-style silver and turquoise cluster set cuff bracelet Mid-20th Century Appears unmarked A five-wire cuff bracelet with three turquoise cluster set plaques 6.75” C x 1.875” W, wrist opening: 1.5” 67.1 grams $500-700 Provenance: The Estate of Loren Ingraham, Montecito, CA

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5078

A Zuni turquoise cluster bracelet

Mid-20th Century or Earlier Appears unmarked A cuff designed with three large set turquoise stones surrounded by smaller round turquoise stones, all mounted on twin wires 6.5” total inner C x 1.5” W, wrist opening: 1” 51 grams $600-800 Provenance: The Estate of Loren Ingraham, Montecito, CA

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5079

An Alice Quam Zuni cluster set cuff bracelet

Second-Half 20th Century Stamped: A. Q. [for Alice Quam] Designed with three cluster set turquoise plaques with rope wire trim set to a three wire cuff 6.5 total inner C x 2.625” W, wrist opening: 1.1” 83.8 grams $800-1,200

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5080

A Gary Reeves Navajo silver and turquoise cluster cuff bracelet

(1975-2014, Diné) Stamped: G. Reeves / Sterling A cuff set with Lone Mountain turquoise formed of a large central oval plaque flanked by half oval clusters and applied stampwork, all mounted on a five wire backing 7” total inner C x 2.375” H, wrist opening: 1.25” 129.6 grams $500-700

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5081

Two Gary Reeves Navajo silver and turquoise cuff bracelets (1975-2014, Diné) Each stamped: G. Reeves / Sterling Two works:

A bracelet of seven Lone Mountain turquoise stones set to a six wire cuff with rope edges 7” total inner C x 1.25” H, wrist opening: 1.25” A narrow bracelet of nine Lone Mountain turquoise stones set to a three wire cuff with rope bezzles Stamped terminals: G Reeves / Sterling 6.625” total inner C x 0.5” H, wrist opening: 1.25” 175.5 grams gross $600-800

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5082

A Southwest silver and turquoise cuff bracelet

Mid-20th Century Appears unmarked [has old sales label marked for Perry Shorty] A large central heavily matrixed turquoise stone finely set on a stamped 5-wire cuff 7.25” total inner C x 3” H, wrist opening: 1.5” 152.4 grams $600-800

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5083

A large Howard Begay Navajo silver and turquoise cuff bracelet

Mid-20th Century, Diné Triple stamped: H.S.B. [Howard Begay] / Sterling / .925 / [Pictorial mark] / Navajo A cuff set with three large slabs of turquoise in an elaborate setting all mounted to a four-wire rope cuff 7.5” total inner C x 3” H, wrist opening: 1.25” 252.1 grams $500-700

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5084

A Ray Bennett Navajo silver and turquoise cuff bracelet

Fourth-Quarter 20th Century (post 1978), Diné Stamped: R. Bennett / Sterling A three wire cuff featuring five bezel set turquoise stones framed with rope wire and silver balls 7” total inner C x 1.75” H, wrist opening: 1.375” 142.7 grams $400-600

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5085

A Sammie Kescoli Begay Navajo silver and turquoise cuff bracelet Second-Half 20th Century, Diné Stamped: S. Kescoli [for Sammi Kescoli] / Navajo / Sterling A large Pilot Mountain turquoise stone set to a stamped silver cuff 7” total inner C x 2.125” H, wrist opening: 1.25” 168.7 grams $600-800

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5086

A silver saddle cuff bracelet with turquoise pommel

Late 20th/Early 21st Century Stamped: JP [conjoined, possibly Jackson Pino, Navajo/Diné] / Sterling A heavy five-wire stamped silver saddle cuff bracelet with five set turquoise stones 6.25” total inner C x 2.5” H, wrist opening: 1” 112.5 grams gross $500-700

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5087

Two Michael silver and Number 8 turquoise cuff bracelets Second-Half 20th Century Each stamped: Michael / © Two works:

A cuff formed of three floral clusters set to a split wire cuff with stamped terminals Further stamped: Hammered Sterling 6.5” total inner C x 1” H, wrist opening: 1.25” A cluster of heavily matrixed turquoise set to a split wire silver cuff with stamped terminals Further stamped: Hammered COIN 6” total inner C x 0.75” H, wrist opening: 1” 2 pieces 141.4 grams gross $600-900

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5088

Two Navajo silver and turquoise cuff bracelets Second-Half 20th Century Two works:

A Terry Martinez silver and turquoise cuff bracelet Set with a cluster of Pilot Mountain turquoise on a seven-wire cuff Stamped: TM [for Terry Martinez, Diné] / Sterling 7” total inner C x 2” H, wrist opening 1.25” A Henry Morgan silver and turquoise cuff bracelet Set with five oval turquoise stones on a three-wire cuff Stamped: H. Morgan [for Henry Morgan, Diné] 7” total inner C x 0.875” H, wrist opening: 1.5” 2 pieces 243.2 grams gross $600-800

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5089

Three Southwest silver cuff bracelets Second-Half 20th Century Three works:

A Bruce Morgan Navajo silver cuff bracelet (b. 1957, Diné) In heavy gauge silver with deep stamping to interior and exterior Stamped to terminal: B. Morgan / Sterling 7” total inner C x 0.75” H, wrist opening: 1.5” A Marc Antia Apache silver cuff bracelet A heavy gauge silver cuff with deep stamping Stamped: Created By Marc Antia / Sterling 7” total inner C x 1.5” H, wrist opening: 1.625” A Bill Emerson Navajo silver cuff bracelet A heavy gauge silver cuff with deep stamping Stamped: Emerson / Sterling 7” total inner C x 1.25” H, wrist opening: 1.5” 518.4 grams gross $800-1,200

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5090

Two Southwest silver and turquoise cuff bracelets 20th Century Each unmarked Two works:

A three wire cuff topped with a large turquoise nugget within a foliate stamped bezel 7” total inner C x 2.25” W, wrist opening: 1.25” A three wire cuff topped with a turquoise nugget within a jagged bezel 6” total inner C x 2” W, wrist opening: 0.875” 225 grams gross $500-700 Provenance: The Estate of Loren Ingraham, Montecito, CA

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5091

Two Navajo sterling cuff bracelets Second-Half 20th Century Two works:

A Terry Martinez Navajo cuff set with central turquoise stone and flanked with applied silver designs and stampwork Stamped: TM [for Terry Martinez, Diné] / Sterling 6.25” total inner C x 1.25” H, wrist opening: 1” An Ernest Roy Begay Navajo silver and coral cluster set cuff embellished with stampwork Stamped: ERB [for Ernest Roy Begay, Diné] / Sterling 6.75” total inner C x 1” H, wrist opening: 1.125” 145.1 grams gross $600-900

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5092

A group of Southwest-style cuff bracelets Mid-20th Century Each appears unmarked Five works: A Ketoh-style silver cuff bracelet with stamped motifs 7” total inner C x 2.5” W, wrist opening: 0.75” Two stamped wire cuffs Each: 6.5” total inner C x 0.25” W, wrist opening: 1” A narrow double wire turquoise set cuff 6.5” total inner C x 0.75” W, wrist opening: 0.625” A twisted wire cuff set with a single oval green turquoise 6” total inner C x 0.75” W, wrist opening: 0.875” A three wire cuff bracelet topped with five bezel set turquoise stones 6.5” total inner C x 3” H, wrist opening: 1.25” 233 grams gross $600-800 Provenance: The Estate of Loren Ingraham, Montecito, CA

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5093

Four Native American cuff bracelets

Mid-20th Century Each unmarked Comprising a silver concho-style bracelet (6.5” total inner C x 2.5” W, wrist opening: 0.5”), a cuff topped with five tumbled turquoises (6” total inner C x 1” W, wrist opening: 0.875”), a thin cuff topped with nine cabochon turquoises (6” total inner C x 0.25” W, wrist opening: 1.25”), and a stamped cuff topped with five onyx tablets (6.25” total inner C x 0.875” W, wrist opening: 1”), 4 pieces 175 grams gross $500-700 Provenance: The Estate of Loren Ingraham, Montecito, CA

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5094

A group of Southwest cuff bracelets Mid-20th Century or Later Five works:

A dark matrix turquoise cluster stone set twisted wire cuff Stamped: MPM [multiple triangles] / Sterling 6.25” total inner C x 2” H, wrist opening: 1.125” A narrow five-wire dark matrix turquoise stone set cuff with twisted wire accents Stamped: MM_ [multiple triangles] / Sterling 6.125” total inner C x 0.75” H, wrist opening: 1.125” A five stone Santo Domingo turquoise set cuff with feather and ball accents Stamped: conjoined JPG [for Juan Pedro Garcia] 6.625” total inner C x 1.5” H, wrist opening: 1” A five wire cuff featuring stampwork and twisted wire elements Appears unmarked 6.125” total inner C x 0.75” H, wrist opening: 1” A Navajo sterling silver cuff with various size silver balls Stamped: CRJ / Little Yellowhorse [for Richard Little Yellowhorse, Diné]; Further stamped: Sterling / USA / Rising Sun / © 6.25” total inner C x 0.5” H, wrist opening: 1.125” 322.9 grams gross $700-900

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5095

A group of Southwest silver and turquoise rings Second-Half 20th Century Seven works:

A triple stone set turquoise ring with rope wire edging Appears unmarked Ring size: 7.5; 2.25” L x 1” W A large Navajo bezel set turquoise cabochon silver ring Stamped: N.LEE [for Nelson or Norman Lee, Diné] / Sterling Ring size: 9; 2.125” L x 1.5” W A narrow bezel set dark matrix turquoise ring with feather accent Appears unmarked Ring size: 7.5; 1.75” L x 1” W A heavy ring with carved turquoise set “frogs,” incised feather and stamped elements Appears unmarked Ring size: 11.5; 1.625” L x 0.875” W A starburst turquoise cluster set ring Appears unmarked Ring size: 4.5; 1.5” L x 1.375” W A rectangular bezel set turquoise silver ring Stamped: Sterling Ring size: 11; 1.25” L x 0.875” W A small bezel set turquoise cabochon ring Stamped: S Ring size: 10.75 135.4 grams gross $600-800

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5096

A group of Southwest silver and stone rings Fourth-Quarter 20th Century or Later Five works:

A Tom Lewis oval stone set onyx and silver ring with concentric overlay edging Stamped: Tom Lewis [Diné] / Sterling Ring size: 13.25; 2.625” H x 2.25” W A triple stone shadow box set onyx and silver ring with leaf and ball design Stamped: Sterling Ring size: 10.25; 3” H x 1.25” W A shadow box set onyx and silver narrow oval ring with Hopi-style overlay surround Stamped: Jackson [possibly for Tommy Jackson, [Diné]; further stamped: Sterling Ring size: 11; 2.625” H x 1.625” W A Bruce Wood narrow oval stone set malachite and silver ring with overlay edges Stamped: Bruce Wood [Diné] / Sterling Ring size: 7; 2.5” H x 1” W A dark matrix turquoise and silver bezel set oval ring with elaborately stamped edging Stamped: (possibly JWC) / Sterling Ring size: 12; 2.5” H x 1.75” W 196.4 grams gross $600-800

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5097

A group of Zuni inlaid stone jewelry

Mid-20th Century or Later Each unmarked Comprising a stamped Rainbow kachina cuff bracelet set with onyx, mother-of-pearl, spiny oyster, and turquoise (7” total inner C x 1.5” W, wrist opening: 1”), a large Knifewing figural brooch set with onyx, mother-of-pearl, spiny oyster, and turquoise (3.5” H x 2.5” W), an eagle brooch set with agate topped with onyx, coral, and turquoise (2” H x 1.75” W), a small road runner brooch (1” H x 1.75”), and a figural ring set with onyx, mother-of-pearl, spiny oyster, and turquoise (ring size: 6.75), 5 pieces 118 grams gross $500-700 Provenance: The Estate of Loren Ingraham, Montecito, CA

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5098

A group of Southwest jewelry Second-Half of 20th Century Four works

A three-stone, two wire cuff bracelet, with bezel set turquoise surrounded by rope wire on a stamped base Stamped: Jameson Lee [Navajo/Diné] 6.75” total inner C x 1.625” W, wrist opening: 1.375” A matching oval bezel set turquoise ring Appears unmarked Ring size: 6.5 A matching small turquoise pendant Appears unmarked 1” H x 0.875” W A six turquoise stone set, two wire cuff bracelet Appears unmarked 6.75” total inner C x 1.25” W, wrist opening: 1.125” 155.0 grams gross $500-700

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5099

Joni Falk

(b. 1933, Phoenix, AZ) “Winter Shadows at Taos” Oil on canvas Signed lower right: Joni Falk AWA; titled on the frame plaque 20” H x 20” W $3,000-5,000

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5100

Fremont F. Ellis

(1897-1985, Santa Fe, NM) Western mesa, circa 1930 Pastel on paper laid to board under glass Signed in pencil lower left: Fremont F. Ellis; numbered verso: No. 21 Sheet: 10” H x 8” W $3,000-5,000

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Eanger Irving Couse (1866-1936, Taos, NM)

Eanger Couse was one of the founders of the Taos Society of Artists and

its first president. Born in Michigan in 1866, he came to Taos after extensive formal and practical study of art via Chicago, New York, and ultimately Paris in 1886. After living in France, the eastern US, and then Oregon, Couse visited Taos for the first time in 1902. Spending summers there painting between 1904 and 1927, he eventually settled in Taos permanently. He was enamored with the Pueblo people and their way of life, and although some of his depictions can seem romanticized, he was close friends with some of his subjects, having favorite models for his compositions. Couse was known for dramatically using light to highlight shapes and patterns, as illustrated in this painting. In a mountain forest of aspen trees in Autumn, where the yellow shimmer of leaves contrasts with the cool green of the shadows, a patient Native American hunter hides deep in the shadows, watching the wild turkeys gather to drink at a mountain stream, waiting for his moment.

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5101

Eanger Irving Couse

(1866-1936, Taos, NM) “The Turkey Hunter” Oil on canvas laid to canvas Signed lower left: E. I. Couse N. A., titled on the frame plaque 24” H x 29” W $60,000-80,000

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Ray Swanson

(1937-2004, Carefree, AZ)

Ray Swanson (1937-2004) is known for highly detailed photo-realistic

scenes of Navajo and Pueblo peoples, whom he had come to respect and be concerned about, as he witnessed their traditional ways of life disappearing. Raised in a rural environment, he came to love the desert of Arizona. As a result, he felt compelled to accurately depict traditional lifestyles, including methods of transport and native dress that he felt were quickly fading away. The respect seemed mutual, as it was reported that at his funeral, a Navajo family that he painted attended his memorial service and placed a traditional chief’s blanket on his casket.

5102

Ray Swanson

(1937-2004, Carefree, AZ) “Going Vistin’,” 1977 Oil on canvas board Signed lower right: Ray Swanson ©; signed again, titled and dated in pencil on the backing paper 30” H x 36” W $10,000-15,000

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5103

Olaf Wieghorst

(1899-1988, El Cajon, CA) Portrait studies, 1960 Ink on paper under glass Signed, dated, inscribed and with the artist’s device lower left: Olaf Wieghorst 2C Sight: 13.375” H x 9.125” W $800-1,200

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5104

Olaf Carl Seltzer

(1877-1957, Danish/American) “Grizzly Tracks” Watercolor, gouache and pencil on paperboard under glass Signed lower left: O.C. Seltzer; titled by repute 7” H x 9.5” W $3,000-5,000 Born in Denmark in 1877, Olaf Carl Seltzer studied art from the early age of 12 and later emigrated to Montana with his mother at 19 in 1897. He was always interested in the American West. While working as a cowboy, then as machinist and train mechanic for the Great Northern Railway, he filled his spare time sketching the landscape and the local wildlife. After a meeting in Montana, he became close friends with Charles M. Russell, who gave him valuable advice and influenced his work. In 1928 he produced a series of watercolors that became known as “The Western Characters.”

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5105

Ted DeGrazia

(1909-1982, Tucson, AZ) “Navajo with 7 Horses,” 1950 Oil on canvas Signed and dated lower right: DeGrazia; titled on the stretcher 18” H x 26” W $1,000-2,000

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5106

Anthony Chee Emerson

(b. 1963, New Mexico) Native American women standing with umbrellas, 1980 Oil on canvas Signed in tandem with the artist’s device and dated lower right: Anthony Chee Emerson 34” H x 36” W $1,000-2,000 The work is typical of Emerson (b. 1963), a contemporary painter of Navajo ancestry known for his stylized figurative paintings of people, animals, and landscapes. A move at a young age from Los Angeles to New Mexico resulted in a growing interest in his own culture and a love of art he studied at college, eventually opening his gallery with his wife in Farmington, NM. It is wonderful to see his stated influences of Chagall and Picasso in this modern portrait of Native American women.

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5107

Tony Abeyta

(b. 1965, Taos, NM) Untitled Acrylic on canvas with gold and copper leaf Signed upper right: Tony Abeyta 26” H x 24” W $3,000-5,000

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5108

Allen Bahe

(b. 1959, Diné) “The Old Homestead (Dineh Yei)” Acrylic on canvas Signed lower left: Bahe [with the artist’s device]; signed again and titled verso 11” H x 14” W $500-700

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5109

Allen Bahe

(b. 1959, Diné) “Yei Spirits (Navajo)” Acrylic on canvas Signed lower right: Bahe [with the artist’s device]; signed again and titled verso 12” H x 16” W $500-700

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5110

Allen Bahe

(b. 1959, Diné) “The Chant (Navajo Yeibichai)” Acrylic on canvas Signed lower left: Bahe [with the artist’s device]; signed again and titled verso 12” H x 16” W $500-700

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5111

Allen Bahe

(b. 1959, Diné) “The Spirits (Navajo Yei)” Acrylic on canvas Signed lower left: Bahe [with the artist’s device]; signed again and titled verso 14” H x 11” W $500-700

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5112

Allen Bahe

(b. 1959, Diné) “Canyon Light (Navajo Yei)” Acrylic on canvas Signed lower right: Bahe [with the artist’s device]; signed again and titled verso 16” H x 12” W $500-700

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138

5113

Joni Falk

(b. 1933, Phoenix, AZ) Still life, 1976 Oil on artist’s board Signed and dated lower right: Joni Falk © 5.125” H x 7” W $400-600

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5114

Jon Lightfoot

(1939-2018, Cherokee) Multigenerational figural scene Oil on canvas Signed lower right: Lightfoot © 48” H x 96” W $1,000-1,500

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5115

Henry Cornelius Balink

(1882-1963, Santa Fe, NM) “Nosteen Begay, Navajo” Oil on canvas Signed lower left: Henry C. Balink; titled and also inscribed on the stretcher: Tokochim, NM 12” H x 10” W $4,000-6,000 Provenance: Collection of Robert E. and Evelyn McKee, El Paso, Texas Bequeathed from the above to The Robert E. and Evelyn McKee Foundation, El Paso, Texas Acquired from the above by the present owner, circa 1986-87 Sotheby’s, New York, Arts of the American West, May 22, 2013, Lot 259

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5116

5117

(20th/21st Century, Hillsboro, OR) Portrait of a young Native American girl Oil on canvas Signed lower right: Karen Thayer 20” H x 16” W

(1856-1924, San Jose, CA) Native American wearing a headdress, 1913 Oil on canvas Signed and dated lower left: A.D.M. Cooper 18” H x 16” W

Karen Thayer

$800-1,200 Notes: Attached to the verso of this frame is a ribbon awarded for “Best of Show / Washington County Fair/ Hillsboro, OR”

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Astley David Middleton (A.D.M.) Cooper

$2,000-3,000

5118

Redwing “Ted” Nez

(b. 1960, American) “Special Nany [sic] Goats,” 1993 Oil on canvas Signed and dated lower left: Redwing T. Nez © [with the artist’s device]; titled on the stretcher 24” H x 30” W $600-800

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5119

Fritz William Scholder

(1937-2005, LuiseÒo) “Portrait of a Shaman,” 1984 Cast patinated bronze on wood base Edition 4/10; signed in the cast and with impressed foundry mark: AF 43.5” H x 23.25” W x 29.5” D $20,000-25,000

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5120

A Navajo Germantown double saddle blanket

First-Quarter 20th Century, Diné A Sunday saddle blanket woven in red, cream, green, purple, yellow, and black wool with a central cross motif and fringe to each end 39” H x 59” W $1,500-2,000

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5121

A Navajo double saddle blanket

Late 19th/Early 20th Century, Diné Woven in handspun aniline dyed wool in red, blue, cream, and dark brown wool with banded motif 54” L x 34” W approximately $800-1,200

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5122

A Hopi Manta weaving

First-Quarter 20th Century Woven in black and indigo wool with a diamond twill 54” L x 37” W $800-1,200

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5123

A contemporary Hubbell Revival Navajo weaving

20th Century, Diné Woven in black, cream, red, and blue wool with Moki-style stripes and stepped diamonds 59” L x 43.5” W $800-1,200

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5124

A Grace Henderson Nez Navajo blanket

(1913-2006, Diné; Ganado, AZ) Woven in red, black, and cream wool with an all-over, classic geometric motif 51.5” L x 38.5” W $1,000-1,500 Notes: Grace Henderson Nez was a prominent Diné weaver known for her use of traditional nineteenth-century designs, including Ganado style, and was the 2005 National Heritage Fellow for the National Endowment for the Arts.

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5125

A Teec Nos Pos Navajo pictorial rug

Second-Quarter 20th Century, Diné Woven in cream, tan, light grey, brown, black, and red wool with a geometricized double diamond motif and two meandering borders 78” H x 61” W $1,000-1,500

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5126

A Navajo jeweled storm pattern rug, by Lily Touchin

Fourth-Quarter 20th Century, Diné Woven in polychrome wools in a jeweled storm pattern with water bugs 48” L x 34” W $2,000-3,000

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5127

A Navajo regional raised outline rug, by Mary Yazzie

20th Century, Diné Woven in polychrome wool with all-over geometric motif and water bugs 55.75” L x 39.5” W $800-1,200 Provenance: Purchased from Foutz Trading Co., Shiprock, NM Notes: This lot is accompanied by a retail label from Foutz Trading Co., Shiprock, NM. Attributed to Mary Yazzie on the attached tag.

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5128

A Navajo regional raised outline rug, by Susie Yazzie 20th Century, Diné Woven in polychrome wool with serrated “X” motif 62.5” L x 33” W $600-800 Provenance: Purchased from Hubbell Trading Post, Ganado, NM Notes: This lot is accompanied by a retail label from Hubbell Trading Post, Ganado, NM. Attributed to Susie Yazzie on the attached tag.

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5129

A Navajo regional raised outline rug, by Emma Yazzie 20th Century, Diné; Coal Mine Mesa, AZ Woven in polychrome wool with five serrated diamonds 44” L x 27” W $500-700 Provenance: Purchased from Keams Canyon Arts & Crafts, Keams Canyon, AZ Notes: This lot is accompanied by a retail label from Keams Canyon Arts & Crafts, Keams Canyon, AZ.

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5130

A Navajo regional raised outline rug, by Nancy Shepherd

Fourth-Quarter 20th Century, Diné Woven in black, grey, cream, and red wool with serrated geometric motifs 47.5” L x 32” W $500-700 Provenance: Purchased from Little Indian Pawn Shop, Farmington, NM Notes: This lot is accompanied by a retail label from Little Indian Pawn Shop, Farmington, NM. Attributed to Nancy Shepherd on the attached tag.

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5131

A Navajo Yei rug

20th Century, Diné Woven in polychrome wool with six standing Yei figures with double X-motif border 72” L x 53” W $700-900

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5132

A Navajo weaving, by Ruby Nelson

20th Century, Diné Woven in black, cream, dark brown, and light grey wool with geometric motif 58.5” L x 32” W $500-700 Notes: This weaving is attributed to Ruby Nelson, from St. Michaelís Helping Hand, on an attached tag.

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5133

A Navajo Yei weaving

Fourth-Quarter 20th Century, Diné Woven in polychrome wool depicting six standing Yei with corn and with fringe details 50” H x 57” W $700-900

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5134

A Navajo Ganado-style rug

20th Century, Diné Woven in grey, red, cream, and black wool with four corner elements and a stepped, conjoined diamond motif 72” L x 45” W $700-900

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5135

A Navajo Ganado-style storm pattern rug

20th Century, Diné Woven in red, pink, cream, black, and light grey wool with a storm pattern and water bugs 48.25” L x 33.5” W $500-700

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5136

A Navajo Two Grey Hills storm pattern rug

20th Century, Diné Woven in dark brown, tan, grey, and cream wool with a storm pattern and water bugs surrounded by an outer band of birds 89” L x 55” W $800-1,200

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5137

A Navajo Two Grey Hills rug

20th Century, Diné Woven in black, grey, cream, and brown wool with four corner elements and central diamond 50” L x 32” W $500-700

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5138

A Navajo Two Grey Hills rug

Mid-20th Century, Diné Woven in cream, brown, light blue, and black wool with a hooked diamond and a double border 56.5” L x 37.5” W $500-700 Provenance: Purchased from Garland’s Navajo Rugs, Sedona AZ Notes: This lot is accompanied by a retail tag from Garland’s Navajo Rugs.

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5139

A Navajo regional rug

Mid-20th Century, Diné The rug or blanket woven in dark brown, light brown, cream, and grey wool with a stepped double diamond motif 75” L x 52” W $800-1,200

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5140

A Navajo regional rug

20th Century, Diné The woven polychrome wool runner with a central stepped diamond on a banded ground 78.5” L x 27” W $500-700

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5141

A Navajo regional rug

20th Century, Diné Woven in yellow, brown, cream, dark grey, light grey, black, and red wool with serrated diamond motif 66.25” L x 34” W $600-900

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5142

A Navajo regional rug

20th Century, Diné Woven in brown, red, cream, and grey wool with a serrated X-motif and diamond border 71” L x 47” W $500-700

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5143

A Navajo regional rug

First-Quarter 20th Century, Diné Woven in cream, brown, grey, and red wool with a row of three diamonds with crosses 78” L x 60” W $700-900

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5144

A Navajo regional rug

First-Quarter 20th Century, Diné Woven in cream, light brown, dark brown, and red wool with a stepped border and diamond motif 64” L x 44” W $700-900

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5145

Three Navajo weavings 20th Century, Diné Three works:

A small Burntwater textile mat, by Sarah Begay Woven polychrome pastel wool with a Burntwater motif 18.5” L x 18.5” W A medium Burntwater textile mat, by Sarah Begay Woven polychrome pastel wool with a Burntwater motif 30” L x 25” W A Wide Ruins textile mat Woven in dark grey, light grey, black, and red wool with a banded motif 36” L x 22.5” W 3 pieces $600-800 Provenance: Two purchased from Keams Canyon Arts & Crafts, Keams Canyon, AZ Notes: Two weavings are accompanied by retails labels from Keams Canyon Arts & Crafts, Keams Canyon, AZ. Two attributed to Sarah Begay on attached tags. 1 7 8 A r t of t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 3 0 , 2 0 2 1

5146

A Navajo Wide Ruins rug, by Sarah Begay

Fourth-Quarter 20th Century, Diné Woven in dark grey, light grey, light pink, dark pink, purple, cream, and black wool with banded motif 60.5” L x 36” W $600-800 Provenance: Purchased from Keams Canyon Arts & Crafts, Keams Canyon, AZ Notes: This lot is accompanied by a retail label from Keams Canyon Arts & Crafts, Keams Canyon, AZ. Attributed to Sarah Begay on the attached tag.

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5147

Two Navajo Tree of Life weavings

Fourth-Quarter 20th Century, Diné Each woven in polychrome wool with Tree of Life motifs, one with birds and butterflies and one with just birds, 2 pieces Larger: 41” H x 31” W; Smaller: 23.75” H x 20.25” W $600-800

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5148

Bud Boller

(1928-2012, Colorado/Wyoming) “My Horses Were Many,” 1974 Sterling silver Signed and dated: Bud Boller © / 1974; titled to sculpture 4.75” H x 3.5” W x 5” D 47.47 oz troy approximately $700-900

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5149

Doug Hyde

(b.1946, New Mexico) “Apache Basket” Cold painted bronze on wood plinth Edition 13/21; signed: D. Hyde © [with artist’s cipher] / W [Weston mark] 14.25” H x 5.75” W x 7.5” D $500-700

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George Carlson (b. 1940, American)

In Mysteries of Migration, contemporary artist George Carlson sculpted

figure seems elemental and strong, and the textured modeling gives a strong sense of movement and immediacy, revealing “the life force within.” Respected as an accomplished sculptor of bronze figures and as a painter, Carlson began sculpting, he says, as a way to improve his drawing and observational skills. From an early age, he studied art formally at several institutions and dabbled in commercial art. Time spent in Taos later gave him the space to clear his past experiences and develop a new approach, becoming “determined that my art would show the Indian’s harmony with nature, not his savagery.” (George Carlson). In common with other artists featured here, Carlson is part of a tradition of artists documenting conflicts and changes to the land and traditions of the indigenous peoples of the West driven by migrants from the East.

5150

George Carlson

(b. 1940, American) “Mysteries of Migration” Patinated bronze on wood base Edition 4/8; signed: Carlson © 16” H x 11” W x 9” D $3,000-5,000 Provenance: Bishop Gallery Art and Antiques

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5151

Stanley Quentin Johnson

(1939-2017, American) Warrior on a horse, 1989 Patinated bronze on concrete base Edition 4/50; signed and dated: Stan Johnson © / 1989 43” H x 44” W x 33” D $3,000-5,000

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5152

Stanley Quentin Johnso

(1939-2017, American) “Ponca Eagle Boy,” 1988 Patinated bronze on concre Edition 9/50; signed and d 51” H x 34” W x 19” D $2,000-4,000

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5153

Curt Mattson

(b. 1956, Arizona/California) “The Signal,” 1971 Cold painted and patinated bronze on wood base Edition 7/60; signed and dated: Curt Mattson © / 71; titled to sculpture 8” H x 7.125” W x 6” D $800-1,200

ete base dated: Stan Johnson © / 1988

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5154

Cecil E. Wakefield

(1930-2003, Phoenix, AZ) Three works: Hunter with spear and shield, 1970 Patinated bronze Edition 9/30; signed and dated: Wakefield © / 1970 12.5” H x 7” W x 12” D Standing figure with quiver and spear, 1970 Patinated bronze Edition 8/30; signed and dated: Wakefield © / 1970 11” H x 6.75” W x 5 “D Standing figure with shepherd’s hook, 1970 Patinated bronze Edition 4/30; signed and dated: Wakefield © / 1970 13.75” H x 5.5” W x 5” D 3 pieces $700-900 1 9 2 A r t of t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 3 0 , 2 0 2 1

5155

An Apache Gan Dance mask and wands

Mid-late 20th century Comprising a polychrome painted wood with black face hood and two dance wands, 3 pieces Headdress: 4” H x 40” W (excluding black mask); 25” H x 13” W $400-600

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5156

A Pair of Hopi Dance boards/tabletas

Mid-20th Century Each polychrome painted in red, turquoise, black, and white Each: 18” H x 10.75” W without sticks $300-500

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5157

A collection of Hopi painted gourd dance rattles

20th Century Unsigned Each gourd rattle variously painted with polychrome motifs, some with hide, feather, and bead elements, 18 pieces Larger: 18” L x 5” W x 4” D; Smaller: 5.5” L x 4” W x 1” D $300-500 Notes: This lot is accompanied by nine black wood stands for displaying the rattles.

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Will Evans Furniture A life-long connection with the Navajo/Diné began soon after moving

to the west with his family from Wales in 1892 at age 15. Will was introduced to Navajo culture and people through various jobs, and his interest intensified while living on the reservation as owner of the Shiprock Trading Post in New Mexico. His relationship with Navajo elders enabled documentation of both their oral and visual traditions. The strong visual images of sand paintings were translated by Evans into objects of trade including and most importantly textiles with their sacred figures. As the Great Depression affected the Southwest, this visual lexicon was applied to found objects within the community to expand trade offerings. Will incorporated Navajo sand painting images and designs into his own artistic ventures. He painted everything he could get his hands on, not only walls and murals, but also simple furniture which he often designed and bulti himself, such as the table and chairs offered in Lot 5158.

5158

A Will Evans drop leaf table with chairs from Shiprock Trading Post

Mid-20th Century The table with rectangular top centering a painted polychrome sand painting motif with four standing Yei figures flanked by various geometric motifs over two drop leaves and raised on four turned legs, with two conformingly designed chairs with net seats, 3 pieces Table: 28.5” H x 33” W x 21.5” D; Each chair: 33.5” H x 16.75” W x 13” D $1,000-1,500

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5159

A Will Evans painted bottle lamp from Shiprock Trading Post

Mid-20th Century The painted leather shade with panels centering silhouetted figures on horseback enclosed by geometric borders with whirling log motif, raise on a half-gallon glass bottle with polychrome painted geometric designs, electrified Overall: 26” H x 14.5” Dia.; Shade: 11.75” H x 14.5” Dia. $400-600

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5160

Two Will Evans painted picture frames from Shiprock Trading Post

Second-Quarter 20th Century Each wood frame painted with polychrome geometric motifs, comprising a single frame and a double frame, 2 pieces Single frame: 15.25” H x 11.5” W x 0.75” D, opening: 9” H x 7.5” W; Double frame: 17” H x 20” W x 0.75” D, each opening: 9.5” H x 7.5” W $500-700 Notes: Each frame’s backboard hand inscribed in pencil. The single frame reading: Bezohne / Atahly Yazzie / Chili Yazzie. The double frame reading: Deha’s older brother / Teec Nos Pas.

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5161

A Will Evans painted mirror from Shiprock Trading Post Mid-20th Century The square wood frame painted with polychrome geometric diamond motifs with extended ends enclosing a square mirror 27.5” H x 23.5” W x 0.75” D $300-500

5162

A rustic painted wood hutch

20th Century The wood hutch painted in crackle gree with three shelves, two with plate rails, o on four straight legs joined by a stetche 68.25” H x 37” W x 20.25” D $300-500

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en and turquoise over a table raised er and undershelf

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5163

A Hopi Siky·tki Revival pottery olla

Late 19th/Early 20th Century The wide, low shouldered vase with polychrome geometric and avian motifs on buff burnished slip glaze 9” H x 14” Dia. $1,000-1,500

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5164

A monumental Debbie Garcia Brown Acoma pottery olla

Fourth-Quarter 20th Century Signed: Debbie Garcia Brown / Acoma, N.M. The large vessel with polychrome geometric motifs enclosing Heartline deer on a white burnished slip glaze 18.5î H x 22î Dia., opening: 10.5” Dia. $1,500-2,500 Notes: This lot is accompanied by a photograph of the aritst with the vessel.

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5165

A large Robert Tenorio Kewa pottery vessel

(b. 1950, Santo Domingo/Kewa Pueblo) Signed: Robert Tenorio / Santo Domingo Pueblo N.M. / [incised stars and sun cipher] The large pot with polychrome Zia-style birds and flowers 9” H x 12” Dia. $800-1,200

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5166

A large Alvina Yepa Jemez Pueblo fineline vessel

(b. 1954, Jemez Pueblo) Signed: Alvina Yepa / Jemez Pueblo / NM The large, wide shouldered vessel with red burnished slip glaze, a sgraffito collar with stepped motif, and a fine line banded body 11” H x 15” Dia. $1,000-2,000 Provenance: Sold: Adobe Gallery Sante Fe, Santa Fe, NM, August 21, 2012 Notes: This lot is accompanied by a receipt of sale from Adobe Gallery Sante Fe, Santa Fe, NM, dated August 21, 2012.

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5167

Two Acoma pottery vessels Two works:

A Nelda Lucero Acoma pottery vase Fourth-Quarter 20th Century Signed: N. Lucero / Acoma The vase with a flared rim and all-over geometric motif with fineline details on white slip glaze 9.75” H x 7.5” Dia. An Acoma fineline pottery vase Mid-20th Century Signed: D.L. Vallo / Acoma N.M. The vase with all-over fineline motif on white and buff slip glaze 7” H x 7.5” Dia. 2 pieces $400-600

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5168

A large Kaí-Ween Pueblo pottery olla

Mid-20th Century; Tesuque, NM Signed: Kaí-Ween / Tesuque, N.M. The large, wide shouldered vase with polychrome geometric and stepped motifs on buff burnished slip glaze 11” H x 15” W $400-600

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5169

5170

(1924-2008, Hopi-Tewa) Signed: Priscilla Namingha The wide shouldered vase with polychrome avian motifs on buff burnished slip glaze

Three works:

A Priscilla Namingha Nampeyo Hopi-Tewa pottery jar

5î H x 6.5” Dia. $500-700

Three Hopi P

Two Anita Pola Second-Half 20 Each signed: A Each wide sho Larger: 5” H x

A small Frieda (1918-1994, Ho Signed: Frieda The small pot w 2.875” H x 3.7 3 pieces $400-600

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Pueblo pottery vessels

acca pots 0th Century Anita Polacca ouldered pot with polychrome geometric and avian motifs on buff burnished slip glaze 5” Dia.; Smaller: 4.25” H x 4.5” Dia.

Poleahla pot opi Pueblo) a Poleahla / Hopi with geometric and stepped motifs on buff burnished slip glaze 75” Dia.

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5171

Three Hopi pottery jars Three works:

A Nettie Ami Hopi pottery vase (1901-1992, Hopi) Signed: Nettie Ami The urn-form vase with polychrome banded geometric body on buff burnished slip glaze 6.75” H x 5.5” Dia. Two Hopi polychrome pottery low bowls Mid-20th Century or Earlier Each low bowl with polychrome geometric motifs on buff burnished slip glaze Each: 2.25” H x 6.25” Dia. approximately 3 pieces $400-600

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5172

Two Hopi pottery vessels Two works:

A Joy Navasie, Second Frog Woman, Hopi-Tewa pottery vase (1919-2012, Hopi-Tewa) 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. A Sylvia Naha Hopi-Tewa pottery vase (1951-1999, Hopi-Tewa) 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. 2 pieces $500-700

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5173

A Virginia Garcia Santa Clara Pueblo wedding vase

(b. 1963, Santa Clara Pueblo) Signed and dated: Virginia Garcia / Santa Clara / San Juan / 1995 The blackware jar with burnished slip glaze and two incised bear paw prints 14.5” H x 8.5” Dia. $800-1,200

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5174

Two Santa Clara Pueblo redware pottery vessels Two works:

A large Nicolasa Naranjo jar (1907-2002, Santa Clara Pueblo) Signed: Nicolasa / Santa Clara The redware jar with burnished slip glaze and three incised bear paw prints 9” H x 8.5” Dia. A Toni Roller jar (b. 1935, Santa Clara Pueblo) Signed: Toni Roller / Santa Clara Pueblo / 6/00 The redware jar with burnished slip glaze and three incised bear paw prints 4” H x 5.25” Dia. 2 pieces $500-700 Notes: Nicolasa Naranjo was the daughter of Tomasita Tafoya Naranjo and a niece to Margaret Tafoya. Toni Roller is Margaret Tafoya’s daughter.

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5175

5176

Two works:

20th Centu Each signe Each polyc urn-form li shaped see Larger: 10.

Two Acoma pottery vessels A polychrome pottery olla 20th Century Signed: D.W. / Acoma / NM The large olla with polychrome geometric motifs and a fineline banded neck on a white slip glaze 8.5” H x 10.5” Dia. A pottery bowl 20th Century The storage bowl with polychrome geometric and stepped motifs on a white slip glaze 5.75” H x 7” Dia. 2 pieces $400-600

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Three Lin

$500-700

nda Concho Acoma pottery vessels

ury ed: Concho / Acoma N.M. chrome vessel with geometric motifs on white slip glaze, comprising an idded vessel, a low shoulder vessel with flared neck, and a small teardroped pot, 3 pieces .25” H x 6.5” Dia.; Smaller: 4.75” H x 5.5” Dia.

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5177

Three Acoma pottery vessels Three works:

A pottery pitcher 20th Century Singed: Michelle / Acoma, N.M. The pitcher with fineline and geometric motifs on a white slip glaze 6.5” H x 5.75” Dia. A pottery bowl 20th Century Singed: R. Vicotrino / Acoma, N.M. The wide shouldered bowl with fineline and geometric motifs on a white slip glaze 6” H x 6.5” Dia. A Marie S. Juanico pottery bowl (b. 1937, Acoma) Signed: M.S. Juanico / Sky City N.M. The shouldered bowl with fineline and geometric motifs and a figurative band on a white slip glaze 3.75” H x 5” Dia. 3 pieces $400-600

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5178

A group of Acoma fineline pottery vessels Three works:

An Acoma pottery seed pot 20th/21st Century Signed: G. Louis / VL / Acoma, NM Possibly Gary Yellowcorn Louis, with fineline decoration to top and polychrome avian motif to underside on white slip glaze 2” H x 9.5” Dia. An Acoma pottery vessel 20th/21st Century Signed: Acoma / Sky City, New Mex. / M.S. With all-over black geometric and fineline motifs on white slip glaze 4.5” H x 7” Dia. An Acoma polychrome pottery vessel 20th/21st Century Signed: Acoma / RLC The wide shouldered polychrome vessel with Avanyu headed serpent and wing motif to central reserve and all-over fineline motif to white slip glaze 6.5” H x 7” Dia. 3 pieces $400-600

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5179

A group of Acoma miniature pottery vessels Two groupings:

Two Marie Zieu Chino fineline pots (1907-1982, Acoma) Each signed: M. Z. Chino / Acoma / NM Each ovoid, low shoulder vessel with a fineline collar on white burnished slip glaze Larger: 3” H x 2.25” Dia.; Smaller: 2.25” H x 2” Dia. Two Lucy M. Lewis pots (1890-1992, Acoma) Each signed: Lucy M. Lewis; One further signed: Acoma Comprising one pot with polychrome geometric motif band and one with fineline collar, each on white burnished slip glaze Larger: 2.25” H x 3” Dia.; Smaller: 1.75” H x 2.125” Dia. 4 pieces $400-600

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5180

A group of Pueblo sgraffito pottery vessels Three works:

A Gwen Tafoya sgraffito pottery bowl (b. 1965, Santa Clara Pueblo) Signed: Gwen Tafoya / SCP The red burnished slip glaze bowl with sgraffito flowers and hummingbirds 3.5” H x 5.5” Dia. A Glendora Fragua sgraffito pottery seed pot (b. 1958, Jemez Pueblo) Signed with artist’s cornstalk cipher The ovoid, red burnished slip glaze seed pot with sgraffito geometric motifs and centering a reserve with flowers and butterflies set with a turquoise 4” H x 3” Dia. A Roy Tsigowanu sgraffito pottery seed pot (b. 1957, San Juan Pueblo) Signed and dated: Tsigowanu / Kwa Povi / 6-5-85 The wide shouldered, red burnished slip glaze seed pot with sgraffito bears in a landscape 3.25” H x 4.25” Dia. 3 pieces $400-600

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5181

A group of Southwest pottery vessels Five works:

An Acoma polychrome pottery vessel 20th Century Signed illegibly to underside The wide shoulder pot with black geometric motifs on a red and buff burnished slip glaze 6.5” H x 7” Dia. A Ricardo and Victoria Ortiz San Felipe Pueblo cow jar (20th/21st Century, San Felipe Pueblo) Signed: Ricardo -N- Victoria Ortiz / San Felipe Pue. The figural cow vessel with polychrome geometric motifs on buff burnished slip glaze 7.5” H x 6.5” Dia. A Vangie Tafoya Jemez Pueblo sgraffito pottery vessel 20th Century Signed: Vangie Tafoya / Jemez / [feather cipher] The melon-form vase with sgraffito hummingbird and flower motifs on a red and buff burnished slip glaze 5” H x 7” Dia. An Adella Nampeyo pottery vessel (b.1959, Hopi) Signed: Adelle Nampeyo [corn cipher] The wide shoulder pot with a flared neck and polychrome geometric motifs on buff burnished slip glaze 4.25” H x 4” Dia. An Eileen Yatsattie Zuni frog vessel Fourth-Quarter 20th Century Signed: Eileen Yatsattie / 1/99 / Zuni, N.M. U.S.A. The wide shoulder pot with polychrome geometric motifs and raised frog heads on buff slip glaze 3” H x 4” Dia. 5 pieces $400-600

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5182

A contemporary fetish-style figural wall sculpture Fourth-Quarter 20th Century Appears unsigned Wood, fabric, glass beads, and metal charms 38” H x 17” W x 4” D $300-500

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5183

A group of Hopi kachina figures

Late 20th/Early 21st Century Three variously inscribed to underside Comprising nine polychrome painted, carved cottonwood kachina figure, some with feather, bead, and hide elements, 9 pieces Larger: 14” H x 6.5” W x 3.75” D; Smaller: 8” H x 3” W x 2.25” D $500-700

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5184

A group of Southwest kachina figures Four works:

An Alton Pashano “Red Tail Hawk” kachina figure Late 20th/Early 21st Century Carved polychromed cottonwood Signed: Red Tail Hawk - Eagle - Sun / -Hopi- / Alton Pashano / 1st Mesa 11.5” H x 4.5” W x 4.25” D A Coolidge Roy Jr. “Hawk Dancer” kachina figure Late 20th/Early 21st Century Carved polychromed cottonwood Signed: Coolidge Roy Jr. 11” H x 10” W x 7” D A “Buffalo Warrior” kachina figure Late 20th/Early 21st Century Carved polychromed cottonwood, fur, hide, and sinew Signed: Buffalo Warrior / [illegible] / 637838 11” H x 10.5” W x 4” D A “Medicine Man Dancer” kachina figure Late 20th/Early 21st Century Carved polychromed cottonwood Signed illegibly in black ink to the underside; further marked: 90 13.5” H x 5” W x 4.25” D 4 pieces $500-700

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5185

A group of Southwest kachina figures Five works:

A Harriett Navasie “Morning Singer” kachina figure 1989 Carved polychrome cottonwood Signed: 89 / Harriett Navasie 13” H x 3.25” W x 5” D A Jimmie Lucero “Crow Bride” kachina figure 1989 Carved polychrome cottonwood Signed: Crow Bride / Jimmy Lucero / Hopi / 1989 / [with artist’s device] 12.25” H x 4.5” W x 3.5” D A Myren Gaseoma “Zuni Antelope” kachina figure 1991 Carved polychrome cottonwood Signed: (Zuni Antelope) / Myron Gaseoma / -919” H x 3.75” W x 5” D

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A David Roy “Cow” kachina figure 1991 Carved polychrome cottonwood Signed: David Roy / Cow / 1991 12.5” H x 6” W x 5.5” D A “Yaponcha Taka Dust Devil” kachina figure Late 20th/Early 21st Century Carved polychrome cottonwood, feathers, and hide Marked: Yaponcha Taka / “Dust Devil” 13.25” H x 5” W x 5.5” D 5 pieces $300-500

5186

A group of Southwest kachina figures Five works:

A “Sun” kachina 1989 Carved and polychromed wood, feathers, and fur Inscribed in red ink to underside: Sun kachina / 9-16-89 / [illegible, possibly N. Lengo and G. Joe] 11.25” H x 5.25” W x 4.25” D An “Eagle” kachina Late 20th/Early 21st Century Carved and polychromed wood, feathers, fur, beads, hide, and shells Inscribed in black ink: [illegible, possibly L. Griffith] / Navajo / Eagle 13” H x 16.5” W x 11” D

An Andrew L. Sahmie “Natasra” kachina Circa 1991 Carved and polychromed wood and hide Inscribed in black ink: (Natasta) / A.L. Sahmie / Hopi / Tewa With an O’Odham Tash, Casa Grande, 1991, Arts & Crafts Third Place Ribbon 13.5” H x 6.25” W x 4” D A “Giant” kachina Late 20th/Early 21st Century Carved and polychromed wood, feathers, fur, and shells Inscribed in black ink: Giant Kachina / A.L. Beally 14.5” H x 8.25” W x 6” D A Watermelon Clown kachina 1987; Cleveland Carved and polychromed wood, fur, and hide Inscribed in black ink: Cleveland / 1987 12” H x 7.5” W x 6.5” D 5 pieces $300-500 w w w. j o h n m o r a n . c o m 2 3 1

5187

A large collection of Route 66 kachina figures

Mid-20th Century Variously inscribed in ink and pencil to underside Each souvenir carved wood kachina-style figure painted with polychrome designs, some with feather elements, 38 pieces Larger: 6.75” H x 1.75” W x 1.25” D; Smaller: 3” H x 1.75” W x 1.5” D $200-300

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John Winston

(20th/21st Century, American)

Often depicting Native Americans and western wildlife,

Winston’s work utilizes raw turquoise, mother-of-pearl, and other gemstones and minerals, and is inspired by the natural world as well as artists such as Erté and Georgia O’Keefe. The subject and message of each piece is important, and each one is different, found in the form of either a hand engraved poem, a story, and/or the title of the work on reverse, often including the carat weight of gemstones, his signature and date of creation. His one-of-a-kind pieces highlight his evolving skills in gemstone carving honed over years of work, starting at age 12. His self-taught skills in metalsmithing also developed to ensure consistently high-quality jewelry. He hails from a family of artists, with sculpture and drawing influences from mother and grandmother, and gemstone cutting initially learned from a father who came from four generations of lapidarists. As a self-taught artist, time spent in the welcoming artist community in Laguna Beach, California gave Winston inspiration and strengthened his “knowledge of craft and love for the arts.”

5188

A John Winston mother-of-pearl bolo

(20th/21st Century, American) Signed, dated, and inscribed on verso: “Eagle Spirit from the Sky” / 1 of 1 / Winston / ‘1994’ Depicting a richly detailed relief-carved eagle’s head bolo suspended by a detachable black and brown leather triple cord strap, with carved feather enhanced tips and silver ferrules Bolo: 5.5” H x 6.25” W; Tips: 2.75” L; Cord: 25” L 436.1 grams $2,000-3,000 Notes: Artist John Winston is widely known as a master carver of turquoise and other gemstones, creating unique and desirable hand-carved pieces of jewelry both large and small. Often depicting Native Americans and western wildlife, Winston’s work utilizes raw turquoise, mother-of-pearl, and other gemstones and minerals, and is inspired by the natural world as well as artists such as ErtÈ and Georgia O’Keefe. The subject and message of each piece is important, and each one is different, found in the form of either a hand engraved poem, a story, and/or the title of the work on reverse, often including the carat weight of gemstones, his signature and date of creation. His one-of-a-kind pieces highlight his evolving skills in gemstone carving honed over years of work, starting at age 12. His self-taught skills in metalsmithing also developed to ensure consistently high-quality jewelry. He hails from a family of artists, with sculpture and drawing influences from mother and grandmother, and gemstone cutting initially learned from a father who came from four generations of lapidarists. As a self-taught artist, time spent in the welcoming artist community in Laguna Beach, California gave Winston inspiration and strengthened his “knowledge of craft and love for the arts.” Winston’s ambitious and striking jewelry such as bolo ties, necklaces and belt buckles not only showcase constantly evolving skills and love of the craft, but also the importance of subjects, materials and details of production. The creation of stunning designs in rich detail seems natural for him, known for “big ideas and big dreams.” The resulting works are certainly precious enough to become family heirlooms, but with the aim to be worn by the owner, not just displayed on a shelf. “My goal as an artist is to carve large gemstone sculptures that will be discovered some 10,000 years from now creating great interest in what our generation was really about.” John Winston

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5189

A John Winston turquoise and mother-of-pearl bolo

(20th/21st Century, American) Signed, dated, and inscribed on verso: “At Trails End” / Winston / ‘94’ / 590 cts turq. / 999 silver A high relief silver and stone bolo depicting a mounted warrior with spear and robe in silver on a black leather braided strap with feather and arrow silver tips Bolo: 3.5” L x 3.25” W; Tips: 2.75” L; Cord: 40.5” L 249.9 grams gross $800-1,200 Notes: “My goal as an artist is to carve large gemstone sculptures that will be discovered some 10,000 years from now creating great interest in what our generation was really about.” John Winston

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5190

A John Winston large plaque bolo

(20th/21st Century, American) Signed, dated, and inscribed on verso: “Shaman and Eagle of Lion Desent [sic]” / Winston / “94” / R.H. / Art Slide / .001 A large bolo with an intricately detailed plaque depicting a carved turquoise face framed within silver and carved mother of pearl fur and feather designs, with cylindrical tips finished with mother of pearl and turquoise feathers, all mounted on a braided black leather strap Bolo: 3.5” H x 4.625” W; Tips: 3.5” L; cord: 41” L; from plaque top: 24.25” L (adjustable) 291.8 grams gross $1,000-1,500 Notes: “My goal as an artist is to carve large gemstone sculptures that will be discovered some 10,000 years from now creating great interest in what our generation was really about.” John Winston

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5191

A John Winston portrait bolo

(20th/21st Century, American) Signed, dated, and inscribed on verso: “One Proud Old Warrior” / Winston ‘94’ / 2 of 2 / Tegalite, Turquoise, Mother of Pearl A Native American profile portrait bolo featuring elaborately carved stone, turquoise, and mother of pearl elements on a silver plaque finished with tapered tips with stone mounted feathers, all suspended on a braided black leather strap Bolo: 3.25” H x 3” W; Tips: 5” L; Cord: 34.5” L 241.4 grams gross $500-700 Notes: “My goal as an artist is to carve large gemstone sculptures that will be discovered some 10,000 years from now creating great interest in what our generation was really about.” John Winston

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5192

A John Winston portrait buckle

(20th/21st Century, American) Signed, dated, and inscribed on verso: “Hand this Chief to Future Generations” / Winston / Higgins / ‘1994’ A Native American profile portrait buckle in silver and carved stone including turquoise 2.675” H x 4.5” W 306 grams gross $500-700 Notes: “My goal as an artist is to carve large gemstone sculptures that will be discovered some 10,000 years from now creating great interest in what our generation was really about.” John Winston

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5193

A John Winston mother-of-pearl bolo

(20th/21st Century, American) Signed, dated, and inscribed on verso: “Friend or Foe” / Winston / “93” ; Further stamped: Sterling A richly detailed carved mother of pearl and silver bolo in the shape of a wolf head, with stone set eyes, and finished with cylindrical tips with feathers, all mounted on a braided black leather cord Bolo: 2.75” H x 2.5” W; Tips: 2.5” L; Cord: 39.5” L 111.5 grams gross $400-600 Notes: “My goal as an artist is to carve large gemstone sculptures that will be discovered some 10,000 years from now creating great interest in what our generation was really about.” John Winston

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5194

A John Winston mother-of-pearl convertible bolo

(20th/21st Century, American) Signed, dated, and inscribed on verso: “Shades of O’Keefe” / Winston / 94 A carved mother of pearl convertible bolo / pendant / brooch designed in the shape of a calla lily, finished with pointed tips all mounted on a braided black leather cord Bolo: 4.75” H x 2.25” W; Tips: 2.125” L; Cord: 38.5” L 98.4 grams gross $400-600 Notes: “My goal as an artist is to carve large gemstone sculptures that will be discovered some 10,000 years from now creating great interest in what our generation was really about.” John Winston

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5195

A Sammie Kescoli Begay Navajo silver bolo and buckle set

20th Century, Diné Each stamped: S. Kescoli / Sterling; Bolo further stamped: Navajo Comprised of a heavy silver stamped bolo set with a slightly oval turquoise stone, finished with cylindrical tips all strung on a black braided leather cord (3.25” L x 2” W), and a large and heavy matching silver stamped buckle, set with an oval turquoise stone (3” H x 4” W), 2 pieces 260.6 grams gross $800-1,200

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5196

A Charlie John Navajo silver and turquoise bolo tie

(b. 1945, Diné) Stamped: CJ [Charlie John] / Sterling An oval silver bolo with heavy stamping set with an elongated oval Number 8 turquoise cabochon, a figure eight wire fitting and cylindrical tips all mounted to a heavy braided brown strap 2.75” H x 2.25” W 139 grams $500-700

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5197

A Jerry Roan silver portrait bolo

Mid-20th century or Later Etched: JR [for Jerry Roan] The high relief portrait bolo further embellished with elaborate tapered tips and feather drape, with a black leather braided strap Bolo: 3” H x 2” W; Tips: 5” L 145.1 grams $500-700

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5198

A Hopi-style sterling silver kachina bolo tie

Late 20th/Early 21st Century Stamped with bent arrow hallmarks, possibly for Kay Johnson; further stamped: ‘M’ / Made in America / Sterling Comprising a large silver kachina figure bolo with bezel set turquoise and coral on a black leather braided tie Bolo: 7” H x 5.25” W 180.6 grams $400-600

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5199

A Michael Schmaltz cluster set bolo tie

20th/21st Century, Algonquin Stamped: Michael / © / Sterling A bolo set with finely matrixed Number 8 turquoise stones with tapering silver squash blossom tips all mounted to a braided leather cord Bolo: 2.375” H x 2” W; Tips: 2” H; Cord: 38” L 74.6 grams gross $700-900

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5200

A Dennis and Nancy Edaakie Zuni inlaid bolo and buckle 20th/21st Century, Zuni Each marked: Dennis / Nancy / Edaakie Two works:

A trapezoidal shaped bolo depicting a Zuni clown kachina with watermelon inlaid with turquoise, onyx, abalone, and coral with tapered silver tips, all on a black braided leather cord 2.75” H x 2.5” W An oval belt buckle with stone inlay of a winged kachina dancer set in onyx, turquoise, abalone, and coral 2.25” H x 3” W 2 pieces 126 grams gross $700-900

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5201

Three Zuni silver and turquoise bolo ties Three works:

A round Benjamin and Shirley Tzunie bolo tie Second-Half 20th Century Etched: Benjr-Shirley Tzuni-Zuni Designed with channel inlay, mosaic inlay, and needle point inlay depicting a Tawa sun kachina at center with elaborate dangling inlay tips all suspended on a black braided leather strap Bolo: 2.625” Dia. A small Zuni needle point turquoise round bolo Second-Half 20th Century Stamped: NF Haskie / Zuni / Sterling Designed with elaborate dangling tapered silver and turquoise set tips all suspended on a black braided leather strap Bolo: 1.5” Dia. A round Zuni bolo tie Second-Half 20th Century Inlaid with mother-of-pearl, onyx, turquoise, and coral suspending silver tips on a black braided leather strap Bolo: 1.5” Dia. 3 pieces 123.3 grams gross $600-800

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5202

An Effie Calavaza Zuni silver and turquoise bolo and buckle set

Second-Half 20th Century Each stamped: Effie C. / Zuni Comprising a trapezoidal silver and turquoise serpent bolo set with turquoise and applied silver serpents with tapered silver tips suspended on a black braided leather strap (2.75” H x 2.25” W), and an oval silver and turquoise serpent buckle set with turquoise and applied silver serpents (2.125” H x 3.25” W), 2 pieces 142.4 grams gross $500-700

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5203

An Effie Calavaza Zuni turquoise and silver cuff bracelet

20th Century Stamped: Effie C / Zuni A cuff with seven set turquoise stones with applied snakes and stamped edges 7” total inner C x 1” H 81.2 grams $400-600

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5204

A large Effie Calavaza turquoise ketoh

Second-Half 20th Century Stamped: Effie C / Zuni; further etched: To Joseph Quamphone / From Benjamin and (Auntie) Rosenda Othole / December 1989 A multitude of closely set turquoise stones forming the panel, the stones separated in the center by two elaborately stamped feathers and the edges finished overall with fine stampwork Plaque: 4.625” H x 3.625” W 274.4 grams gross $1,200-1,800

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5205

A Navajo silver and turquoise ketoh arm guard

Second-Half 20th Century, Diné Appears unmarked A ketoh with a sandcast applied feather X-motif to the central plaque and set with nine turquoise stones all within a raised border, tightly attached to a black leather strap with leather ties Plaque: 4” H x 3.125” W 147.2 grams $400-600

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5206

A Henry Morgan Navajo silver and turquoise ketoh arm guard

Second-Half 20th Century, Diné Stamped: M [for Henry Morgan] / Sterling Comprised of a central plaque with deep stamping and set with a central turquoise stone, flanked by two silver concho buttons all mounted to a heavy gauge brown leather strap with buckles Plaque: 3.75” H x 2.5” W 211.8 grams $400-600

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5207

A Navajo silver and turquoise ketoh arm guard

Second-Half 20th Century, Diné Appears unmarked A ketoh with a central plaque with a repoussÈ feathered X motif, set with three bezel set turquoise stones, all tightly attached to a black leather strap with leather ties Plaque: 3.625” H x 3” W 129.0 grams $400-600

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5208

A Navajo silver and turquoise ketoh arm guard

Second-Half 20th Century, Diné Appears unmarked Comprised of a central plaque with deep stamping and a central turquoise stone, all flanked by stamped panels and tightly attached to a brown leather strap Plaque: 4” H x 3” W; Side plaques: 3.5” H x 1” W 202.6 grams $400-600

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5209

A Navajo silver and turquoise ketoh arm guard

Fourth-Quarter 20th Century, Diné Stamped to interior: RM [possibly for Robert Mayes, NM] / Sterling / 925 A sandcast central plaque with feather stamping and central turquoise stone, flanked by two butterfly conchos to each side, all attached to a black leather band with buckle and strap closure Plaque: 3.5” H x 2.5” W 160.2 grams gross $400-600

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5210

A Navajo silver and turquoise ketoh arm guard

Second-Half 20th Century, Diné Appears unmarked A heavy central plaque with stylized x-motif feathers and deep stamping with stone set turquoise, all tightly attached to a black leather strap with leather ties Plaque: 3.75” H x 3.25” W 199.6 grams $400-600

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5211

5212

Second-Half 20th Century, Diné Appears unmarked A ketoh with a large elaborately stamped silver plaque with X-motif flanked by three round concho buttons to each side, all tightly attached to a brown leather strap Plaque: 4” H x 3.25” W; Each button: 1.25” Dia. 219.2 grams

Second-Half 20th Century, Diné Stamped with conjoined WAT; Sterling Silver] A ketoh with a repoussÈ and st flanked by miniature conchos a strap with leather ties Plaque: 4” H x 3.25” W 164.3 grams gross

A Navajo silver ketoh arm guard

$400-600 Notes: Tag reads: Griswold: #302718

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A Navajo silver and turquo

$400-600

Notes: Tag reads: Griswold # 9

oise ketoh arm guard

é Further stamped: IHMSS [for Indian Handmade

tamped central plaque set with five turquoise stones, and butterflies, all tightly attached to a black leather

5213

A Navajo silver and turquoise ketoh arm guard

Fourth-Quarter 20th Century, Diné Appears unmarked A ketoh with a cast butterfly motif with central sawtooth bezel set turquoise stone, all tightly attached to a black leather strap with leather ties Plaque: 3” H x 2.25” W 85.9 grams $300-500

910528

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5214

A large Navajo silver concho belt

Mid-20th Century, Diné Appears unmarked A belt featuring six large conchos with a matching buckle on a brown leather strap Each concho and buckle: 4” H x 6” W; Leather strap: 49” L x 2” H 1,142.4 grams gross $1,000-1,500

2 6 8 A r t of t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 3 0 , 2 0 2 1

5215

A Navajo silver and turquoise concho belt

Second-Half 20th Century, Diné Stamped: EJ [probably for E. Jackson] Comprised of one cluster set buckle with nine butterfly conchos and eight round conchos set with bezel set small turquoise stones, all on a brown leather belt Buckle: 2.5” H x 3.5” W; Large concho: 2.25” Dia.; Small concho: 2.375” H x 1.75” W; Leather belt: 40.5” L x 1.75” H 818.1 grams gross $1,000-1,500

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5216

A Navajo silver concho belt

Fourth-Quarter 20th Century, Diné Stamped: WS. [possibly for Willie Shaw, Diné, or Wilbert Secatero] / Sterling Designed with nine conchos and one matching buckle all mounted to a black leather belt Each concho and buckle: 2.75” H x 3.25” W; Leather strap: 39.25” L 632.1 grams gross $600-800

2 7 0 A r t of t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 3 0 , 2 0 2 1

5217

An Andrew Todacheene Navajo silver animal concho belt

Fourth-Quarter 20th Century, Diné Stamped: [pictograph X with mountains] / Todacheene [for Andrew Todacheene, Diné] / Sterling / Hand Made / © Comprising twelve rectangular conchos, a buckle and keeper in Hopi style elaborate overlay in silver topped with brass and silver, with each concho depicting an animal, while buckle and keeper depict various figures and ceremonial items, all together on a black leather belt 46.75” L x 1.25” H; Buckle: 2.6” H x 3” W; Leather length: 45.5” 475.7 grams $600-800

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5218

A Navajo Benjamin Becenti concho belt

Fourth-Quarter 20th Century Stamped: BB Designed with eight rectangular conchos and a buckle depicting scenes of everyday life inlaid with mother-ofpearl, coral, onyx, and turquoise 42.25” L x 1.825” H; Buckle: 1.825” H x 3” W 421 grams $600-800

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5219

A Benjamin Becenti silver and stone inlay storyteller concho belt

Third-Quarter 20th Century, Diné Stamped: BB [for Benjamin Becenti] Nine conchos and a buckle with variously inlaid scenes in multiple stones depicting domestic life, on a brown leather belt Each: 2.5” H x 3” W; Leather belt: 39” L x 1.5” H 563.5 grams gross $700-900

2 7 4 A r t of t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 3 0 , 2 0 2 1

5220

A Benjamin Becenti Navajo concho belt

Fourth-Quarter 20th Century, Diné Stamped: BB / Sterling Featuring nine silver conchos with a buckle, all with multistone inlay of blue birds on branches 44.5” L x 2.25” H; Each concho and buckle: 2.25” H x 3.25” W; Leather: 42.5” L 483.9 grams gross $600-800

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Bid Now

Art of the American West Online Tuesday, November 30, 2021—2pm

A Navajo pictorial weaving, by Betty R. Begay $400/600

Consignment and Auction Inquiries: marandam@johnmoran.com

bid in person - absentee - telephone - live online 145 East Walnut Ave, Monrovia, CA 91016 | www.johnmoran.com · info@johnmoran.com · (626) 793-1833 2 7 6 A r t of t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 3 0 , 2 0 2 1

Consign Today Art of the American West May 2021

Jason Rich (b. 1970/71, Logan, UT) “Working Sun to Sun,” 2011

Price Realized: $12,500 Consignment Inquiries: marandam@johnmoran.com

bid in person - a bsentee - telephone - live online 145 East Walnut Ave, Monrovia, CA 91016 | www.johnmoran.com · info@johnmoran.com · (626) 793-1833 w w w. j o h n m o r a n . c o m 2 7 7

2 7 8 A r t of t h e Am e r i c a n We s t l Tu e sd ay, Nov e mb e r 3 0 , 2 0 2 1

Condition Reports

w w w. j o h n m o r a n . c o m 2 7 9

5001 Overall good condition commensurate with age and use. 5002 Rim with two stitches lost, and other stich losses scattered to hip, otherwise good condition commensurate with age.

5012 Each in overall good condition commensurate with age and use.

5003 Overall good condition commensurate with age and use. Three stitch losses to rim.

5013 Each in overall good condition commensurate with age and use.

5004 Each in overall good condition commensurate with age and use.

5014 Each with sections of stitch loss and heavy shelf wear, dust accumulation commensurate with age.

5005 Overall good condition commensurate with age and use. Inside with a 2” spot of darked staining with slight evidence to finished side.

5015 Overall good condition with scattered scuffs, scratches, and wear commensurate with age and use. Polychrome sinew with cracking from drying. Wood with minor nicks.

5006 Overall good condition commensurate with age and use. 5007 Overall good condition commensurate with age and use.

Condition Reports

5008 Overall good condition with dust accumulation commensurate with age and use. Structurally good condition. Scattered minor lost stiches to interior and spots of darkening, possibly burn/blackened areas.

280

5011 Each in overall good condition commensurate with age and use. Larger basket with stich losses to interior and discoloration to inside bottom.

5009 Overall good condition with dust accumulation and darkening commensurate with age and use. Structurally good condition. Scattered lost stitches to rim. 5010 Overall good condition with dust accumulation commensurate with age and use. Structurally good condition. Light fading to interior. Approximately one lost stitch art rim.

5016 Each overall fair condition with scattered scuffs, scratches, nicks, and wear commensurate with age. Points with rusting. Wear with losses to fletching. One with break at middle of shaft but both pieces remaining. 5017 Overall good condition with wear, dust accumulation, and minor scuffs and scratches commensurate with age. Stone with inherent surface-reaching fractures, inclusions, and abrasions. Base underside with two chipped holes occurring along an inherent fracture hairline, possibly dating to time of manufacture. 5018 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and indentations commensurate with age. Polychromed surface with darkening, rubbed wear, and chips. 5019 Overall good condition with wear and dust commensurate with age and materials. The right wing slot has been repaired and original wood section replaced with smaller element. Scuffs and minor flaws scattered throughout.

5020 Each in overall good condition with dust accumulation and wear commensurate with age. Scattered scuffs to paint and imperfections inherent to wood. Largest with loose raffia. 5021 Overall good condition with dust accumulation and scuffs commensurate with age. Other flaws intrinsic to wood. 5022 Each in overall good condition with dust accumulation, scuffs and flaws inherent to wood. Feathered mask with residual glue to one eye joint, blue paint with discoloration to scattered edges and loss of several feathers. 5023 Each overall good condition with dust accumulation, scuffs and intrinsic flaws to wood. Largest mask with loose raffia. 5024 Overall good condition commensurate with age and use.

5028 Visual: Generally good condition. Fine craquelure throughout. Light stretcher bar creases along the four edges. Frame abrasion along the four edges. Artist’s pinholes along the upper edge. Blacklight: Spots of touch-up scattered throughout the sky in the center, the largest dime-sized. A quarter-sized area of restoration lower left with corresponding patch verso. Frame: 36.25” H x 53” W x 1.25” D

5029 The sheet with wide margins, slightly unevenly trimmed along the right vertical edge. Mat staining and some occasional foxing showing in the margins and on the verso. Remains of old brown paper tape along the verso of the top margin edge. Frame: 21.5” H x 25.5” W x 1.5” D 5030 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Frame: 30.25” H x 40.25” W x 2” D

5026 Overall good condition commensurate with age and wear. Noticeable water spots throughout and hardening to some arm fringe. Intrinsic imperfections to hide and adhesive residue to one shoulder. 5027 Overall good condition with soiling/discoloration and typical signs of wear commensurate with age and use. Issues include, but not limited to: pilling to surface of hide.

5031 Visual: Generally good condition. Minor frame abrasion along the four edges. Blacklight: A possible small spot of touch-up lower right near the signature. Difficult to read under varnish. Frame: 27.5” H x 33.5” W x 2.5” D 5032 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Frame: 27.5” H x 47.5” W x 2” D

5033 Generally good condition. Not examined out of the frame. Frame: 25.5” H x 26.5” W x 1” D

Condition Reports

5025 Overall good condition with scattered scuffs nad flaws inherent to wood.

281

5034 Generally good condition. Very minor toning to the paper. Not examined out of the frame. Frame: 30.25” H x 36.25” W x 1” D

5035 Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age. Wood base with scattered scuffs, scratches, and nicks. With base: 25.5” H x 26” W x 22” D 5036 Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age. Wood base with scattered scuffs. With base: 6.75” H x 14.75” W x 8.5” D 5037 Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age. Wood base with scattered scuffs. With base: 14” H x 6” W x 5” D 5038 Overall good condition with shelf ware and scattered minor scuffs and scratches commensurate with age.

5042 Visual: Generally good condition. Stretcher bar crease along the upper edge. A tiny hole in the canvas upper right. Blacklight: No evidence of restoration under blacklight. Frame: 27.75” H x 31.75” W x 2.75” D 5043 Visual: Generally good condition. A 1.5” scattered scuff mark upper right. Blacklight: No evidence of restoration under blacklight. Frame: 14.25” H x 22.25” W x 1.25” D 5044 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Frame: 17.75” H x 15.75” W x 1.5” D 5045 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Frame: 14.25” H x 16.25” W x 2.25” D

Condition Reports

5039 Overall good condition with scattered scuffs commensurate with age. Horse wobbly with break to horse’s leg.

282

5046 Visual: Generally good condition. A small hole in the canvas along the upper right edge.

5040 Overall good condition with scattered scuffs commensurate with age. Man and horse wobbly with prior repaired breaks to horse’s legs.

Blacklight: No evidence of restoration under blacklight.

5041 Visual: Generally good condition.

5047 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 18” H x 22” W x 1.5” D

Frame: 37” H x 85” W x 1.5” D

Frame: 12.75” H x 13.75” W x 1.25” D

Blacklight: No evidence of restoration under blacklight. Frame: 18.75” H x 22.75” W x 2” D 5049 Visual: Generally good condition. Vertical creases to the board upper left and upper right. A small fleck of paint loss upper center.

5054 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Frame: 39” H x 33” W x 2” D

5055 Visual: Generally good condition. Minor surface dirt and grime.

Blacklight: Small spots of touch-up in the sky upper left and upper right.

Blacklight: A small spot of touch-up upper left. A scattered 1” line and a small spot of touch-up left center.

Frame: 23.5” H x 31.5” W x 1.5” D

Frame: 31.75” H x 25.75” W x 2” D

5050 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Frame: 27.5 H x 37.75 W x 3” D 5051 Visual: Generally good condition. Craquelure scattered throughout. Stretcher bar creases along the four edges. The canvas is slightly loose. Blacklight: A 4” x 2” ‘L’-shaped area of touch-up in the lower right corner. Frame: 29” H x 35” W x 1.5” D 5052 The sheet slightly rippled and also trimmed very slightly into the image. Toning recto and verso. A small paper loss at the top right corner. Surface losses in a few places near the vertical edges, the largest approximately pea-sized. The sheet is loose, not mounted. Frame: 32.5” H x 41.5” W x 1.75” D 5053 Visual of each: Generally good condition. Minor surface dirt and grime. Blacklight of each: No evidence of restoration under blacklight. Frame of largest: 25” H x 21” W x 2” D

5056 Each in overall good condition with light tarnishing, and scratches commensurate with age and use. Scattered stones with abrasions. Gold tested positive for 14K. 5057 Each in overall good condition with light tarnishing and scratches commensurate with age and use. 5058 In overall good condition with tarnishing and scratches commensurate with age and use. Stones with scattered abrasions. One bead at loop closure end is slightly crushed. 5059 Each in overall good condition with light tarnishing and scratches commensurate with age. Scattered stones with abrasions. 5060 Each in overall good condition with light tarnishing and scratches commensurate with age. Scattered stones with abrasions. 5061 In overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures.

Condition Reports

5048 Visual: Generally good condition. Minor surface dirt and grime.

283

5062 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures. Screwpost mount of one earring slightly bent.

5071 Each in overall good condition with light scratches and tarnish commensurate with age. Scattered stones with abrasions and tiny chips. A few stones with surface-reaching fractures. A couple of chunky beads have chips near string holes.

5063 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures.

5072 Overall good condition with tarnishing and light scratches commensurate with age and use. Tiny chip to one side of charoite on side face. Remnant of old paper label visible on inner surface.

5064 Overall good condition with light tarnishing and scratches commensurate with age. Scattered stones with abrasions. Hairline crack to one wing at 2 points, visible under magnification.

5073 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions.

5065 In overall good condition with tarnishing and scratches commensurate with age and use. Scattered stones with abrasions, and surface reaching fractures. Some stones with tiny chips. 5066 In overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. A few minor areas of missing inlay. 5067 Each in overall good condition with scratches and tarnish commensurate with age and use. Scattered stones with abrasions.

Condition Reports

5068 Each in overall good condition with light tarnishing and scratches commensurate with age.

284

5069 Each in overall good condition with light tarnishing and scratches commensurate with age. Scattered stones with abrasions. 5070 Each in overall good condition with scratches and light tarnish commensurate with age. Scattered stones with abrasions.

5074 In overall good condition with light tarnishing and scratches commensurate with age. Scattered stones with abrasions. 5075 Overall good condition with light tarnishing and scratches commensurate with age. Scattered stones with abrasions. 5076 Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and naturally occurring flaws. One stone with a crack, and one with a small chip. 5077 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. 5078 Each in overall good condition with light tarnishing and scratches commensurate with age. Stones with scattered abrasions. 5079 Overall good condition with tarnishing and light scratches commensurate with age and use. Number marked in black pen on inside surface.

5080 Overall good condition with light tarnishing and scratches commensurate with age. Scattered stones with abrasions.

5090 Each in overall good condition with tarnishing and scratches commensurate with age and use. Stones with scattered abrasions.

5081 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions.

5091 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions.

5082 Overall good condition with light tarnishing and scratches commensurate with age and use. Stone with scattered abrasions.

5092 Each in overall good condition with light tarnishing and scratches commensurate with age. One bracelet lacking a stone. Scattered stones with abrasions. Large cuff turquoise with small fractures to some stones.

5084 Overall good condition with light tarnishing and scratches commensurate with age. Scattered stones with abrasions. 5085 Overall good condition with light tarnishing and scratches commensurate with age and use. Stone with scattered abrasions. 5086 Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions. 5087 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. 5088 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. 5089 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

5093 Each in overall good condition with light tarnishing, denting, and scratches commensurate with age and use. Scattered stones with abrasions. 5094 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures. 5095 Each in overall good condition with tarnishing and scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures. 5096 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. one ring with wear to overlay on verso. Turquoise stone has surface reaching fractures and natural staining to one end. Malachite ring has wear and some separation to bezel points, with no loss. 5097 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions.

Condition Reports

5083 Overall good condition with light tarnishing and scratches commensurate with age. Scattered stones with abrasions.

285

5098 Each in overall good condition with light tarnishing and scratches commensurate with age. Scattered stones with abrasions, some with surface reaching fractures. Second bracelet stones have a few minor fractures.

5105 Visual: Generally good condition. Scattered flaking and paint loss down the left center of the painting and across the lower left edge due to verso water damage. A verso indentation in the canvas from a framing nail lower center.

5099 Visual: Generally good condition. A tiny speck of grime at upper center.

Blacklight: Small spots of touch-up upper left and upper right.

Blacklight: No evidence of restoration under blacklight. Frame: 28” H x 28” W x 2.5” D 5100 Generally good condition. Artist’s pinholes in the four corners. The paper has been laid down as stated.

Frame: 24.25” H x 32.25” W x 2.5” D 5106 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Two pinhead-sized specks of uneven varnish application lower center. 35” H x 37” W x 1.5” D

Frame: 14.75” H x 12.75” W x 2” D

Condition Reports

5101 Visual: Generally good condition.

5107 Visual: Generally good condition. A very unobtrusive, pinhead-size surface abrasion at the outermost edge of the upper right corner.

Blacklight: Scattered small areas that fluoresce slightly near the lower edge, the largest approximately 1” x 4.” No evidence of touch-ups under blacklight.

Blacklight: No evidence of restoration under blacklight.

Frame: 30” H x 35.5” W x 3” D

Unframed

5102 Visual: Generally good condition.

5108 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight. Slightly uneven varnish application

Blacklight: No evidence of restoration under blacklight.

Frame: 41” H x 47” W x 2” D

Unframed

5103 Generally good condition. The paper slightly toned and with scattered very pale foxing. Not examined out of the frame.

5109 Visual: Generally good condition. A small line of paint loss upper right.

Frame: 20.75” H x 16.25” W x 1.5” D

Blacklight: No evidence of restoration under blacklight. Unframed

5104 Generally good condition. Pale light-staining. An unobtrusive speck of white pigment at left, most likely by the hand of the artist. Frame: 19.5” H x 21” W x 1” D

5110 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Unframed

286

Blacklight: No evidence of restoration under blacklight. Unframed 5112 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Unframed 5113 Visual: Generally good condition aside from three pressure marks with attendant surface abrasions along the right vertical edge, the largest approximately peasized. The aforementioned marks do not affect the image and are not visible when framed.

5117 Visual: Generally good condition. Scattered craquelure. Stretcher bar creases along all four edges. A few stray spots of thin, white pigment, upper left, the largest approximately pea-sized. Two very unobtrusive, delicate scratches at lower right, the longest 1.5.” Blacklight: Apparently no restoration under blacklight. Difficult to read under varnish. Frame: 24” H x 22.5” W x 2” D 5118 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Frame: 32” H x 38” W x 1.5” D 5119 Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age. Bronze with areas of verdigris. Wood base with scattered scuffs, scratches, and chips to painted finish.

Blacklight: No evidence of restoration under blacklight.

With base: 67.5” H x 25” W x 30.5” D

Frame: 8.5” H x 10.375” W x 1.25” D

5120 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: minor areas of pulled stitches and minor soiling/staining to both sides.

5114 Visual: Generally good condition. Occasional minor frame abrasions in places along the outermost edges. Blacklight: No evidence of restoration under blacklight. Frame: 50” H x 98” W x 1.5” D 5115 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Unframed 5116 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Frame: 27” H x 23” W x 2.25” D

5121 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: areas of dye migration, scattered minor pulled stitches, and a 1.5” area of broken wefts at one selvage edge. 5122 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: light fading to top and bottom bands on both sides, localized areas of minor pull stitches, two small dime-sized holes to one corner. 5123 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use.

Condition Reports

5111 Visual: Generally good condition. Damage to the upper left corner with minor paint loss. An indentation in the canvas with a tiny fleck of paint loss along the upper left edge. Scattered tiny flecks of paint loss along the upper right edge.

287

5124 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: one side slightly faded and possible shrinkage to selvage edges causing buckling. 5125 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: soiling/ staining, light fading to Side A, scattered pulled stitches, each corner with fraying, fraying with loss to selvage edge and breaks to the selvage cords, and possible reweaving to one end. 5126 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered very minor pulled stitches, Side A with fading, and scattered minor areas of possible grazing from moths. 5127 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. 5128 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use.

Condition Reports

5129 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered minor pulled stitches.

288

5132 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. 5133 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: very light soiling/dust to both sides and a localized area of one pulled stitch near upper fringe. 5134 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: possible light fading to Side A. 5135 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. 5136 Overall fair to good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered pulled stitches, scattered patches and repairs, scattered small holes from possible moth damage, areas of soiling/staining, and color variation in dye. 5137 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: very minor evidence of moth damage, a hole approximately two warps and a spot of surface grazing.

5130 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered minor pulled stitches.

5138 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered minor staining/soiling to both sides; scattered pulled stitches, mostly to selvage edges; and areas of possible color variation in dye.

5131 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: light soiling to both sides.

5139 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: minor soiling/ staining and color variation in dye.

5141 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered minor pulled stitches and areas of slight color variation in dye. 5142 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: light soiling/ staining, scattered areas of moth damage with grazing and small holes, light fading to Side A, and color variation in dye. 5143 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: soiling/ staining, dye migrration, possible fraying to corners or remnant of cuts tassels, and areas of moth damage with grazing and small holes. 5144 Overall fair to good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading, dye migration, scattered soiling and staining with organic residue, pulled stitches, and light fraying to selvage edges with repairs. 5145 Each overall good condition with dust accumulation and typical signs of wear commensurate with age and use. 5146 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered minor pulled stitches. 5147 Each 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 one small area of color variation in dye.

5148 Overall good condition with tarnishing and light scratches commensurate with age. Silver unmarked but holds for sterling in acid test. 5149 Overall good condition with minor scuffs and oxidation to bronze commensurate with age. Adhesive felt pad to underside. With base: 16.125” H x 7” W x 9” D 5150 Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age. Adhesive felt pads to underside. With base: 17.5” H x 12.75” W x 10.25” D 5151 Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age. Base with crevasses and chipped imperfections intrinsic to the material and production. With base: 62” H x 44” W x 33” D 5152 Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age. Base with crevasses and chipped imperfections intrinsic to the material and production. With base: 69.5” H x 37” W x 20” D 5153 Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age. Adhesive felt pads to underside. Wood base with scattered scuffs. With base:9.75” H x 8.125” W x 7” D 5154 Each overall good condition with minor scuffs and oxidation to bronze commensurate with age. Each with adhesive felt pads to underside.

Condition Reports

5140 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered minor pulled stitches.

289

5155 Headdress in overall good condition with apoxy residue to central panel and two side panels. Wear and distressed finish intrinsic to design. Cloth mask shows use, soiling, discoloration and tears. Dance wands with a circular point missing and scattered paint loss concentrated in central black circles.

5163 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Scattered dark scuffs, rubbed losses to slip painted designs, and minor flaked/chipped losses to slip glaze. No evidence of repairs or restorations under blacklight.

5156 Each in overall good condition with wear, scuffs, and fading commensurate with age and use.

5164 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. No evidence of repairs or restorations under blacklight.

5157 Each overall good condition with scattered scuffs, scratches, rubbed wear, and minor chipping to the paint commensurate with age. Some with minor hairline cracks to gourds. 5158 Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Each with scattered flaking, chips, and rubbed wear to painted designs. Modern reinforcements. Table with leaves up: 38” D

Condition Reports

5159 Overall fair to good condition commensurate with age. Leather shade with scattered cracking and chipping to paint, cracking to leather from drying, and four panels with tears and previous repairs. Glass bottle with scattered flaked losses to paint. Wiring should be checked by a qualified electrician prior to use.

290

5160 Each overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Each with scattered cracking and chipping to paint. 5161 Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. With crackle effect to the paint and scattered chipping. Bottom left corner with a 1” chip. 5162 Overall fair to good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Visible nails with rusting.

5165 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Issues include, but are not limited to: a minor chip to the rim and scattered chipping to foot underside, largest 2.5”. 5166 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. No evidence of repairs or restorations under blacklight. 5167 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 5168 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. No evidence of repairs or restorations under blacklight. 5169 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. A small, pin hole-sized area of surface scratching/chipping to slip glaze. No evidence of repairs or restorations under blacklight. 5170 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Each with rubbed wear to the painted designs and scattered flaking/chipping to the slip glaze. The Poleahla with minor chips to the rim. No evidence of repairs or restorations under blacklight.

5172 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The Naha with a small pinhole to the rim, inherent to the time of manufacture. No evidence of repairs or restorations under blacklight. 5173 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. No evidence of repairs or restorations under blacklight. 5174 Each overall good condition with shelf wear, scattered scuffs, scratches, and inherent firing flaws commensurate with age. The Naranjo with a 2.25” scratch to the shoulder. No evidence of repairs or restorations under blacklight. 5175 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The smaller with minor fleabites/chips along rim. No evidence of repairs or restorations under blacklight. 5176 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Tall urn with minor fleabite to rim. No evidence of repairs or restorations under blacklight. 5177 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Each with rubbed wear and minor flaked losses to the slip glaze. The Vicotrino and Juanico vessels with scattered minor pinholes/ nicks to the slip glaze. No evidence of repairs or restorations under blacklight.

5178 Each overall good condition with minor scuffs, scratches, and inherent firing flaws commensurate with age. No evidence of repairs or restorations under blacklight. 5179 Overall good condition with shelf wear, scattered scuffs, and inherent firing flaws commensurate with age. Each with rubbed wear to painted designs. One Chino with scatter minor chips to the rim. No evidence of repairs or restorations under blacklight. 5180 Each overall good condition with shelf wear, scattered scuffs, scratches, and inherent firing flaws commensurate with age. No evidence of repairs or restorations under blacklight. 5181 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The larger with more prominent scuffing. No evidence of repairs or restorations under blacklight. 5182 Overall good condition with dust accumulation commensurate with age. Inherent imperfections to the wood. 5183 Each overall fair to good condition with shelf wear and rubbed wear to painted surfaces commensurate with age. Scattered breaks, losses, and prior glued repairs throughout. 5184 Each overall fair to good condition with shelf wear and rubbed wear to painted surfaces commensurate with age. Some with scattered prior repairs. Redtailed hawk with a small chip to head feathers verso. Hawk Dancer with prior glued repair joining foot to base and to wing. Buffalo Warrior with prior glued repair and subsequent loosening to bow. Medicine Man Dancer with prior glued repair to feathers. 5185 Each overall good condition with shelf wear and rubbed wear to painted surfaces commensurate with age. Some with scattered repairs. Morning Singer with glued repair to tree. Zuni Antelope with glued repair to staff. Cow with glued repair to staff.

Condition Reports

5171 Each overall good condition with shelf wear, scattered scuffs, and inherent firing flaws commensurate with age. The Ami with scattered areas of rubbed wear to slip painted designs. Each low bowl with dark scuffing and rubbed wear to underside, one with remnant of adhesive label.

291

5186 Each overall good condition with shelf wear and rubbed wear to painted surfaces commensurate with age. Some with various repairs. The Sun kachina with loosening to feather rays and left arm. The Natasra kachina with glued repairs to feather and saw. The Giant kachina with a loosening/break to right foot and left foot detached from the base, causing it to wobble. 5187 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, rubbed wear, and flaking to the paint commensurate with age. Approximately three with loose parts or glued repairs. 5188 Overall good condition with light tarnishing and scratches commensurate with age and wear. Some residue on shell carving. Light wear to leather cords. 5189 Overall good condition with light tarnishing and scratches commensurate with age. Stones with scattered abrasions. 5190 Overall good condition with light tarnishing and scratches commensurate with age and wear. Scattered stones with abrasions. Some residue on shell carving. Light wear to leather cords

Condition Reports

5191 Overall good condition with light tarnishing and scratches commensurate with age and wear. Stones with scattered abrasions. Bolo has large missing stone in lower section. Some residue on shell carving. Light wear to leather cords.

292

5192 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. 5193 Overall good condition with light tarnishing and scratches commensurate with age and wear. Small chip to one ear tip. Light wear to leather cords.

5194 Overall good condition with light tarnishing and scratches commensurate with age and wear. Wear to leather cord. 5195 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

5196 Overall good condition with scratches commensurate with age. Scattered abrasions. 5197 Overall good condition with light tarnishing and scratches commensurate with age. 5198 In overall good condition with light tarnishing and scratches commensurate with age. Scattered stones with abrasions.

5199 In overall good condition with light scratches and tarnish commensurate with age and use. Scattered stones with abrasions. 5200 Each overall good condition with light tarnishing and scratches commensurate with age. Scattered stones with abrasions. 5201 Each in overall good condition with light tarnishing and scratches commensurate with age. and use. Scattered stones with abrasions. 5202 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. 5203 In overall good condition with light tarnishing, and scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures.

5205 Overall good condition with scratches commensurate with age and use. Scattered stones with abrasions. Leather worn. Central plaque not removed from leather backing to identify if it is marked for maker or for silver content. 5206 Overall good condition with light tarnish and scratches commensurate with age and use. Stone with scattered abrasions. Leather lightly worn. 5207 Overall good condition with scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures. Leather worn. Central plaque not removed from leather backing to identify if it is marked for maker or for silver content. 5208 Overall good condition with light tarnish and scratches commensurate with age and use. Stone with scattered abrasions. Leather lightly worn. Central plaque not removed from leather backing to identify if it is marked for maker or for silver content. 5209 Overall good condition with scratches commensurate with age and use. Leather lightly worn. 5210 Overall good condition with scratches commensurate with age and use. Scattered stones with abrasions. Leather worn. Central plaque not removed from leather backing to identify if it is marked for maker or for silver content. 5211 Overall good condition with light tarnish and scratches commensurate with age and use. Leather lightly worn. Central plaque not removed from leather backing to identify if it is marked for maker or for silver content.

5212 Overall good condition with scratches commensurate with age. Scattered stones with abrasions. Leather worn. 5213 Overall good condition with tarnishing and scratches commensurate with age and use. Stone with scattered abrasions. Leather lightly worn. Central plaque not removed from leather backing to identify if it is marked for maker or for silver content. 5214 Each in overall good condition with tarnishing and scratches commensurate with age and use. One concho has slightly bent scallop edge, apx 0.75”. Leather strap is worn. 5215 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions, surface reaching fractures and small chips. Leather is lightly worn. 5216 Overall good condition with light tarnishing and scratches commensurate with age and use. Leather worn. 5217 Overall good condition with tarnishing and light scratches commensurate with age and use. Leather worn. 5218 Overall good condition with tarnishing and light scratches commensurate with age. Scattered minor abrasions to some stones. The top of the belt has been torn to a point. 5219 Overall good condition with tarnishing and light scratches commensurate with age and use. 5220 Overall good condition with tarnishing and light scratches commensurate with age and use. Scattered stones with minor abrasions.

Condition Reports

5204 Plaque in overall good condition with light tarnishing and scratches commensurate with age. Scattered stones with abrasions, a few with small fractures. One stone with small missing section. Leather worn and stiff, with laces missing or replaced.

293

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

SPECIALISTS

Head of Sale, Western, American Indian Specialist Maranda Moran Senior Vice President, Fine Art Director Morgana Blackwelder AAA Fine Art Cataloguer Anne Spink Furniture & Decorative Arts Cataloguer Shannon Dailey Silver Jewelry Cataloguer Sally Andrew Junior Specialist / Senior Fine Art Cataloguer Bobby Cullen Fine Art Administrator Angela Bryant Vice President, Furniture & Decorative Arts Director Roland Rynkiewicz 20th Century Design Specialist John Simon Taylor Furniture & Decorative Arts Department Manager / Junior Specialist Danielle Kim Jewelry Director Mollie Burns Keith, G.J.G

CLIENT SERVICES

Office Manager Mario Esquivel Client Services Ella Fountain

OPERATIONS

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

MARKETING

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

PHOTOGRAPHY

Photographer Keith Berson Photographer Madison Torres

TRUSTS & ESTATES

Department Manager Noelle Valentino AAA Department Administrator Allison Allyn

FOUNDERS

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

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

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

BIDDING INCREMENTS:

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

View Illustrated Catalogue Online @ www.johnmoran.com

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

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

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art - jewelry - decorative objects - furnishings and more Sold at John Moran Auctioneers: A Cahuilla Mission polychrome snake motif basket

Price Realized: $7,800

SINCE 1969

AUCTIONEERS & APPRAISERS

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SINCE 1969

AUCTIONEERS & APPRAISERS

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