SALE 835 | Western Paintings and Sculpture including Contemporary Native American Art by Hindman

Western Paintings and Sculpture including Contemporary Native American Art May 6, 2021

Western Paintings and Sculpture including Contemporary Native American Art SALE 835 Thursday, May 6, 2021 | 9am MT | Denver Lots 1–405 P R E V I E W B Y A P P O I N T ME N T O N LY P RO P E R T Y P I C K U P H O U R S Monday - Friday | 9:00am – 4:30pm By appointment only. All property must be paid for within seven days and picked up within thirty days per our Conditions of Sale. PHOTOGRAPHERS Zoë Bare Tyler Chumney Conor Crookham Alexandria Dreas David Jackson Alex Mikev Mike Reinders James D. Balestrieri, Catalogue Consultant CONTENTS Western Paintings & Sculpture Session I Lots 1-290 Contemporary Native Art Session II Lots 291-405 Auction Inquiries Conditions of Sale

4-137 138-175 177 178-182

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Cover Lot 181 | Joseph Henry Sharp (American, 1859-1953) Eagle Star Above Lot 216 | Joe Beeler (American, 1931-2006) Chief, edition 3/40

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Western Paintings and Sculpture including Contemporary Native American Art LOTS 1 – 290 LOTS 291 – 405 P RO P E R T Y F RO M T H E E S TAT E S O F Norma and David McIntyre, Los Angeles, California Avis Hope Truska, Scottsdale, Arizona Sandra Lee Vosburgh, Atlanta, Georgia Patricia Ann Black Smyth Santa Fe, New Mexico Gary P. Grunau, Milwaukee, Wisconsin Harold and Carlyn Leeper, Chicago, Illinois Billie Ross, Chicago, Illinois Anne B. Eldridge being sold to benefit the Booth Western Art Museum and The Salvation Army, Atlanta, Georgia P RO P E R T Y F RO M T H E C O L L E C T I O N S O R I N S T I T U T I O N S O F Property being sold to benefit the art collections at the University of Denver, Denver, Colorado Property being sold to benefit The Allan Houser Foundation, Santa Fe, New Mexico Property being sold to benefit Grand Teton National Park Foundation, Jackson, Wyoming Property being sold to benefit the Mission and Vision of the Couse-Sharp Historic Site, Taos, New Mexico Mr. Whitney Buchanan, Albuquerque, New Mexico Mr. David Torgerson, Denver, Colorado Mr. Lawrence H. Kyte, Cordillera, Colorado Mrs. A. Edward Allinson, Palm Beach, Florida Ms. Edrie Shenuski, Peoria, Arizona Mr. Ross Hubbard, Naples, Florida Leonard Stark, Chicago, Illinois John McDade, Phoenix, Arizona Barbara Noonan, Chicago, Illinois Lynch Four LLC, Edwards, Colorado Robert B. Riley, Urbana, Illinois Barbara and Gabe Alovis, Scottsdale, Arizona Jane and Terry Bradshaw, Alpharetta, Georgia Del Pelton, Scottsdale, Arizona The Ginny L. Williams Collection, Denver, Colorado A Private Collection, Houston, Texas A Private Collection, Santa Fe, New Mexico An Important Colorado Collection An American Corporation Please note that property in this sale is located in both Denver, Colorado and Cincinnati, Ohio. Buyers will be responsible for arranging shipping from the appropriate Hindman location. Lots marked with a plus (+) are located at the Hindman offices in Cincinnati, Ohio.

LEFT Lot 224 | Luke Frazier (American, b. 1970) Driving the Herd

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1 Merrill Mahaffey (American, b. 1937)

2 Merrill Mahaffey (American, b. 1947)

Brookcliff Shadows, Utah, 1982 acrylic on canvas signed Merrill Mahaffey (lower right) 34 x 52 inches Property being sold to benefit The Allan Houser Foundation, Santa Fe, New Mexico

Untitled , 1982 acrylic on canvas signed Merrill Mahaffey (lower right) 36 x 48 inches Property from A Private Collection, Houston, Texas

$2,000-4,000

$2,000-3,000

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*3 Tom Murray (American, b. 1953)

4 Ralph Love (American, 1907-1992)

5 Florence Sackett (American, b. 1927)

River View, 1983 oil on canvas signed Tom Murray and dated (lower left) 20 x 14 inches Property from the Estate of Sandra Lee Vosburgh, Atlanta, Georgia

Smoke Tree oil on canvas signed Love (lower left) 16 x 20 inches $1,500-2,500

Treasure Valley oil on canvas signed F. Stackett (lower right) 20 x 30 inches Provenance: The May Gallery, Scottsdale, Arizona

$800-1,200

$1,000-2,000

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6 James Swinnerton (American, 1875-1974)

7 Michael Stack (American, b. 1947)

8 Karl Albert (American, 1911-2007)

Grey Skies oil on board signed Swinnerton (lower right) 12 x 16 inches

Break in a Winter Storm, 2000 oil on canvas signed Michael Stack (lower right) 24 x 36 inches

$1,000-2,000

$2,000-4,000

Navajo Beauty oil on board signed Karl Albert (lower left) 16 x 24 inches Property being sold to benefit The Allan Houser Foundation, Santa Fe, New Mexico $800-1,200

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9 Robert Emil Schulz (American, 1928-1978)

10 Karl Thomas (American, b. 1948)

*11 Earl Carpenter (American, b. 1931)

Grand Canyon oil on board signed RES (lower right) 31 x 24 inches Property from a Private Collection

Snowy Canyon oil on canvas signed Karl Thomas (lower right) 24 x 36 inches

Temple of Light oil on board signed Earl Carpenter (lower right) 24 x 36 inches Property from the Collection of John McDade, Phoenix, Arizona Provenance: The Legacy Gallery, Scottsdale, Arizona

$800-1,200 $800-1,200

$2,000-4,000

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*12 Joseph Sheppard (American, b. 1930)

13 Cody DeLong (American, 20th Century)

*14 Robb Woods (American, 20th Century)

Grand Canyon Storm and Light, 1990 oil on canvas signed Sheppard and dated (lower right) 30 x 36 inches Property from the Collection of Barbara Noonan, Chicago, Illinois

Lake Powell Layers oil on canvas signed Cody DeLong (lower right) 12 x 16 inches Property from the Collection of Del Pelton, Scottsdale, Arizona

Two Paintings: Cathedral and Sun and Rain oil on board each signed RW each 7 x 15 1/2 inches Property from the Collection of John McDade, Phoenix, Arizona

$500-700

$400-600

$600-800

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15 Fritz White (American, 1930-2010)

16 Thomas deDecker (American, b. 1951)

Where Sunrise Comes Late, 2007 watercolor on paper signed Fritz White and dated (lower left) 19 x 14 inches Property from the Estate of Anne B. Eldridge being sold to benefit the Booth Western Art Museum and The Salvation Army, Atlanta, Georgia Provenance: Cowboy Artists of America 42nd Annual Sale and Exhibition, Phoenix Art Museum, Phoenix, Arizona, 2007

Peaceful Evening- Sunset oil on canvas signed Thomas deDecker (lower left) 24 x 30 inches

$800-1,200

$2,000-3,000

*17 Sherry Sander (American, b. 1941) Jumping Jackrabbit, edition 7/25, 1979 bronze signed S. Sander, numbered and dated (base) height 8 x length 10 x width 4 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California $800-1,200

18 Herb Mignery (American, b. 1937) Happy Jack, edition 7/9 bronze signed Mignery and numbered (base) height 11 1/2 x length 8 1/2 x width 7 inches Property from the Estate of Anne B. Eldridge being sold to benefit the Booth Western Art Museum and The Salvation Army, Atlanta, Georgia Provenance: Cowboy Artists of America 42nd Annual Sale and Exhibition, Phoenix Art Museum, Phoenix, Arizona, 2007 $400-600

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19 Alan Wolton (American, b. 1934) Closing Day - Sedona oil on canvas signed Wolton (lower right) 40 x 48 inches $2,000-4,000

20 Shonto Begay (Navajo, b. 1954) Eternal Chorus of the Colorado Plateau, 2003 acrylic on canvas signed S Begay and dated (right edge) 12 x 16 inches Property being sold to benefit The Allan Houser Foundation, Santa Fe, New Mexico $600-800 20

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21 Ed Mell (American, b. 1942)

22 Ed Mell (American, b. 1942)

Mesa Sunset pastel on paper signed Ed Mell (lower right) 7 x 24 inches Property from A Private Collection, Houston, Texas Provenance: Harris Gallery, Houston, Texas

Clouds and Mesa pastel on paper signed Ed Mell (lower right) 9 1/2 x 22 inches Property from A Private Collection, Houston, Texas Provenance: Harris Gallery, Houston, Texas

$1,500-2,500

23 Joel Greene (American, b. 1953) La Bahada Hill, 2002 oil on panel signed Joel Greene and dated (lower left) 12 x 16 inches $700-900

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24 Joel Greene (American, b. 1953) Landscape oil on panel signed Joel Greene (lower right) 14 x 16 1/2 inches $600-800

25 Albert Handell (American, b. 1937) Taos Entry pastel on paper signed Handell (lower right) 12 1/2 x 22 inches $800-1,200

28 Miguel Martinez (American, b. 1951) Evening Colors in Taos, 1994 acrylic on canvas signed M. Martinez and dated (lower left) 12 x 16 inches Property from Lynch Four LLC, Edwards, Colorado $500-700

29 Francis Donald (American, b. 1947) Wild Flowers on Vail Mountain, 1998 oil on canvas signed Francis Donald (lower left) 28 x 36 inches Property from Lynch Four LLC, Edwards, Colorado $1,000-2,000

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26 Miguel Martinez (American, b. 1951) San Cristobal, 1987 acrylic on canvas signed M. Martinez and dated (lower right) 46 x 72 inches Property from Lynch Four LLC, Edwards, Colorado $2,000-4,000

27 Miguel Martinez (American, b. 1951) Spring Run Off- New Mexico, 1987 acrylic on canvas signed M. Martinez and dated (lower right) 52 x 42 inches Property from Lynch Four LLC, Edwards, Colorado Provenance: Cogswell Gallery, Vail, Colorado $2,000-3,000 27

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30 Francis Donald (American, b. 1947)

31 Joseph Breza (American, 20th Century)

32 Elizabeth Sandia (American, b. 1946)

Taos Apple Blossoms, 1998 oil on canvas signed Francis Donald (lower right) 25 x 30 inches Property from Lynch Four LLC, Edwards, Colorado

Winter NM oil on canvas signed Breza (lower right) 20 x 24 inches Property from the Collection of Edrie Shenuski, Peoria, Arizona

Winter, Northern New Mexico watercolor on paper signed Sandia (lower left) 20 x 24 inches Property from the Collection of Edrie Shenuski, Peoria, Arizona

$800-1,200

$600-800

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*33 Sherry Sander (American, b. 1941)

*34 Sherry Sander (American, b. 1941)

*35 Sherry Sander (American, b. 1941)

Foxtails, edition 4/50 bronze signed Sander and numbered (verso) height 10 1/2 x width 5 x depth 6 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California

Wolf, edition 21/35, 1989 bronze signed S. Sander, numbered and dated (verso) height 12 x width 8 x depth 7 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California

Cut Bank Muley, edition 12/35, 1996 bronze signed S. Salari, numbered and dated (base) height 16 x width 10 x depth 9 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California

$700-900

$500-700

$800-1,200

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36 James Reynolds (American, 1926-2010) The Colorado oil on canvas signed James Reynolds (lower right) 40 x 60 inches Property from a Private Collection $8,000-12,000

37 Douglas Oliver (American, b. 1942) Mountain Landscape oil on canvas signed D. Oliver (lower right, rightmost panel) each panel 40 x 20 inches $2,000-3,000

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38 Jim Wilcox (American, b. 1941)

39 Gary Ray (American, b. 1952)

40 Wilson Hurley (American, 1924-2008)

Golden Waters - Glacier National Park oil on board signed Jim Wilcox (lower right) 12 x 16 inches Property from the Collection of Del Pelton, Scottsdale, Arizona

Santa Monica Mountains oil on canvas board signed Gary Ray (lower left) 9 x 12 inches

Split Mountain on the Green River, 1975 oil on canvas signed Wilson Hurley and dated (lower left) 30 x 36 inches Property from a Private Collection Provenance: Heritage Auctions, 2017

$400-600

$800-1,200 $8,000-12,000

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41 Robert Wood (American, 1889-1979) Colorado Grandeur oil on canvas signed Robert Wood (lower right) 28 x 36 inches $2,000-4,000

42 Thomas Hill (American, 1829-1908) Indian Rock - Blue Mountains oil on canvas signed Hill (lower right) 20 x 14 inches Property from the Collection of Del Pelton, Scottsdale, Arizona $8,000-12,000 42

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43 Harvey Otis Young (American, 1840-1901) Untitled (Mountain Lake) oil on canvas signed H. Young (lower left) 26 x 36 inches Property from an Important Colorado Collection $3,000-5,000

44 Harvey Otis Young (American, 1840-1901)

45 Harvey Otis Young (American, 1840-1901)

Landscape oil on board signed Harvey Young (lower right) 12 x 16 inches

Wagon Train oil on board signed Harvey Young (lower right) 24 x 36 inches

$500-700

$1,500-2,500

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46 Boardman Robinson (American, 1876 - 1952) Mountain Crags, 1941 ink and pencil on paper signed Boardman Robinson (lower right) 11 x 14 inches $500-700

47 Virginia True (American, 1900-1989)

The Stables, 1934 charcoal on paper signed V. True and dated (lower right) 10 1/2 x 14 1/2 inches Property from an Important Colorado Collection Provenance: Zaplin Lampert Gallery, Santa Fe, New Mexico $400-600

48 Adolf Dehn (American, 1895-1968) Western Horses , 1940 watercolor signed Adolf Dehn and dated (lower left) 14 x 21 inches $1,500-2,500

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49 Morgan Wagner (American, 1917-1950)

50 Frank Vavra (American, 1892-1967)

51 Frank Joseph Vavra (American, 1892-1967)

Horses in 11 Mile Canyon, 1949 oil on board signed Morgan Wagner and dated (lower right) 9 x 12 inches

Mountain Town oil on canvas signed Frank Vavra (lower left) 16 x 20 inches

Big Rock Ranch oil on board signed Frank Vavra (lower left) 20 x 24 inches

$400-600

$800-1,200

$2,000-3,000

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52 Angelo di Benedetto (American, 1913-1992) Birdcage, 1957 oil on board signed di Benedetto (lower right) 48 x 51 inches Property from an Important Colorado Collection $2,000-3,000

*53 Eve Van Ek Drewelowe (American, 1899-1989) Writing with Wings, 1949 oil on canvas signed Eve Drewelowe, titled and dated (lower left) 34 x 40 inches Property from the Ginny L. Williams Collection, Denver, Colorado $3,000-5,000

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*54 Eve Van Ek Drewelowe (American 1899-1989) Reflected Range, 1944 oil on canvas signed Eve Van Ek, titled and dated (lower right) 24 x 29 inches Property from the Ginny L Williams Collection, Denver, Colorado $2,000-4,000

55 Winifred Owens (American, 1909-1999) No. 6 Interior oil on canvas signed W. Owens (lower right) 26 x 18 inches $500-700

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*56 Vance Kirkland (American, 1904-1981)

57 Alfred Wands (American, 1904-1998)

Colorado Clouds, 1941 watercolor on paper signed Vance Kirkland and dated (lower left) 16 1/4 x 30 1/4 inches Property from the Ginny L Williams Collection, Denver, Colorado

$300-500

Rocky Mountain National Park oil on canvas board signed Alfred Wands (lower left) 12 x 16 inches

$2,000-3,000

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58 Andrew Michael Dasburg (American, 1887-1979) Untitled, 1911 oil on canvasboard 8 x 10 inches Property from a Private Collection, Taos, New Mexico Provenance: Robert Schoelkopf Gallery, New York, New York Gerald L. Peters Gallery, Santa Fe, New Mexico 203 Fine Art, Taos, New Mexico Private Collection, New Mexico Cezanne, Andrew Dasburg’s hero and inspiration, is the main impulse behind this 1911 oil landscape. 1911 saw Dasburg back in New York after his two-year sojourn in Paris among the Cubists and American expatriates. Dasburg spent time with Gertrude Stein and Morgan Russell, a painter who would develop an American spin on abstraction called Synchronism. The flat fields in defiance of classical perspective, the regular brushstrokes in layered hues, and the use of line only to delineate shadow are post-impressionist trademarks, practically Cezanne inventions. Dasburg, at this stage in his career, was working it out, groping toward his lifelong search to make the invisible patterns in the world into visible art. $20,000-30,000

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59 Michael Untiedt (American, b. 1952)

60 Peter de la Fuente (American, b. 1959)

61 Shelley Allen (American, 20th Century)

Adobe Near San Luis Colorado, With Approaching Storm, 1997 oil on canvas signed MU (lower right) 11 x 14 inches Property from the Collection of Mr. David Torgerson, Denver, Colorado

Pine Camp watercolor on paper signed Peter de la Fuente (lower right) 10 1/4 x 14 inches

Feste glass signed illegibly (base) height 12 x length 13 x width 11 inches

$600-800 $1,000-2,000

$600-800

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*62 Robert LaDuke (American, b. 1961) New Mexico, 2014 acrylic on board signed R. LaDuke (verso) 10 x 14 inches Property from the Ginny L Williams Collection, Denver, Colorado $1,000-2,000

63 Louisa McElwain (American, 1953-2013) Anvil IV oil on canvas signed McElwain (lower left) 56 x 72 inches Property from the Collection of Mr. Whitney Buchanan, Albuquerque, New Mexico $20,000-30,000

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64 Ed Mell (American, b. 1942) Red Rock, 1980 oil on canvas signed Ed Mell (lower right) 48 x 60 inches Property from A Private Collection, Houston, Texas Literature: Donald J. Hagerty, Beyond the Visible Terrain: The Art of Ed Mell, Northland Publishing, Flagstaff, 1996, pp. 26. $15,000-25,000

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65 Ed Mell (American, b. 1942) Mesa Sunset oil on canvas signed Ed Mell 21 3/4 x 36 inches Property from A Private Collection, Houston, Texas $8,000-12,000

66 Ed Mell (American, b. 1942) Dark Clouds near Dilkon, 1984 pastel on paper signed Ed Mell (lower right) 7 x 9 1/2 inches Property from A Private Collection, Houston, Texas Provenance: Harris Gallery, Houston, Texas $1,000-2,000 66

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67 Billy Schenck (American, b. 1947) A Taste of the Golden West, 1983 oil on canvas signed Schenck, titled and dated (verso) 74 x 55 inches Provenance: Rancher Bar, Jackson, Wyoming Private Collection

$8,000-12,000

68 David Parker (American, b. 1958) Two Guys on a Fence, 1994 oil on canvas signed Parker (lower left) 40 x 48 inches Property from Lynch Four LLC, Edwards, Colorado Provenance: The Claggett Gallery, Denver, Colorado $1,500-2,500

69 David Parker (American, b. 1958) Mesa Welcome oil on canvas signed Parker (lower right) 30 x 20 inches Property from Lynch Four LLC, Edwards, Colorado Provenance: The Claggett Gallery, Denver, Colorado $800-1,200 68

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*70 Daro Flood (American, 1954-2017) Rodeo Cowboy, edition 19/30 bronze signed Daro and numbered (base) height 11 x length 9 x width 5 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California $800-1,200

71 George Lundeen (American, b. 1948) Home Sweet Home, edition 17/36, 1985 bronze signed G.W. Lundeen, numbered and dated (verso) height 17 1/4 x width 11 1/2 x depth 8 1/2 inches $1,000-2,000

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72 Ila McAfee (American, 1897-1995)

73 Howard Post (American, b. 1948)

74 David Halbach (American, b. 1931)

Topaz Dance, 1982 oil on canvas signed Ila McAfee and dated (lower right) 24 x 18 inches

Untitled oil on canvas signed H.E. Post (lower right) 18 x 24 inches Property from A Private Collection, Houston, Texas

Daybreak, 1995 watercolor on paper signed David Halbach and dated (lower left) 9 x 17 inches

$800-1,200

$1,000-2,000

$3,000-5,000

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*75 Sandy Scott (American, b. 1943) Steer Bookends, edition 5/65, 1993 bronze each signed Sandy Scott, numbered and dated (verso) tallest height 8 1/2 x width 6 3/4 x depth 7 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California $800-1,200

77 Terry Duen (TD) Kelsey (American, b. 1946) *76 Sandy Scott (American, b. 1943) Longhorn, edition 7/50, 1992 bronze signed Sandy Scott, numbered and dated (verso) height 6 x width 7 x depth 8 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California $300-500

Mr. Big, edition 3/5, 2005 bronze signed T.D. Kelsey, titled, dated and numbered (base) height 15 3/4 x length 21 x 6 inches Property from the Estate of Anne B. Eldridge being sold to benefit the Booth Western Art Museum and The Salvation Army, Atlanta, Georgia Provenance: Cowboy Artists of America 39th Annual Sale and Exhibition, Phoenix Art Museum, Phoenix, Arizona, 2004 $1,500-2,500

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78 Jason Rich (American, b. 1970)

79 Joe Beeler (American, 1931-2006)

Contemplating, 2001 oil on canvas signed J. Rich (lower right) 12 x 15 inches Property from the Collection of Del Pelton, Scottsdale, Arizona

After the Storm oil on canvas signed Joe Beeler (lower right) 12 x 18 inches $2,000-3,000

$2,000-2,500

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80 Grant Speed (American, 1930-2011) When Two are Too Many, edition 12/30, 1985 bronze signed Grant Speed, dated and numbered (base) height 18 1/2 x length 27 x width 12 inches Property from the Collection of Mr. Lawrence H. Kyte, Cordillera, Colorado $3,000-5,000

81 Grant Speed (American, 1920-2011) Running Wild Horses, edition 1/30, 1983 bronze signed U.G. Speed, numbered and dated (base) height 15 1/2 x length 19 x width 14 inches $2,000-4,000

82 Raphael Lillywhite (American, 18911958) Waiting - North Park, Colorado oil on board signed Raphael Lillywhite (lower left) 18 x 22 inches $1,000-2,000

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83 Ross Stefan (American, 1934-1999) Canyon Rendezvous oil on canvas signed Ross Stefan (lower left) 24 x 40 inches $6,000-8,000

84 Charles Hargens (American, 1893-1997) Cowboy Shooting oil on canvas signed Charles Hargens (lower right) 30 x 25 inches $2,000-4,000

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85 Herman Wendelborg Hansen (German/American, 1854-1924) Cowboy Rider watercolor on paper signed H.W. Hansen (lower right) 30 x 21 inches One of many German-born artists who found the American West inexhaustible, Herman Hansen emigrated in 1877 and settled in San Francisco in 1882. A job illustrating railroad advertisements took him to the wilder West where he met and befriended Borein and Dixon. Hansen’s horses are wild and his scenes are fullbore, and he lamented the passing of the Old West, as only an artist could, saying, “Tucson is killed from my point of view. They have shut down all the gambling houses tight, and not a gun in sight. Why, the place hasn’t the pictorial value of a copper cent any longer.” -James D. Balestrieri $15,000-25,000

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86 Stanley Long (American, 1892-1972)

87 Grant Speed (American, 1930-2011)

88 Jim Reno (American, 1929-2008)

The Wrangler watercolor on paper signed Stanley M. Long (lower left) 28 x 25 inches

Twisters and Outlaws, edition 18/30, 1981 bronze signed U.G. Speed, numbered and dated (base) height 28 x length 20 x width 12 1/2 inches

Quittin Times in Texas, edition 4/15 bronze signed Jim Reno and numbered (base) height 21 x width 12 x depth 10 inches

$700-900

$2,000-4,000

$800-1,200

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89 Charlie Dye (American, 1906-1972) Maverick oil on board signed Charlie Dye (lower right) 27 x 36 inches Charlie Dye, Joe Beeler, John Hampton, and George Phippen came up with the idea of the Cowboy Artists of America back in 1964, while on a roundup together. Of his own art, Dye- with characteristic self-deprecation- observed, “I have always tried to paint what I can remember of a life a led before I became dishonest and studied art. My old man could have forgiven me if I had turned out playing piano in a whorehouse, but artists rated one step below pimps in his book.” For Dye, authenticity reigns over all, though in a superb painting like Maverick, we see balance in composition and attention to the beauty of nature running a close second. -James D. Balestrieri $12,000-18,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

90 Frank Hoffman (American, 1888-1958) Taos Pastures oil on canvas signed Hoffman (lower left) 24 x 31 inches Collection of Mrs. A. Edward Allinson $5,000-7,000

91 Robert Abbett (American, 1926-2015) The Roper oil on board signed Abbett (lower right) 24 x 32 inches Provenance: Altermann and Morris Galleries, Santa Fe, New Mexico $2,000-4,000

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92 Grant Speed (American, 1930-2011)

93 Ben France (American, 20th Century)

*94 E. William Gollings (American, 1878-1932)

The End of an Era, edition 18/30, 1984 bronze signed U.G. Speed, numbered and dated (base) height 17 1/2 x length 27 x width 12 inches

Pitchin’ a Fit, edition 2/10 bronze signed Ben France, titled and numbered (base) height 25 x length 21 x width 11 inches

$1,500-2,500

$1,000-2,000

A Go Getter drypoint etching signed E.W. Gollings (lower right) and titled (lower left) 13 1/2 x 10 inches Property from the Ginny L Williams Collection, Denver, Colorado $700-900

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95 David Halbach (American, b. 1931) Round-Up Time, 1990 watercolor on paper signed David Halbach and dated (lower right) 9 x 13 1/2 inches Property from the Estate of Anne B. Eldridge being sold to benefit the Booth Western Art Museum and The Salvation Army, Atlanta, Georgia $600-800

96 Bill Owen (American, 1942-2013) Cowboy, 1995 conte crayon and oil on board signed Bill Owen and dated (lower right) 24 x 18 inches Property from the Estate of Anne B. Eldridge being sold to benefit the Booth Western Art Museum and The Salvation Army, Atlanta, Georgia

97 Ronald Crooks (American, 1925-2006) Night Quest, 1989 oil on board signed R. Crooks (lower left) 18 x 24 inches Property from the Collection of Del Pelton, Scottsdale, Arizona $300-500

Exhibition: The Booth Western Art Museum, “Hidden Heritage: Western Art Treasures from an Atlanta Collection”, Cartersville, Georgia, 2008 $700-900

W E S T E R N PA I N T I N G S A N D S C U L P T U R E I N C L U D I N G C O N T E M P O R A RY N AT I V E A M E R I C A N A R T

100

98 Ken Payne (American, 1938-2012) Racing the Wind, edition 11/30, 1978 bronze signed Ken Payne, titled, numbered and dated (base) height 11 1/4 x length 12 x width 4 3/4 inches $800-1,200

*99 Joe Beeler (American, 1931-2006) Cowboy on Horseback, edition 36/50 bronze signed Joe Beeler and numbered (base) height 7 x length 7 x width 2 1/2 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California $700-900

100 Bill Nebeker (American, b. 1942) Cowboy’s Partner, edition 4/25, 1995 bronze signed Bill Nebeker, numbered and dated (base) height 12 x length 18 1/2 x width 4 1/2 inches Property from the Estate of Anne B. Eldridge being sold to benefit the Booth Western Art Museum and The Salvation Army, Atlanta, Georgia $800-1,200 99

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102

103

102 Jim Norton (American, b. 1953)

103 Dan Bodelson (American, b. 1949)

A Few Good Days Left oil on canvas signed Jim C. Norton (lower left) 15 x 22 1/4 inches Property from the Collection of Del Pelton, Scottsdale, Arizona

Three Pair oil on canvas signed Bodelson (lower right) 24 x 36 inches $2,000-4,000

$3,000-5,000

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105

104

106

104 Dan Bodelson (American, b. 1949)

105 George Lockwood (American, b. 1961)

106 Dave Powell (American, b. 1954)

Powder Face Arapahoe Chief oil on canvas signed Bodelson (lower right) 50 x 34 inches

Navajo Colors oil on canvas signed George Lockwood (lower left) 16 x 12 inches

$4,000-6,000

$400-600

Vermillion Paint, 1980 oil on canvas board signed Dave Powell (lower right) 8 x 11 inches Property from the Collection of Mr. David Torgerson, Denver, Colorado $700-900

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107

108

107 David Edward Kucera (American, b. 1961)

108 Gary Niblett (American, b. 1943)

Snow Scene, 1999 oil on board signed D.E. Kucera and dated (lower right) 24 x 30 inches

Badland Renegades oil on canvas signed Gary Niblett (lower left) 36 x 48 inches Property from the Collection of Mr. Lawrence H. Kyte, Cordillera, Colorado

$800-1,200

$7,000-9,000

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109

110

111

109 Mel Bradshaw (American, 20th Century)

110 Joe Beeler (American, 1931-2006)

*111 Joe Beeler (American, 1931-2006)

Another Broken Promise, 1995 oil on canvas signed M.H. Bradshaw, titled and dated (lower left) 28 x 36 inches

Nocturnal Camp Scene oil on board signed Joe Beeler (lower right) 12 x 16 inches

Crow Warrior, edition 7/40 bronze signed Joe Beeler and numbered (base) height 12 1/2 x width 6 1/4 x depth 5 1/2 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California

$800-1,200 $300-500

$800-1,200

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113

112 114

*112 Richard Greeves (American, b. 1935)

113 Nicholas Coleman (American, b. 1978)

114 Thomas DeDecker (American, b. 1951)

Dog Rib, number 2, 1993 bronze signed R.V. Greeves, numbered and dated (verso) height 10 x width 7 x depth 6 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California

Two Works: Sheep Creek and Buffalo Hunters oil on board each signed Nicholas Coleman (lower left) each 6 x 28 inches Property from the Collection of Jane and Terry Bradshaw, Alpharetta, Georgia

Winter Encampment oil on canvas signed Thomas DeDecker (lower left) 8 x 10 inches $300-500

$1,000-2,000 $400-600

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115

117

116

115 Thomas DeDecker (American, b. 1951)

116 Susan Terpning (American, b. 1953)

117 Gregory Sumida (American, b. 1948)

Settled in for the Day oil on board signed Thomas DeDecker (lower left) 16 x 20 inches

High Country Camp, 1992 oil on canvas signed S. Terpning and dated (lower left) 18 x 24 inches

Takka Winter Encampment (The Winter Snow Encampment) gouache on board signed Sumida (lower right) 9 x 12 inches

$400-600

$2,000-3,000 $600-800

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118

119

118 William Standing (American, 1904-1951)

119 Charles Craig (American, 1846-1931)

Warrior on Horseback oil on board signed Wm. Standing (lower right) 11 1/4 x 14 1/2 inches

Scouting, 1892 oil on canvas signed Chas Craig and dated (lower right) 24 x 36 inches Property from the Collection of Mr. Lawrence H. Kyte, Cordillera, Colorado

$2,000-4,000

$3,000-5,000

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120

121

122

120 Ken Payne (American, 1938-2012) Trail of Change, Artist’s Proof, 1996 bronze signed Ken Payne, numbered and dated (base) height 29 x length 27 x width 16 inches $2,000-3,000

121 Susan Terpning (American, b. 1953)

122 Robert Griffing (American, b. 1940)

Blackfoot Chief, 1999 oil on canvas signed Susan Terpning and dated (lower right) 26 x 21 inches Property from the Collection of Jane and Terry Bradshaw, Alpharetta, Georgia Provenance: Coeur d’Alene Art Auction, Hayden, Idaho, July 31, 1999, Lot 100 Acquired directly from the above by present owner

Feared by His Opponents, 2008 oil on board signed Griffing and dated (lower left) 12 x 9 inches Property from the Collection of Jane and Terry Bradshaw, Alpharetta, Georgia Provenance: Settlers West Galleries, Tucson, Arizona $1,500-2,500

$2,000-4,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

123

125

124

123 Gary Niblett (American, b. 1943)

124 Gary Niblett (American, b. 1943)

125 W.S. Seltzer (American, b. 1955)

Valley of the Utes, 1990 oil on canvas signed Gary Niblett and dated (lower left) 23 x 35 inches Property from the Collection of Mr. Lawrence H. Kyte, Cordillera, Colorado

Beaver Creek Encampment oil on canvas signed Gary Niblett (lower right) 12 x 16 inches Property from the Collection of Del Pelton, Scottsdale, Arizona

Council Meeting oil on canvas signed W.S. Seltzer (lower right) 24 x 36 inches Property from the Collection of Del Pelton, Scottsdale, Arizona

$3,000-5,000

$1,000-2,000

$3,000-5,000

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126

127

128

126 Susan Terpning (American, b. 1953)

127 Ken Payne (American, 1938-2012)

128 Susan Kliewer (American, b. 1940)

The Blue Mare, 1993 oil on board signed S. Terpning and dated (lower right) 12 1/2 x 12 inches Property from the Collection of Jane and Terry Bradshaw, Alpharetta, Georgia Provenance: Trailside Galleries, Jackson, WY

Eagle Chief, edition 27/30, 1994 bronze signed Ken Payne, numbered and dated (base) height 19 x width 13 x depth 11 inches

The Crow, Artist’s Proof 1, 1999 bronze signed Susan Kliewer, numbered and dated (base) height 30 1/2 x width 17 x depth 12 1/4 inches

$1,000-2,000 $1,500-2,500

$800-1,200

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129 Ron Stewart (American, b. 1941) Stopping for a Drink oil on canvas signed Ron Stewart (lower left) 60 x 48 inches $3,000-5,000

130 Leonard Howard Reedy (American, 1899-1956) Overlook watercolor signed Leonard H. Reedy (lower left) 9 x 11 inches $300-500

131 Leonard Howard Reedy (American, 1899-1956) Drunken Warrior on Horseback watercolor signed Leonard H. Reedy (lower left) 9 x 12 inches 129

$300-500

130

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131

132

134

133

132 Charles Pabst (American, b. 1950)

*133 Joe Beeler (American, 1931-2006)

*134 Richard Greeves (American, b. 1935)

Her Wares oil on canvas signed Charles H. Pabst (lower right) 24 x 30 inches

The Renegade, edition 12/40 bronze signed Joe Beeler and numbered (base) height 15 x width 10 1/2 x depth 10 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California

Navajo Sam, edition 10/10, 1998 bronze signed R.V. Greeves, numbered and dated (verso) height 11 x width 5 1/2 x depth 8 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California

$800-1,200

$500-700

$1,000-2,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

135

137

136

135 Frank Sauerwein (American, 1871-1910)

136 Henry Balink (American, 1882-1963)

137 Joe Beeler (American, 1931-2006)

Pueblo Village, 1896 gouache and ink on paper signed F. Sauerwein and dated (lower right) 5 3/4 x 8 inches

Paccaneh - Taos, New Mexico, edition 14/50 etching on paper signed Henry Balink (lower right), numbered and titled (lower left) 6 1/2 x 4 1/4 inches

Apache Telegraph, edition 15/30 bronze signed Joe Beeler and numbered (base) height 25 1/2 x width 12 1/2 x depth 10 inches

$600-800

$5,000-7,000 $300-500

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139

138

140

138 Joe Beeler (American, 1931-2006)

139 Joe Beeler (American, 1931-2006)

140 Joe Beeler (American, 1931-2006)

White Mountain Chief, edition 6/20 bronze signed Joe Beeler and numbered (verso) height 12 1/2 x width 7 3/4 x depth 10 inches

The Medicine Man charcoal on paper signed Joe Beeler (lower right) 18 x 12 inches

$2,000-3,000

$1,000-2,000

Two Etchings: Untitled Portrait I and Untitled Portrait II, Artist’s Proof etching each signed Joe Beeler and numbered (lower right) each 5 1/4 x 7 1/4 inches $300-500

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142

*141 Joe Beeler (American, 1931-2006) Indian with Feathers, edition 26/40 bronze signed Joe Beeler and numbered (base) height 13 x width 7 1/2 x depth 6 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California $700-900

142 William Acheff (American, b. 1947) Crouching Hunter, 2019 oil on canvas board signed Acheff and dated (lower left) 7 x 9 inches Property from the Collection of Jane and Terry Bradshaw, Alpharetta, Georgia Provenance: Nedra Matteucci Galleries, Santa Fe, New Mexico $4,000-6,000

141

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143 Z.S. Liang (American, b. 1953) Sacred Light oil on canvas signed Z.S. Liang (lower left) 46 x 26 inches In Z.S. Liang’s Sacred Light, it is the background that becomes darker and more abstract as you move from the bottom of the canvas to the top. This makes the light on the buffalo skull appear that much brighter. This effect not only brightens the skull, it frames the man’s face in a circle made of skull, arms, headdress and buckskin shirt. Sacred Light is filled with subtle, painterly masterstrokes: the limited palette keeps the eye on the work, the beadwork on the moccasins adds interest, and the long grass strokes at left draw the eye back to the figure. -James D. Balestrieri $15,000-25,000

143

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144

146

145

144 John Jarvis (American, b. 1946)

145 Dave McGary (American, 1958-2013)

146 Ken Payne (American, 1938-2012)

Prairie Hunt, 1983 gouache on paper signed John Jarvis (lower left) 12 x 21 1/2 inches

War Deeds, edition 13/25, 1990 bronze signed Dave McGary, numbered and dated (base) height 22 x width 14 x depth 5 3/4 inches Property from the Collection of Mr. Lawrence H. Kyte, Cordillera, Colorado

Sentinel of the Wind River Mountains, Printer’s Proof, 1995 bronze signed Ken Payne, numbered and dated (base) height 25 x width 17 x depth 12 1/2 inches

$1,500-2,500

$2,000-3,000

$4,000-6,000

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147

147 Dave McGary (American, 1958-2013) Bounty of Gray Hawk, edition 36/50 , 1998 polychrome bronze signed Dave McGary, numbered and dated (base) height 22 1/2 x width 19 x depth 11 inches Property from the Private Collection of Ross Hubbard, Naples, Florida $6,000-8,000

148 Paul Milosevich (American, b. 1936) Feather Dancer oil on canvas 42 x 28 inches Publication: Elizabeth Skidmore Sasser, Out of the Ordinary: The Art of Paul Milosevich, Texas Tech University Press, Lubbock, 1991.

148

$800-1,200

149 David Halbach (American, b. 1931) Sacred Paint, 1999 watercolor on paper signed David Halbach and dated (lower left) 10 1/2 x 19 inches Property from the Estate of Anne B. Eldridge being sold to benefit the Booth Western Art Museum and The Salvation Army, Atlanta, Georgia Provenance: Cowboy Artists of America Museum Art Stampede, Kerrville, Texas, 1999 149

Exhibition: The Booth Western Art Museum, “Hidden Heritage: Western Art Treasures from an Atlanta Collection”, Cartersville, Georgia, 2008 $1,500-2,500 V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

150

151

152

150 John Fawcett (American, b. 1952)

151 Dave McGary (American, 1958-2013)

152 Dave McGary (American, 1953-2013)

Two Warriors on Horseback oil on board signed Fawcett (lower right) 16 x 20 inches Property from the Collection of Jane and Terry Bradshaw, Alpharetta, Georgia

Walks Among the Stars, edition 10/30 , 1998 bronze signed Dave McGary, numbered and dated (base) height 27 x width 24 x depth 37 1/2 inches Property from the Private Collection of Ross Hubbard, Naples, Florida

Carrier of the Sun, edition 8/30, 1986 polychrome bronze signed Dave McGary, numbered and dated (base) height 44 x width 38 x depth 14 inches Property from the Private Collection of Ross Hubbard, Naples, Florida

$8,000-12,000

$4,000-6,000

$700-900

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153

154

155

153 Jess Hobby (American, 1871-1938)

154 Ray Swanson (American, 1937-2004)

*155 Daro Flood (American, 1954-2017)

Indian Woman oil on canvas signed Jess Hobby (lower right) 34 x 32 inches

Shy Little Sioux, 1995 oil on canvas signed Ray Swanson (lower left) 24 x 12 inches Property from the Estate of Anne B. Eldridge being sold to benefit the Booth Western Art Museum and The Salvation Army, Atlanta, Georgia

Native American with Jocla Earrings, edition 5/30 bronze signed Daro and numbered (verso) height 11 1/4 x width 7 x depth 5 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California Provenance: Trailside Galleries, Jackson, Wyoming

$2,000-3,000

$700-900

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158

156 157

156 Tom Darro (American, b. 1946)

157 John Yaeger (American, 20th Century)

158 Brad Schmidt (American, b. 1956)

Modern Sioux oil on canvas signed Tom Darro (lower left) 12 x 8 inches

Teshina oil on canvas signed Yaeger (lower right) 30 x 24 inches

Three Young Girls, 2005 oil on board signed Brad Schmidt (lower left) 48 x 55 inches

$1,000-2,000

$500-700

$4,000-6,000

W E S T E R N PA I N T I N G S A N D S C U L P T U R E I N C L U D I N G C O N T E M P O R A RY N AT I V E A M E R I C A N A R T

160

161 159

159 John Coleman (American, b. 1949) Maiden from the East Mesa, edition 29/75, 2004 bronze signed John Coleman, titled, numbered and dated (verso) height 10 1/2 x width 6 1/4 x depth 5 inches $1,000-2,000

160 Robert Douglas Genn (Canadian, 1936-2014)

161 Robert Douglas Genn (Canadian, 1936-2014)

Navajo, 1971 acrylic on board signed Robert Genn (lower left) 30 x 36 inches

Indian Girl oil on canvas signed Robert Genn (lower left) 24 x 30 inches Provenance: Ashley Gallery, Pinetop, Arizona

$1,500-2,500

$1,000-2,000

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162

164

163

162 Robert Douglas Genn (Canadian, 1936-2014) Tsimshian, 1975 oil on canvas signed Robert Gann (lower right) 24 x 30 inches Provenance: Ashley Gallery, Pinetop, Arizona

165

163 Glenna Goodacre (American, 1939-2020)

*164 Richard Greeves (American, b. 1935)

Butterfly Dancer, edition 18/20 bronze signed G. Goodacre and numbered (verso) height 12 3/4 x width 7 1/4 x depth 6 inches

Black Owl, edition 6/24, 1993 bronze signed R.V. Greeves, numbered and dated (verso) height 9 3/4 x width 5 1/2 x depth 4 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California

$2,000-3,000

$400-600

$1,500-2,500

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167

166

165 Joe Beeler (American, 1931-2006)

166 Burt Proctor (American, 1901-1980)

167 Burt Proctor (American, 1901-1980)

The Mystic, edition 25/36 bronze signed Joe Beeler and numbered (base) height 15 x width 8 1/2 x depth 9 inches Provenance: Desert Caballeros Western Museum, “Joe Beeler: A Retrospective,” Wickenburg, Arizona

On the Trail oil on board signed Burt Proctor (lower left) 29 x 39 inches

Joe oil on canvas signed Burt Proctor (lower left)) 39 x 27 inches

$4,000-6,000

$3,000-5,000

$800-1,200

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170

169

168

168 James Regimbal (American, b. 1949)

169 Marie Barbera (American, b. 1936)

170 Gene Kloss (American, 1903-1996)

Silent Sentinel, edition 15/75, 1996 bronze signed J.M. Regimbal, titled, dated and numbered (base) height 29 x width 15 x depth 14 inches Property from the Collection of Mr. Lawrence H. Kyte, Cordillera, Colorado

Little Raven, edition 8/30 bronze signed M. Barbera and numbered (base) height 15 x width 27 x depth 13 inches

You Can Lead a Horse to Water but... watercolor on paper signed Gene Kloss (lower left) 15 x 22 inches Provenance: Gallery A, Taos, New Mexico

$800-1,200

$4,000-6,000 $1,500-2,500

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171

172

171 Charles Henry Reynolds (American, 1902-1963)

172 Dorothy Eugenie Brett (American, 1883-1976)

The Rabbit Hunt oil on canvas signed Chas H. Reynolds 30 x 35 inches

Practice of the Relay Race, 1950 oil on board signed Brett and dated (lower right) 24 x 24 inches

$2,000-3,000

$2,000-4,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

173

173 Frederic Kimball Mizen (American, 1888-1964) Buffalo Dance, 1956 oil on canvas signed Frederic Mizen, titled and dated (lower right) 42 x 60 inches The buffalo dancers in Frederic Mizen’s Buffalo Dance are dancers rather than Katsinas—who would be fully masked—though the purpose of this dance and ritual, generally held in winter, are the same: they are prayers for the increase of the animal. Chicago-born Frederic Mizen was a noted illustrator for Sears, Coca-Cola, and the Santa Fe Railroad. He eventually opened his own school to teach traditional art and traveled and painted throughout the Southwest. From the drummers singing and dancing in unison, to the individual reactions of the audience, Mizen’s Buffalo Dance truly illustrates a moment in a larger narrative. -James D. Balestrieri $5,000-7,000

174

*174 Charles Bensco (American, 1894-1960) Shepherdess with Flock oil on canvas signed Charles Bensco (lower right) 24 x 28 inches Property from the Collection of Leonard Stark, Chicago, Illinois $1,500-2,500

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175

*175 Grace Ravlin (American, 1873-1956) Moqui Ceremonial Dance oil on canvas 24 x 30 inches Property from the Collection of Leonard Stark, Chicago, Illinois In Moqui Ceremonial Dance, Grace Ravlin focuses more on the individual dancers than on the dance itself, as she often does. We aren’t seeing the Katsinas, or a long view of a sinuous dance, or preparations for the dance from a vantage point outside a kiva. Here, we are all but in the dance, feeling the vibrations of their footfalls, hearing the song, the rustle of the costumes and leaves, and observing the symmetry of the dancer’s bodies as the move in synchronous harmony across the plaza. To reinforce our proximity, Ravlin shows us a pair of spectators on a roof beside a ladder. They may have a better view, but we’re feeling at least some of what the dancers feel. -James D. Balestrieri $8,000-12,000

176 Joseph Imhof (American, 1871-1955)

176

Pueblo Street (Acoma) , 1936 watercolor and gouache on board signed Jos. A. Imhof (lower left) 18 1/2 x 22 inches Provenance: Saks Galleries, Denver, Colorado $2,000-3,000

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*177 Grace Ravlin (American, 1873-1956) Corn Dance oil on canvas signed Ravlin (lower right) 27 1/2 x 36 1/2 inches Property from the Collection of Leonard Stark, Chicago, Illinois Provenance: Estate of Richard L. Jones Christie’s, Los Angeles, California, Nov. 16, 2004, Lot 63 Collection of Leonard Stark, Chicago, Illinois Grace Ravlin took one art class as an elective in high school and saw her future unroll before her like a magic carpet. She rode this carpet to the Art Institute of Chicago, then to further studies with William Merritt Chase in Philadelphia and then to Paris and Venice to complete her training. Ravlin returned to the United States, painting in the Southwest, including New Mexico, and exhibiting at the Panama-Pacific Exhibition in 1915. After a detour as a Red Cross nurse at the end of World War I, she returned to life as an artist-adventurer. Ravlin was a tireless and fearless traveler, painting in France, Holland, Belgium, Italy, Spain, Morocco, and Tunisia. In 1924, her works were exhibited alongside Robert Henri’s at the prestigious Macbeth Gallery in New York. Ravlin knew many of the Taos Founders, especially Walter Ufer. In fact, Ravlin often used Ufer’s Chicago studio when he was in New Mexico. Ravlin sometimes referred to herself as an “ethnographic painter,” but the sensations a painting such as Corn Dance creates in the viewer, mirrors the vibrations of the dancers across the plaza. Ravlin worked in a post-impressionist mode: thick paint, rhythmic brushstrokes, and the use of color to create contour and resonance. The plaza in Corn Dance, for example, shimmers almost as if the clay were water. -James D. Balestrieri $10,000-15,000

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*178 Grace Ravlin (American, 1873-1956) Cochiti Corn Dancers oil on canvas signed Ravlin (lower right) 24 x 29 inches Property from the Collection of Leonard Stark, Chicago, Illinois Provenance: Collection of Leonard Stark, Chicago, Illinois The paint in Grace Ravlin’s Cochiti Corn Dancers swirls around the kiva, a round, partly subterranean sacred space where Pueblo ceremonies are held. Kivas date back before the rise of the Katsina Cult, but the Katsina appear to have adapted them for their own ritual purposes. As seen in the painting, steps lead to a small platform and a ladder leads down into the ceremonial area. Some kivas a square while others, like this one, are round. The subterranean space and the shape of the kiva may have something to do with creation and generative power. In Ravlin’s composition, the bottom half of the painting functions as ripples round the kiva while the people flow up the steps and spread out round the edge. From our point of view, the ladder rises above the clouds and touches the blue of the sky, blue mirroring the blue in the attire of the celebrants. -James D. Balestrieri $10,000-15,000

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179 Eanger Irving Couse (American, 1866–1936) An Indian Boy oil on board signed E.I. Couse (lower right) 12 x 16 inches Literature: Painting will appear in the forthcoming E.I. Couse Catalogue Raisonné by Virginia Couse Leavitt, granddaughter of artist Born in Michigan, where the Chippewa people nearby kindled his passion for Native cultures, E.I. Couse studied briefly in Chicago and New York before traveling to Paris to study at the Academie Julian and with, among others, William Bougereau. Couse met and married his wife, Virginia, in Paris, where she was studying illustration. On his return to the United States, Couse devoted himself to painting Native Americans. After a conversation with Ernest Blumenschein, the Couses established summer residency in 1902. They would ultimately take up residence next door to Sharp. In 1915, Couse was one of the founders of the Taos Society of Artists and was its first president. Because of his calendar contracts with the Santa Fe Railroad and other companies, Couse’s images have become part of the collective consciousness, helping to shape our romanticized notion of Native Americans. In An Indian Boy, Couse gives us moonlight and a Native child by the placid water, waiting patiently while a small fire sends up a thin stream of smoke. Across the water, is that another wisp from another fire? An answer from a friend? -James D. Balestrieri $15,000-25,000

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*180 Eanger Irving Couse (American, 1866–1936) Watching the Rising Trout oil on canvas signed E.I. Couse (lower right) 23 x 28 inches Property from the Estate of Avis Hope Truska, Scottsdale, Arizona Provenance: Estate of Avis Hope Truska, Scottsdale, Arizona Acquired by 1920 Literature: Painting will appear in the forthcoming E.I. Couse Catalogue Raisonné by Virginia Couse Leavitt, granddaughter of artist In Watching the Rising Trout, E.I. Couse gives his fondness for depicting contemplative Native subjects a definite object: the concentric rings of a trout rising in a stream under an overhanging bough. Despite the stillness, there is tension in this teaching moment as elder teaches younger something about the very different clocks and schedules that the natural world runs on. When the aquatic nymphs of insects— mayflies and stoneflies and caddis—begin to make their way up from the stream bed to emerge and sprout wings, the trout turn on like lights and rise to gorge on them. Since Couse has painted the overhanging branch, it could also be that ants or grasshoppers or caterpillars have tumbled into the pool and roused the trout. At any rate, now is the time to fish, now that the fish are showing themselves. Standing behind the man and boy, the girl, though she is just as attentive, seems less convinced. Perhaps she has already heard her share of trout tales unaccompanied by actual trout (“No trout were harmed in the making of this story,” might be the way we’d say it). But perhaps it’s past the children’s bedtime and the girl’s frown is sleepiness. Stars peek through the branches and the light Couse is throwing around, dappling beautifully here and there, is the moonlight he was famous for in his paintings, light that is often the best for trouting. Watching the Rising Trout becomes, then, a kind of nocturne, in the musical as well as in the artistic sense of the word, as the silence is broken only by the splash of the fish, and the concentric rings in the water are almost like the orbits of heavenly bodies. -James D. Balestrieri $70,000-90,000

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181 Joseph Henry Sharp (American, 1859-1953) Eagle Star oil on canvas signed J.H. Sharp (lower right) 14 x 10 inches Property from a Private Collection, Santa Fe, New Mexico Provenance: Shannon’s Fine Art, Auctioneers, Milford, Connecticut, 2004 Zaplin Lampert Gallery, Santa Fe, New Mexico Private Collection, circa 2005 Born in Ohio in 1859, a swimming accident when he was a boy left young Joseph Henry Sharp deaf. Though Henry seems to have loved art, apocryphal tales suggest that his interest arose out of his need to doodle at school to communicate. But there were other enthralling distractions in his life, namely, nature, the outdoors and Native Americans. By the age of 14, Sharp was already was studying art in Cincinnati. He would further his education in Germany, Italy, France, and Spain before returning home with an ambition to paint Native Americans in the West. Sharp visited Taos in 1893 but made his name painting hundreds of portraits, landscapes, and scenes of daily life and celebrations while living among the Crow in a cabin and studio near the Little Big Horn in Montana. Sharp made Taos his permanent residence in 1912 and became one of the founders of the Taos Society of Artists. He was an inveterate traveler, returning to his haunts in Montana, and adding California- where he would reside late in life- and Hawaii to his list. He would also return to Europe and head on from there, taking his voracious appetite for new subject matter to Africa, Asia, and South America. In Taos, Sharp lived next door to artist E. I. Couse and two houses and studios today form The Couse-Sharp Historic Site. Eagle Star, who also went by the name Juan Concha as he negotiated the Indigenous, Hispanic, and Anglo worlds in Taos, was one of Sharp’s favorite models. In this painting, named for the model, Sharp sets his subject against the sunlit hollyhocks in the garden outside his studio. The pink of Eagle Star’s shirt seems to break apart into scintillating particles of color that Sharp has formed into flowers with swift, deft strokes. It’s not the shadows that Sharp wants to catch, it’s the parabola of light that surrounds and frames the relaxed Eagle Star, who squints against the brilliance of the sun. -James D. Balestrieri $25,000-35,000

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The Couse Foundation 20th Anniversary Auction On behalf of The Couse Foundation, I’d like to welcome you to our first-ever collaboration with Hindman Auctions. The Foundation owns and operates the Couse-Sharp Historic Site, a two-acre campus in the heart of Taos, New Mexico. The site contains the homes, studios, and gardens of E. I. Couse and J. H. Sharp, two of the founders of the Taos Society of Artists, a union of painters who shared a common goal of creating uniquely American art that portrayed a diverse society and revealed our shared humanity. A nonprofit established in 2001, the Foundation’s first objective was to preserve its treasure trove of artworks and the spaces where they were created. Our mission has expanded: preserving and interpreting our historic site, its buildings, grounds, and collections, and the archives of the Taos Society of Artists (TSA), through education, collaboration, and scholarly engagement. We host docent-led tours and open houses, curate contemporary and historical art exhibitions, produce scholarly publications and lectures, and maintain internships and residencies for artists and scholars. The site has become an international destination because of its authenticity and importance to American art and the history and cultures of the American West. This summer will mark the completion of The Lunder Research Center, a 5,000-square-foot museum facility dedicated to the TSA. It will include exhibition and curatorial spaces, archival and collections storage, a research library, and administrative offices. This will enable the Foundation to fulfill its vision as the center for scholarship and interpretation of Couse, Sharp, and the other TSA members. We have recently embarked on a major capital campaign, Bringing the Legacy to Life, to help fulfill this vision. Proceeds from the sale of the property consigned to this auction will go toward this important project. We invite you pay us a visit in Taos to see for yourself what makes the Couse-Sharp Historic Site so special, and why the shared vision of the Taos Society of Artists remains relevant today. Sincerely, Davison Packard Koenig Executive Director

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182 John Marin (American, 1870-1953) Autumn in Mist, 1918 watercolor signed Marin and dated (lower right) 19 1/4 x 16 1/4 inches Property being sold to benefit the Mission and Vision of the Couse-Sharp Historic Site, Taos, New Mexico Provenance: Kennedy Galleries, New York, New York Sotheby’s, New York, New York, 1990 Private Collection, acquired at auction from the above Exhibitions: The Berkshire Museum, “John Marin’s Berkshire Landscapes”, Pittsfield, Massachusetts, 1985 Despite having found a lifelong New York dealer in Alfred Steiglitz, and despite having exhibited with Picasso and just about every other name in Modernism in the 1913 Armory Show, John Marin spent the summer of 1918 in Rowe, Massachusetts, in large part because he found living there inexpensive. Yet the environs were so congenial to his painting that he stayed well into the fall, which is when he would have painted Autumn in Mist- not long perhaps, before Armistice Day began to clear the tragic fog of the First World War. Marin is an idiosyncratic painter. His subtle watercolors seem to have an origin in Asian practice, but they are utterly unique, as if his brushwork inscribes the calligraphy of a private language. The central gesture in Autumn in Mist, for example, is what appears to be the skeleton of a shrub, dimly perceived. The arrangement of green limbs, however, suggests a ghostly, dancing figure that might loom anciently from a cave wall. As Sheldon Reich wrote in his 1970 treatise on Marin, the artist embodied “some of the most cogent artistic tendencies of his day: the twentieth-century concentration on individual expression, the shattering of conventional standards of time and space, the faith in the act of creation as one of affirmation.” (Reich, p. 243). -James D. Balestrieri $15,000-25,000

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183 William Lumpkins (American, 1908-2000) High Desert Series, Azul, 1973 watercolor on paper signed Lumpkins (lower right) 17 3/4 x 23 1/2 inches Property being sold to benefit the Mission and Vision of the Couse-Sharp Historic Site, Taos, New Mexico Provenance: Donated by Addison Rowe Gallery, Santa Fe, New Mexico New Mexico artist William Lumpkins studied and painted with Peter Hurd in his early years, but it was seeing an exhibition of John Marin’s watercolors in Taos that pushed him towards abstraction. His time with the Transcendental Painting Group and Raymond Jonson helped shape his style, and an abiding interest in Buddhism made him an early advocate of sustainable living and solar architecture. You can see hints of Marin’s influence in High Desert Series, Azul as Lumpkins finds and brings out the abstraction in the landscape, presenting it in essential, kinetic forms. -James D. Balestrieri $2,000-4,000

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184 Howard Norton Cook (American, 1901-1980) Little Grandmother oil on burlap and board signed Howard Cook (lower right) 20 x 14 inches Property being sold to benefit the Mission and Vision of the Couse-Sharp Historic Site, Taos, New Mexico Provenance: Donated by Chimayo Trading Del Norte, Ranchos De Taos, New Mexico Howard Cook’s paintings never stray far from the wood engraving and printmaking he absorbed from Joseph Pennell. He treats the brush as a chisel, leaving out what is unnecessary and carving what is absolutely essential to his expression. But Cook was also an accomplished muralist, and something of that practice inheres in Little Grandmother as well. The simplicity in the folds of the garment, in the old woman’s face, and in the background recall woodcuts, while the deep blues echo stained glass and the pinks and yellows recall Giotto’s Paduan frescoes. -James D. Balestrieri $3,000-5,000

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185 Andrew Michael Dasburg (American, 1887-1979) Cordillera, 1968 pen and ink on paper signed Dasburg and dated (lower left) 16 1/2 x 21 inches Property being sold to benefit the Mission and Vision of the Couse-Sharp Historic Site, Taos, New Mexico Provenance: The Artist The Collection of Robert Ellis, student of the artist Donated by Rosa Ellis Clark, widow of the artist, and 203 Fine Art, Taos, New Mexico Exhibitions: University Art Museum, The University of New Mexico in Albuquerque, “Exhibition of Drawings by Andrew Dasburg”, 1964 Andrew Dasburg rejected his traditional training, seeing the future of art in Cubism when he studied in Paris, and adopting Cezanne as his inspiration. Dasburg brought these ideas to Taos and shook things up with his powerful Modernist sensibility. In Cordillera, or “Mountain Range,” Andrew Dasburg is sketching what he always sought in his art: the deep geometry of the universe. Here are the edges: of cloud and mountains, rock and shadow—the mathematics of nature in a formula determined over millennia. Your eye glides from broken line to broken line while your mind’s eye creates mass and envisions a scene. -James D. Balestrieri $1,500-2,500

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186 Gustave Baumann (American, 1881-1971) Hillside Woods II, edition 51/120 woodcut signed Gustave Baumann and numbered (lower right), titled (lower left) 10 1/2 x 9 1/2 inches Property being sold to benefit the Mission and Vision of the Couse-Sharp Historic Site, Taos, New Mexico Provenance: Donated by Zaplin Lampert Gallery, Santa Fe, New Mexico German-born Gustave Baumann learned the art of the color woodcut in Munich. He perfected his technique at the Brown County Art Colony in Indiana before settling in Santa Fe. Hillside Woods II is a wonderful example of both the artform and of his work. The layers of detail and subtle depths have rarely been achieved to this degree in the woodcut. Baumann employs differently shaped cuts to delineate the various depths and enhances these with greens that move along the spectrum. Black verticals and curves create a rhythm while grey shadowed light balances the yellow light of the sky. -James D. Balestrieri $5,000-7,000

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187 William Weaver Armstrong (American, 1862-1906) Oregon Landscape oil on canvas signed W.W. Armstrong (lower left) 30 x 50 inches Property being sold to benefit the Mission and Vision of the Couse-Sharp Historic Site, Taos, New Mexico Provenance: Zaplin Lampert Gallery, Santa Fe, New Mexico Donated by Medicine Man Gallery, Tucson, Arizona Little is known about William Weaver Armstrong, the artist who painted the grand Oregon Landscape pictured here. Armstrong’s father was a painter and William’s only instructor. Armstrong himself traveled and painted in California and the Pacific Northwest, contracted tuberculosis, and died at the age of 44. Oregon Landscape invites comparison with Thomas Hill, though Armstrong’s work has more of a Hudson River flavor than Hill’s California landscapes. Tighter drawing, attention to detail, and the romantic framing of the figures and mountain suggest William Frerichs or Herman Herzog. Armstrong is an artist who deserves more attention and investigation. -James D. Balestrieri $2,000-3,000

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188 Fremont Ellis (American, 1897-1985) Early Spring-New Mexico oil on canvas signed Fremont Ellis (lower left) 20 x 24 inches Property being sold to benefit the Mission and Vision of the Couse-Sharp Historic Site, Taos, New Mexico Provenance: Dan May & Associates, Scottsdale, Arizona Private Collection, acquired from the above in 1992 Optometry and photography are both concerned with the eye, with sharpening vision and offering new points of view. Fremont Ellis had worked in both fields before taking up art. Ellis would become the best known of Los Cinco Pintores- Santa Fe’s answer to the Taos Founders- and in Early SpringNew Mexico, we see his unmistakable style: strong composition that leads the eye from element to element, balanced by easy brushwork and bold application of paint. Despite his interest in seeing, Ellis wants you to feel the day: winter abating; spring pulsing. -James D. Balestrieri $8,000-12,000

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189 Richard Schmid (American, b. 1934) Spring Morning in Gaylordsville oil on canvas signed Schmid (lower right) 18 x 24 inches Property being sold to benefit the Mission and Vision of the Couse-Sharp Historic Site, Taos, New Mexico Provenance: Michael Wigley Galleries, Santa Fe, New Mexico Private Collection, acquired from the above Richard Schmid has often been called an artist’s artist because of the popular classes he teaches as well as the instructional books and videos he has created. In his own work, Schmid has developed a personal poetic approach to realism, and although he is perhaps best known for his nudes and floral still life paintings, he is also a superb painter of landscapes, as seen here in Spring Morning in Gaylordsville, a scene from the Connecticut town where Schimd and his family once resided. Balancing lights and darks, thins and thicks, and keeping his palette cool and limited, Spring Morning in Gaylordsville becomes an ode to the reemergent year, where the structure peeking through the trees, in the light that falls on it, is at one with the process of renewal. You can almost hear the birdsong and the natural world yawning as it awakens. -James D. Balestrieri $8,000-12,000

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190 David A. Leffel (American, b. 1931) Wild Horses, 2013 oil on canvas signed DAL (lower right) 12 x 20 inches Property being sold to benefit the Mission and Vision of the Couse-Sharp Historic Site, Taos, New Mexico Provenance: Donated by the artist David Leffel’s beautiful oil, Wild Horses, is reminiscent of the early Hudson River School, and Asher Durand in particular. It also recalls Worthington Whittredge’s paintings of the Western Plains in the Civil War era. Leffel finds his inspiration in the painting of the Dutch Golden Age, in Rembrandt and Vermeer, but here the wildness is Western, as the three white horses, lit by a break in the clouds, move away from the fences, towards the wild gray weather that looms at left. -James D. Balestrieri $10,000-12,000

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191 Leon Loughridge (American, b. 1952) The Gorge oil on canvas signed LLoughridge (lower left) 13 3/8 x 23 3/8 inches Property being sold to benefit the Mission and Vision of the Couse-Sharp Historic Site, Taos, New Mexico Provenance: Gerald Peters Gallery, Santa Fe, New Mexico Donated from a Private Collection New Mexico native Leon Loughridge studied in Taos, Santa Fe, Colorado and in Europe after serving in the armed forces there before returning to Colorado, where he owns a publishing company that specializes in fine printmaking for artists and other vendors. Loughridge is perhaps best known for his etchings and woodblocks, but he is also a fine painter. The Gorge has a plein air ease, taking in the ancient, jagged rupture of the gorge in the misty distance. -James D. Balestrieri $800-1,200

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192 Sherrie McGraw (American, b. 1954) The Walking Stick, 2021 oil on canvas signed McGraw (lower left) 24 x 12 inches Property being sold to benefit the Mission and Vision of the Couse-Sharp Historic Site, Taos, New Mexico Provenance: Donated by the artist Sherrie McGraw studied in New York at the Art Students’ League (where she has also taught) and at the New York Academy. A classical realist by training, McGraw is deeply interested in “abstract realism,” where, as she puts it, “subject matter is a vehicle— not the reason—for painting.” The Walking Stick shows how McGraw’s investment in paint quality, the rhythms of color, and in the arrangement of abstract forms that constructs a harmonious representation. Consider the gold bucket and the bracelet, the touches of turquoise in the moccasins and in the beaded necklace, and in the zig-zag yellow on the stick and in the breechcloth. -James D. Balestrieri $5,000-7,000

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193 Gene Kloss (American, 1903-1996) Two Works: Deer Dance, edition 46/75 and Keresan Dancers, edition 11/50 etching each signed Gene Kloss (lower right) and titled and numbered (lower left) 13 x 18 and 14 x 11 inches Property being sold to benefit the Mission and Vision of the Couse-Sharp Historic Site, Taos, New Mexico Provenance: Donated from a Private Collection Gene Kloss spent several months each year in Taos, drawing, painting, and pulling prints of the pueblo ceremonies she witnessed. The Deer Dance is a celebration of the promise of renewal, light against darkness- which you see in this etching- that takes place near the winter solstice. Keresan refers to the people, culture, and language of seven of the Pueblos, including Laguna, Acoma, and Cochiti. Kloss’s etching centers on a woman dancing, but the etching as a whole is a transmission of energy, pageantry, mystery, and continuity. -James D. Balestrieri $1,000-2,000

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194 Gene Kloss (American, 1903-1996) Return to the Pueblo watercolor and pastel on paper signed Gene Kloss (lower right) 21 x 27 inches Property being sold to benefit the Mission and Vision of the Couse-Sharp Historic Site, Taos, New Mexico Provenance: Donated by Ernest and Virginia Couse Leavitt, Taos, New Mexico Best known for her black and white etchings of Pueblo ceremonies, Gene Kloss’s paintings are few and rarely appear on the market. Where her etchings are spiky and deep with chiaroscuro, as if she is trying to capture a moment before it is gone, her paintings, as seen here in Indian Figure on Horse, approach the sculptural, as if the figures and horse press against a drapery, proceeding in shallow relief across a temple frieze. -James D. Balestrieri $4,000-6,000

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195 David Halbach (American, b. 1931) Pueblo Dance-Laqan Ceremony, 1968 watercolor signed David Halbach and dated (lower right) 20 x 30 inches Property being sold to benefit the Mission and Vision of the Couse-Sharp Historic Site, Taos, New Mexico Provenance: Settler’s West, Tucson, Arizona Private Collection, acquired from the above in 2008 “There is a lot of truth in ‘Paint what you know,’” David Halbach says, and taking this advice has served him well throughout his career. Halbach studied at the Chouinard Art Institute in Los Angeles under Millard Sheets, and, after a stint in the Navy, went to work as a Disney animator, where he counted Lady and the Tramp among his credits. Halbach turned to teaching and easel painting and has made a particular study of Hopi ceremonies in his atmospheric watercolors that find echoes in artists as disparate as Donald Teague and Peter Moran. The Laqan, or “Squirrel” Katsina, appears in dances and can also “challenge any woman to take anything from him that she thinks worth having.” (Wright, Kachinas, p. 112) -James D. Balestrieri $3,000-5,000

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196 Edward Sheriff Curtis (American, 1862-1952) Vanishing Race orotone signed Curtis (lower right) 11 x 14 inches Property being sold to benefit the Mission and Vision of the Couse-Sharp Historic Site, Taos, New Mexico Provenance: Donated by The Rainbow Man, Santa Fe, New Mexico By 1895, Seattle photographer Edward Curtis was the flavor of the month whenever anyone needed a portrait or a bride or debutante. But once he saw and photographed Princess Angeline, the last surviving daughter of Chief Seattle- for whom the growing, bustling city was named- his ambition took a turn. Curtis would spend thirty years living among and photographing Native Americans from Alaska to Mexico. It would cost him dearly, but his project, the monumental The North American Indian, remains unmatched in its sweep and beauty. The Vanishing Race is the most famous Curtis image. Mounted Natives move away from us, getting ever smaller, epitomizing the “Vanishing Race” myth that posited that Native Americans were, tragically but inevitably, doomed to vanish from the earth. Time has, of course, proven it a myth, yet it inspired and drove Curtis. This Vanishing Race is a goldtone, or orotone, a rare example of a process invented by Curtis, in which the lighter areas of the glass plate give off a softly reflective, golden hue. -James D. Balestrieri $2,000-3,000

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197 Peter Hurd (American, 1904-1984) Una Tarde Noviembre watercolor signed Peter Hurd and titled (lower left) 18 x 24 inches Property being sold to benefit the Mission and Vision of the Couse-Sharp Historic Site, Taos, New Mexico Provenance: The Artist Henriette Wyeth Hurd, wife of artist, San Patricio, New Mexico Private Collection, acquired from the above Peter Hurd studied with N.C. Wyeth and went on to marry Wyeth’s daughter Henriette, a very fine painter in her own right. Born in New Mexico, Hurd settled in the town of San Patricio, on what he would eventually call Sentinel Ranch. Hurd’s work as a combat artist for the Air Force and Life magazine during World War II convinced him to make watercolor his principal medium. San Patricio, Una Tarde Noviembre has the tonal looseness and light touch that would become a hallmark of Hurd’s work. Saturated areas alternate with dry brush technique, and Hurd uses the tip of the brush handle to etch furrows into the turned earth. In an early catalogue for an exhibition of Hurd’s New Mexico scenes, Macbeth Gallery director John J. Cunningham wrote, Hurd “has put down the result of his observations in terms that are affectionate, but never sentimental; impressions which are not mere sign posts pointing to that countryside, but invitations to share and enjoy a land unspoiled by the anachronisms of modern wayside architecture.” -James D. Balestrieri $7,000-9,000

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198 George Hallmark (American, b. 1949) Faith oil on board signed Hallmark (lower left) 20 x 16 inches Property being sold to benefit the Mission and Vision of the Couse-Sharp Historic Site, Taos, New Mexico Provenance: Donated from a Private Collection Texas painter George Hallmark began his career in commercial art before moving to easel painting. His work is regularly featured in the Masters of the American West at the Autry National Center and the Prix de West. Hallmark’s paintings hang in the collections of the Eiteljorg Museum, the Booth Western Art Museum, the Briscoe Museum, and the U.S. Capitol. Faith takes some inspiration from the art of Clark Hulings. Hallmark, like Hulings, traveled to Spain and France to paint village life and the continuity of the church, as implied in Faith, is as central to traditional culture there, as it is in the American Southwest and Mexico. -James D. Balestrieri $5,000-7,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

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199 Harry Jackson (American, 1924-2011) Flag Bearer- Study bronze signed Harry Jackson and dated (base) height 25 1/2 x length 25 1/2 x width 10 inches Property being sold to benefit the Mission and Vision of the Couse-Sharp Historic Site, Taos, New Mexico Provenance: Dan May & Associates, Scottsdale, Arizona Private Collection, acquired from the above in 1997 Harry Jackson polychromed some of his bronzes because that is what the ancients did. He sculpted others as if they were on the high wire because a good sculptor should have a thorough understanding of form, weight, and balance. That is where Jackson did his best work- on the high wire where action, emotion, and imagination collide. The Flag Bearer- Study is, in some ways, even more of an action piece than the Flag Bearer proper. This is how you would see the rider go by: in a blur, without much detail, all motion, breeze, sound. -James D. Balestrieri $12,000-18,000

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200 William Maughan (American, b. 1946) First Light, 1981 oil on canvas signed Maughan and dated (lower left) 32 x 48 inches Property being sold to benefit the Mission and Vision of the Couse-Sharp Historic Site, Taos, New Mexico Provenance: Dan May & Associates, Scottsdale, Arizona Private collection, acquired from the above in 1993 William Maughan is a commercial illustrator, easel painter, and serves as head of the Fine Art Department at the San Francisco Academy of Art College. Maughan advocates for a return to teaching traditional, academic realism. His own paintings, especially those of the historic West, take a more romantic approach. First Light hearkens back to the Golden Age of Illustration, depicting a moment in a larger narrative of adventure in the early West. -James D. Balestrieri $2,000-3,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M

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201 Ernest Knee (American, 1907-1982) Taos Pueblo, 1941 gelatin silver print signed Ernest Knee and dated (lower right); titled (lower left) 13 1/2 x 10 1/4 inches Property being sold to benefit the Mission and Vision of the Couse-Sharp Historic Site, Taos, New Mexico Provenance: Private Collection Though this photograph is titled Taos Pueblo, the actual pueblo, a corner of which peeks in at left, is almost incidental to the image. In fact, looking at the other elements- the tree, stream, horse, mountains, and sky, Knee suggests that Taos Pueblo is in nature, part of a larger world, and that the ramshackle fence is more of a gesture than a boundary. Indeed what dominates here are those things that can’t- or shouldn’t- be tamed, the freedom of the horse and the course of the stream, the ways in which trees grow and clouds move and mountains form. -James D. Balestrieri $700-900

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202 Ernest Knee (Canadian/American, 1907-1982) Edward Weston at San Cristobal, N.M., 1941 gelatin silver print signed Ernest Knee and dated (lower right); titled (lower left); titled, dated, inscribed #11, and stamped (verso) 10 3/8 x 13 3/8 inches Property being sold to benefit the Mission and Vision of the Couse-Sharp Historic Site, Taos, New Mexico Provenance: Private Collection Canadian born Ernest Knee settled in New Mexico after working as Howard Hughes’s personal photographer when Hughes was daredeviling around the globe. Knee knew many, if not all, of the great New Mexico artists and often photographed their works for them. Here, one great photographer photographs another great photographer, Edward Weston, set up beside a small spill of water over rocks. Weston takes in the scene and waits for the right moment of light. By making Weston an element in his own photograph, Knee suggests that compositions are to be found everywhere, if we only look. -James D. Balestrieri $700-900

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 101

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203 Ovak Arslanian (20th Century) Portrait of Ansel Adams, 1975 gelatin silver print signed Ovak and dated (lower right); titled (lower left) 9 3/4 x 8 inches Property being sold to benefit the Mission and Vision of the Couse-Sharp Historic Site, Taos, New Mexico Provenance: Private Collection In his 1975 Portrait of Ansel Adams, New York portrait photographer Ovak Arslanian captures another famous photographer, Ansel Adams, in a frank, casual moment. Adams, seated, looks right and leans in, arms lightly crossed, as if he has just thought of a good “just between you and me” story, a story you’ve never heard about some adventure in Yosemite, one with, perhaps, just a hint of gossip that begins, “Confidentially…” -James D. Balestrieri $700-900

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204 After Karl Bodmer Ten Watercolors watercolor on paper various sizes: largest 16 x 12 inches; smallest 11 x 8 1/2 inches Property being sold to benefit the Mission and Vision of the Couse-Sharp Historic Site, Taos, New Mexico Provenance: Private Collection This group of ten watercolors after originals by Karl Bodmer, beautifully framed and matted, appear to be at least a century old. Perhaps copied from the widely popular folios of Bodmer’s Native American subjects that were printed in his lifetime and after, great care was taken in these paintings to capture the vibrance and flavor of the originals. They are skillfully painted. -James D. Balestrieri $2,000-3,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 103

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205 Group of Three Santos Nuestro Señora 16th Century, Reina de los Cielos, Ecuador polychrome wood and metal wings height 19 inches Mama Maria 18th Century, Queretaro, Mexico polychrome wood and glass eyes height 15 1/2 inches Cruz de Animas 19th Century, Queretaro, Mexico polychrome wood height 27 1/2 inches Property being sold to benefit the Mission and Vision of the Couse-Sharp Historic Site, Taos, New Mexico Provenance: Donated from a Private Collection These two Santos and one Cruz are outstanding examples of Spanish Colonial objects of veneration seen in private homes and family tabernacles. All three are polychromed wood, and the oldest Santo, Nuestro Señora, from Ecuador, has delicately hammered metal wings. All three are exquisitely painted. -James D. Balestrieri $1,000-2,000

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207

206 Grant Speed (American, 1930-2011)

207 Gordon Dale Phillips (American, 1927-2011)

Where Quiet Can Save Your Life, edition 18/30, 1986 bronze signed U.G. Speed, numbered and dated (base) height 16 x width 31 x depth 10 inches

Mosby’s Scouts, 1991 oil on canvas signed Gordon Phillips (lower right) 20 x 30 inches Property from the Collection of an American Corporation Provenance: J.N. Bartfield Galleries, New York, New York

$2,000-3,000

$2,000-4,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 105

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208 Joe Netherwood (American, 20th Century) The Staredown oil on linen signed Joe Netherwood (lower left) 10 x 8 inches Property from the Collection of Jane and Terry Bradshaw, Alpharetta, Georgia $300-500

209 Robert Pummill (American, b. 1936) Man of the Mountains oil on canvas signed Pummill (lower left) 48 x 36 inches Property from the Collection of Del Pelton, Scottsdale, Arizona $4,000-6,000 209

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211

210 Michael Coleman (American, b. 1946)

211 John DeMott (American, b. 1954)

He Took Five Shots, 1981 gouache on paper signed Michael Coleman and dated (lower right) 11 x 14 inches Property from the Collection of Mr. Lawrence H. Kyte, Cordillera, Colorado Provenance: Kennedy Galleries, New York, New York

Frontier Hunting Party, 1998 oil on canvas signed DeMott and dated (lower right) 36 x 48 inches $8,000-12,000

$1,000-2,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 107

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212 Howard L. Hastings (American, 1887-1955) Hunting a Mountain Lion oil on canvas signed Howard L. Hastings (lower right) 20 x 30 inches $2,000-3,000

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214

214 Thom Ross (American, b. 1953)

213 Dave McGary (American, 1958-2013) Guardians of the Herd, edition 20/100, 2001 polychrome bronze signed Dave McGary and numbered (base) height 10 1/2 x length 22 1/2 x width 5 3/4 inches

Tom 116 EAR P TRIP oil on canvas signed Ross (lower left) 20 x 30 inches $1,000-2,000

$3,000-5,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 109

THE COLLECTION OF NORMA AND DAVID MCINTYRE

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The Collection of Norma and David McIntyre Our parents, Norma and David McIntyre, were great connoisseurs of art. Our mother graduated from college with a Bachelor’s degree in Art and was a painter earlier in her life, and our father loved Yosemite and introduced our mother to its beauty before they married in 1965. We spent many vacations there over the years and came to love it as much as our father did. One of their passions was collecting art and objects. It was a process done slowly over many years. Their focus was on pieces that spoke to them, be it a painting, a lithograph, or a bronze. They appreciated the beauty and quality of each piece they acquired, and were incredibly knowledgeable on the artists whose works they collected. In addition, our mother inherited a beautiful art collection from her parents, which only enhanced their own collection. One of the first artists whose work our parents collected, decades ago, was that of Ansel Adams. A friendship developed between them over the years that lasted until Mr. Adams’ death. In addition to Yosemite, there were many family trips to Wyoming, culminating in the purchase of their home in Jackson, Wyoming. One of our father’s most prized pieces of art was a bronze by Joe Beeler, which he received as a 50th birthday present. It was brought to the “Wyoming” house and had “pride of place” in their collection there, facing out towards the Grand Tetons. Wyoming holds so many memories for our family as it brought such joy to our parents’ lives. Our father was happiest when he was there, and our parents enjoyed the peace and majesty of the scenery. It is through our parents that we each developed our own appreciation of art and collecting. Now their collection of art and objects can be shared with others, who will no doubt enjoy them for all of the same reasons our parents did, and will give them a continued life in new environments. - Mary, Anne, John, Caroline, and David McIntyre

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 111

THE COLLECTION OF NORMA AND DAVID MCINTYRE

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*215 John Coleman (American, b. 1949) Distant Thunder, edition 9/75, 2003 bronze signed John Coleman, titled, numbered and dated (verso) height 12 x width 7 x depth 5 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California $1,500-2,500

216 Joe Beeler (American, 1931-2006)

*217 Sherry Sander (American, b. 1941)

Chief, edition 3/40 bronze signed Joe Beeler and numbered (verso) height 18 x width 9 x depth 10 inches

Indian with Headdress, edition 19/35 bronze signed S. Sander, numbered and dated (verso) height 13 1/2 x width 4 3/4 x depth 5 1/2 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California

$2,000-4,000

$700-900

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218

*218 Scott Christensen (American, b. 1962) Salt River Range oil on board signed Christensen (lower left) 20 x 30 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California $3,000-5,000

*219 Scott Christensen (American, b. 1962) A Grove of Trees oil on canvas signed Christensen (lower right) 16 x 18 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California $1,000-2,000

*220 Scott Christensen (American, b. 1962) Winter Aspen oil on board signed Christensen (lower right) 12 x 10 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California Provenance: Trailside Galleries, Jackson, Wyoming, 1996 $800-1,200

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 113

THE COLLECTION OF NORMA AND DAVID MCINTYRE

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223

*221 Sandy Scott (American, b. 1943) Yawning Wolf, edition 4/75, 2005 bronze signed Sandy Scott, numbered and dated (verso) height 18 x length 15 x width 10 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California $1,000-2,000

*222 Sandy Scott (American, b. 1943)

*223 Sherry Sander (American, b. 1941)

Ram of Mendes, edition 1/35, 1995 bronze signed Sandy Scott, numbered and dated (verso) height 10 x width 10 x depth 14 1/2 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California

Antelope Bust, edition 10/35, 1995 bronze signed S. Salari-Sander, dated and numbered (base) height 15 1/2 x width 7 x depth 8 1/2 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California Provenance: Trailside Galleries, Jackson, Wyoming

Literature: Susan Hallsten McGarry, Spirit of the Wild Things: The Art of Sandy Scott, Stony Press, Fort Collins, 1998, p. 102.

$600-800

$700-900

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225

*224 Luke Frazier (American, b. 1970)

*225 Luke Frazier (American, b. 1970)

Driving the Herd oil on canvas signed L. Frazier (lower left) 20 x 40 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California Provenance: Legacy Gallery, Jackson, Wyoming, 2004

Plains Buffalo, 2000 oil on board signed Frazier (upper left) 9 x 12 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California $1,000-2,000

$3,000-5,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 115

THE COLLECTION OF NORMA AND DAVID MCINTYRE

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226 Frederick Arthur Verner (Canadian, 1836-1928) Mid-Day Buffalo oil on canvas signed Verner (lower right) 24 x 36 inches Provenance: Uno Langman Limited, Vancouver, Canada Frederick Arthur Verner is one of several fine painters who made the Canadian West his subject, though he didn’t actively pursue his art until he finished a stint in the British army that included fighting for Italian independence under Garibaldi. Verner returned to Canada, where, in 1873, he journeyed with a government detail to sign an important First Nations treaty. His sketches from this trip, and the careful studies of buffalo he began to make in 1875 formed the bulk of the reference he would use throughout his career. Mid-Day Buffalo depicts a languid, peaceful moment on what seems to be an endless prairie with only an undulant line of hills in the hazy distance. -James D. Balestrieri $8,000-12,000

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228

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227 Kent Ullberg (American, b. 1945)

*228 Sherry Sander (American, b. 1941)

*229 Mitch Billis (American, b. 1937)

Bison Study, edition 14/50 bronze signed Ullberg and numbered (inside back leg) height 7 1/2 x length 13 x width 3 inches

Buffalo Study, edition 6/35, 1997 bronze signed S.S. Sander and dated (base) height 13 x length 14 1/2 x width 6 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California

Haystacks oil on canvas board signed Mitch Billis (lower right) 11 x 12 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California

$700-900

$500-700

$1,000-2,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 117

THE COLLECTION OF NORMA AND DAVID MCINTYRE

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*230 Jim Wilcox (American, b. 1941) South Park Haystacks oil on board signed Jim Wilcox (lower right) 9 x 12 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California Provenance: Wilcox Gallery, Jackson, Wyoming $700-900

*231 J. Benjamin (American, 20th Century) Haystack Heaven oil on board signed J. Benjamin (lower right) 9 x 12 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California Provenance: Trailside Gallery, Jackson, Wyoming, 1993

*233 *232 Sandy Scott (American, b. 1943) Sandy Scott (American, b. 1943) Tribute, edition 3/25 bronze stamped Sandy Scott, along with title, and numbered (base) height 12 x length 14 x width 6 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California $800-1,200

$500-700

Little Red Rascal, edition 23/50, 1998 bronze signed Sandy Scott, numbered and dated (verso) height 10 x length 13 x width 10 1/2 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California Literature: Susan Hallsten McGarry, Spirit of the Wild Things: The Art of Sandy Scott, Stony Press, Fort Collins, 1998, p. 152. $800-1,200

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236

*234 Sandy Scott (American, b. 1943)

*235 Ralph Oberg (American, b. 1950)

Trish’s Rabbit, edition 16/65, 1998 bronze signed Sandy Scott, numbered and dated (base) height 6 3/4 x length 8 x width 5 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California

Fire & Water oil on canvas board signed Oberg (lower right) 8 x 10 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California

Literature: Susan Hallsten McGarry, Spirit of the Wild Things: The Art of Sandy Scott, Stony Press, Fort Collins, 1998, p. 154.

$700-900

*236 Scott Christensen (American, b. 1962) Desert Cliffs oil on canvas signed Christensen (lower left) 12 x 14 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California Provenance: Trailside Galleries, Jackson, Wyoming $800-1,200

$400-600

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 119

THE COLLECTION OF NORMA AND DAVID MCINTYRE

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237

*239 Scott Christensen (American, b. 1962)

237 Harry Jackson (American, 1924-2011)

*238 Artist Unknown

Sacagawea II, 1980 bronze signed Harry Jackson, titled and dated (verso) height 18 x width 9 x depth 5 inches

Sunset oil on canvas signed illegibly (lower right) 20 x 30 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California

Coastal Village oil on canvas signed Christensen (lower left) 10 x 20 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California

$500-700

$1,000-2,000

$2,000-4,000

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242

240 Sandy Scott (American, b. 1943)

241 Sherry Sander (American, b. 1941)

Pair of Partridge Bookends, edition 3/65 bronze each signed Sandy Scott and numbered (verso) each height 10 x width 8 x depth 9 inches

Wild Geese, edition 23/35, 1988 bronze signed S. Sander, numbered and dated (base) height 20 x length 45 x width 29 inches

$800-1,200

$2,000-4,000

*242 Sherry Sander (American, b. 1941) Big Horn Study, edition 14/35, 1989 bronze signed S. Sander, numbered and dated (verso) height 9 x width 11 x depth 8 1/2 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California $700-900

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 121

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243 David A. Merrill (American, b. 1964) Mountain Goats, together with artist’s original sketch, 2001 oil on canvas signed Merrill and dated (lower left) 72 x 88 inches Property being sold to benefit Grand Teton National Park Foundation, Jackson, Wyoming $3,000-5,000

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246 245

*244 George Dee Smith (American, b. 1944)

*245 Sherry Sander (American, b. 1941)

Buffalo River Bulls, 2000 oil on board signed George D. Smith (lower right) 6 1/2 x 12 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California Provenance: The Legacy Gallery, Jackson, Wyoming

Running Deer, edition 17/50, 1991 bronze signed S. Sander, numbered and dated (base) height 5 x length 8 1/2 x width 6 1/2 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California

$600-800

246 Robert Bateman (Canadian, b. 1930) Old Orchard and Roe Deer, 1966 acrylic on board signed Robert Bateman and dated (lower right) 16 x 28 5/8 inches $3,000-5,000

247 Dwayne Harty (American, b. 1957) Two Cougars oil on canvas signed Dwayne Harty (lower right) 25 x 50 inches $5,000-7,000

$800-1,200 V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 123

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249

250

248 David Maass (American, b. 1929)

*249 Sandy Scott (American, b. 1943)

*250 Sandy Scott (American, b. 1943)

Ducks Landing oil on board signed Maass (lower right) 24 x 36 inches

Dusking Ducks, edition 7/50, 1997 bronze signed Sandy Scott, numbered and dated (verso) height 6 1/2 x width 8 x depth 8 1/2 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California

Golden Morning, edition 5/75, 2002 bronze signed Sandy Scott, numbered and dated (verso) height 12 x width 11 x depth 7 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California

Literature: Susan Hallsten McGarry, Spirit of the Wild Things: The Art of Sandy Scott, Stony Press, Fort Collins, 1998, p. 93.

$800-1,200

$3,000-5,000

$400-600

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253

*251 Sandy Scott (American, b. 1943)

252 Charles DeFeo (American, 1892-1978)

253 Brett James Smith (American, b. 1958)

Setter, edition 2/35, 1986 bronze signed Sandy Scott, numbered and dated (base) height 6 x length 12 x width 7 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California

Hunting Dog oil on canvas signed Charles De Feo and dedicated (lower left) 21 x 30 inches Property from an Important Colorado Collection

Montana Spring Creek watercolor on paper signed Brett Smith (lower right) 21 x 29 inches $2,000-4,000

$1,000-2,000 $300-500

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 125

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256

*254 Eldridge Hardie (American, b. 1940)

*255 Richard Murray (American, b. 1948)

*256 Richard Murray (American, b. 1948)

Canada Goose Decoy oil on board signed Eldridge Hardie (lower right) 8 1/2 x 12 1/2 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California Provenance: Trailside Gallery, Jackson, Wyoming, 1993

Pintail, 2007 oil signed Murray (lower left) 12 x 22 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California

Read Head Ducks oil on canvas signed Murray (lower right) 18 x 25 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California Provenance: The Legacy Gallery, Jackson, Wyoming, 2005

$1,000-2,000

$800-1,200

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259

*257 Sherry Sander (American, b. 1941)

*258 Sandy Scott (American, b. 1943)

*259 Sandy Scott (American, b. 1943)

Dog, edition 31/35, 1987 bronze signed S. Sander, numbered and dated (base) height 9 1/2 x width 7 1/2 x depth 8 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California

Stretching Teal, Artist Proof, 1991 bronze signed Sandy Scott, numbered and dated (base) height 8 x width 14 x depth 10 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California

$300-500

Literature: Susan Hallsten McGarry, Spirit of the Wild Things: The Art of Sandy Scott, Stony Press, Fort Collins, 1998, p. 57.

Spirit of the Wild Things, Artist’s Proof together with book, Spirit of the Wild Things; the Art of Sandy Scott, 1988 bronze signed Sandy Scott, numbered and dated (base) height 8 x length 14 x width 10 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California $600-800

$700-900 V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 127

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261

260 Trevor Swanson (American, b. 1968)

261 Terry Duen (TD) Kelsey (American, b. 1946)

*262 Joffa Kerr (American, b. 1935)

Elephant oil on canvas signed Trevor V. Swanson (lower right) 36 x 24 inches

Body Guard, edition 4/7, 1995 bronze signed T.D. Kelsey, titled, numbered and dated (base) height 13 1/2 x length 19 x width 9 inches

Lion, edition 7/15, 1997 bronze signed Joffa, numbered and dated (verso) height 14 x width 8 x depth 7 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California

$1,500-2,500 $2,000-3,000

$300-500

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263

264

265

263 Valoy Eaton (American, b. 1938)

264 David Halbach (American, b. 1931)

265 Morgan Weistling (American, b. 1964)

Frozen Stream, 1979 oil on panel signed Valoy Eaton and dated (lower left) 22 x 32 inches

Soups On, 2005 watercolor signed David Halbach and dated (lower right) 21 x 30 inches

$3,000-5,000

$2,000-3,000

The Fruit Shiner oil on canvas signed Morgan Weistling (lower left) 18 x 20 inches Property from the Estate of Anne B. Eldridge being sold to benefit the Booth Western Art Museum and The Salvation Army, Atlanta, Georgia Provenance: Trailside Galleries, Jackson, Wyoming $3,000-5,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 129

267 268

269

266 Craig Tennant (American, b. 1946) Green Wagon oil on canvas signed Craig Tennant (lower right) 12 x 20 inches Property from the Estate of Anne B. Eldridge being sold to benefit the Booth Western Art Museum and The Salvation Army, Atlanta, Georgia $800-1,200

267 Sandy Scott (American, b. 1943)

*268 Sandy Scott (American, b. 1943)

Swine Song, edition 75/100, 2003 bronze signed Sandy Scott, numbered and dated (base) height 13 x length 6 x width 6 inches Property from the Collection of Mr. Lawrence H. Kyte, Cordillera, Colorado

Morning, edition 19/25, 1991 bronze signed Sandy Scott, titled, numbered and dated (base) height 23 x length 20 x width 11 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California

$1,500-2,500

$1,000-2,000

*269 Sandy Scott (American, b. 1943) Pair of Chicken Sculptures, editions 8/15 and 15/50, 1996 bronze each signed Sandy Scott, numbered and dated (base) each height 9 x length 7 1/2 x 5 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California $700-900

130 W E S T E R N PA I N T I N G S A N D S C U L P T U R E I N C L U D I N G C O N T E M P O R A R Y N AT I V E A M E R I C A N A R T

270

271

*270 Grace Ravlin (American, 1885-1956) Moroccan Scene oil on canvas signed Ravlin (lower right, below frame) 21 1/4 x 25 1/2 inches Property from the Collection of Leonard Stark, Chicago, Illinois $8,000-12,000

271 Walt Gonske (American, b. 1942) Guatemala Vegetable Market oil on canvas signed Gonske (lower right) 19 x 30 inches Provenance: Nedra Matteucci Galleries, Santa Fe, New Mexico $2,000-3,000

272

272 Gary Niblett (American, b. 1943) Rainy Day Flower Market oil on canvas signed Gary Niblett (lower right) 14 x 18 inches Provenance: Nedra Matteucci Galleries, Santa Fe, New Mexico Fenn Galleries, Santa Fe, New Mexico $800-1,200

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 131

274

273

273 Dave McGary (American, 1958-2013)

274 Francisco Zuniga (Mexican, 1912-1998)

A King’s Ransom, edition 8/25, 1988 polychrome bronze signed Dave McGary, numbered and dated (base) height 31 x width 11 3/4 x depth 9 1/2 inches

Mujer de pie con rebozo, edition V/V, 1976 bronze signed Zuñiga, dated and numbered (base) height 24 x width 7 1/2 x depth 6 inches $8,000-12,000

$3,000-5,000

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275

276

277

277 Sue Krzyston (American, b. 1948)

275 Lisa Danielle (American, b. 1948)

276 William Shepherd (American, b. 1943)

Sassy San Ildefonso oil on canvas signed Lisa Danielle (lower right) 36 x 36 inches Property from the Collection of Jane and Terry Bradshaw, Alpharetta, Georgia Provenance: Mountain Trails Galleries, Sedona, Arizona

Regalia oil on panel signed WS (lower left) 22 x 16 inches

Stories of the Ages, 2005 oil on canvas signed S. Krzyston and dated (lower right) 24 x 30 inches

$1,000-2,000

$800-1,200

$1,000-2,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 133

278

279

281

280

278 Sue Krzyston (American, b. 1948)

279 Fritz White (American, 1930-2010)

280 Adriano F. Manocchia (American, b. 1951)

Nature’s Colors, 2002 oil on canvas signed S. Krzyston and dated (lower left) 16 x 20 inches

Corn Planter, edition 33/50 bronze signed FW and numbered (verso) height 4 1/4 x length 9 3/4 x width 1 1/2 inches Property from the Estate of Anne B. Eldridge being sold to benefit the Booth Western Art Museum and The Salvation Army, Atlanta, Georgia

The Ceremony, 1998 oil on board signed Adriano Manocchia (lower left) 8 1/2 x 13 1/2 inches Provenance: Trailside Galleries, Jackson, Wyoming

$800-1,200

$600-800 134 W E S T E R N PA I N T I N G S A N D S C U L P T U R E I N C L U D I N G C O N T E M P O R A R Y N AT I V E A M E R I C A N A R T

*281 Robert Lemler (American, b. 1951) Indian Corn oil on board signed Lemler (lower right) 12 x 16 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California $300-500

282

284 283

282 Gene and Rebecca Tobey (American, 1945-2006 and American b. 1948)

283 Gene and Rebecca Tobey (American, 1945-2006 and American b. 1948)

Bear, edition 5/150 ceramic signed Tobey and numbered (lower left leg) height 16 x width 12 x depth 6 inches

Geronimo, edition 18/150 bronze signed Tobey and numbered (verso) height 6 1/2 x width 5 1/4 x depth 2 1/2 inches

$800-1,200 $500-700

284 Gene and Rebecca Tobey (American, 1945-2006 and American b. 1948) Pawnee, edition 4/150 polychrome bronze signed Tobey and numbered (verso) height 4 3/4 x width 6 x depth 3 inches $400-600

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 135

*285 Sandy Scott (American, b. 1943) Grouse, edition 21/25, 1984 bronze signed Sandy Scott, numbered and dated (verso) height 9 x width 8 x depth 9 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California

285

$700-900

*286 Sandy Scott (American, b. 1943) Kakagi (Raven), edition 5/35, 1995 bronze signed Sandy Scott, numbered and dated (base) height 12 x length 16 x width 14 inches Property from the Estate of Norma and David McIntyre, Los Angeles, California

286

Literature: Susan Hallsten McGarry, Spirit of the Wild Things: The Art of Sandy Scott, Stony Press, Fort Collins, 1998, p. 133. $800-1,200

287 Terry Duen (TD) Kelsey (American, b. 1946) One to Hang Your Bridle On, edition 2/7, 2007 bronze signed TD Kelsey, titled, numbered and dated (base) height 16 x length 19 x width 11 1/2 inches Property from the Estate of Anne B. Eldridge being sold to benefit the Booth Western Art Museum and The Salvation Army, Atlanta, Georgia Provenance: Cowboy Artists of America 42nd Annual Sale and Exhibition, Phoenix, Arizona, 2007 287

Exhibition: The Booth Western Art Museum, “Blazing the Trail: The Cowboy Artists of America”, Cartersville, Georgia, 2015-2016 $1,500-2,500

136 W E S T E R N PA I N T I N G S A N D S C U L P T U R E I N C L U D I N G C O N T E M P O R A R Y N AT I V E A M E R I C A N A R T

288

290

289

288 Herb Mignery (American, b. 1937)

289 Melvin C. Warren (American, 1920-1995)

Dowser and the Skeptics, edition 15/20, 1991 bronze signed Herb Mignery, numbered and dated (base) height 25 x width 12 x depth 13 inches Property from the Estate of Anne B. Eldridge being sold to benefit the Booth Western Art Museum and The Salvation Army, Atlanta, Georgia

Charro, edition 8/30, 1985 bronze signed Mel Warren, numbered and dated (base) height 18 1/2 x length 19 x width 9 inches Property from the Estate of Anne B. Eldridge being sold to benefit the Booth Western Art Museum and The Salvation Army, Atlanta, Georgia

290 Veloy Vigil (American, 1931-1997) Signs of Harvest acrylic on canvas signed V. Vigil (lower left) 72 x 60 inches $2,000-4,000

$1,000-2,000 Exhibition: The Booth Western Art Museum, “Hidden Heritage: Western Art Treasures from an Atlanta Collection”, Cartersville, Georgia, 2008 $2,000-3,000 V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 137

342

138 W E S T E R N PA I N T I N G S A N D S C U L P T U R E I N C L U D I N G C O N T E M P O R A R Y N AT I V E A M E R I C A N A R T

Contemporary Native American Art Session II LOTS 291 – 405

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 139

292

291

293

291 John Nieto (American, 1936-2018) Plains Warrior, 1987 acrylic on canvas signed Nieto (lower right) 60 x 48 inches $7,000-9,000

292 Ray Belcher (American, 20th century)

293 Ray Belcher (American, 20th century)

Fritz Scholder, 1981 silver gelatin print signed Ray Belcher (lower right); titled and dated (lower left) 17 1/2 x 17 1/2 inches

$300-500

140 W E S T E R N PA I N T I N G S A N D S C U L P T U R E I N C L U D I N G C O N T E M P O R A R Y N AT I V E A M E R I C A N A R T

294

294 Fritz Scholder (Luiseño, 1937-2005) Indians on Horseback acrylic on canvas signed Scholder (lower left) 30 x 40 inches Provenance: ACA Galleries, New York, New York $10,000-15,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 141

295

295 Fritz Scholder (Luiseño, 1937-2005) American Portrait #43, 1982 oil on canvas signed Scholder (lower right) 80 x 68 inches Publication: Joshua Charles Taylor, et. al., Fritz Scholder, Rizzoli International Publications, Inc., New York, 1982, plate 234, pp. 207. $18,000-24,000

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296

297

297 Fritz Scholder (Luiseño, 1937-2005) Untitled pen and ink on paper signed illegibly (upper left) 7 x 8 inches $800-1,200

296 Fritz Scholder (Luiseño, 1937-2005) Untitled pencil on paper signed Scholder (lower left) 6 3/4 x 10 inches $800-1,200

298 Fritz Scholder (Luiseño, 1937-2005) Untitled charcoal on paper signed Scholder (lower left) 16 3/4 x 23 inches $800-1,200

299 R.C. Gorman (Diné, 1932-2005) Seated Woman Braiding her Hair, 1982 pastel on paper signed R.C. Gorman and dated (lower left) 29 x 22 1/2 inches

298

$2,000-3,000

300 R.C. Gorman (Diné, 1932-2005) Seated Woman in Pink Skirt, 1985 pastel on paper signed R.C. Gorman and dated (lower right) 23 x 28 1/2 inches $2,000-3,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 143

301

303

302

301 Frank Howell (Lakota, 1937-1997) Tewa Summer, 1986 acrylic on canvas signed Frank Howell, titled and dated (lower right) 16 x 25 inches $2,000-3,000

302 Gilbert Lujan (Chicano, 1940-2011) Untitled, 1989 oil on paper signed Magu and dated (right edge) 25 x 30 inches $800-1,200

303 Gilbert Lujan (Chicano, 1940-2011) Untitled, Female pastel on paper 26 x 40 inches $800-1,200

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305

304

306

304 Kevin Red Star (Apsáalooke, b. 1943) Old Woman in Red Dress, 1987 acrylic on canvas signed Kevin Red Star (lower right) 28 x 24 inches $1,000-2,000

305 Doug Hyde (Nez Perce/Chippewa/ Assiniboine, b. 1946)

306 Doug Hyde (Nez Perce/Chippewa/ Assiniboine, b. 1946)

Mother and Child stone signed D. Hyde (base) height 18 x width 29 x depth 21 inches

Sisters Against the Wind alabaster signed D. Hyde (base) height 20 1/2 x width 14 1/2 x depth 11 inches Provenance: Nedra Matteucci Galleries, Santa Fe, New Mexico

$2,000-4,000

$2,000-3,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 145

307

309 310

307 Doug Hyde (Nez Perce/Chippewa/ Assiniboine, b. 1946) Large Reclining Woman with Braid stone signed D. Hyde (base) height 22 x length 46 x width 42 inches $2,000-4,000

309 Earl Biss (Apsáalooke, 1947-1998)

310 Earl Biss (Apsáalooke, 1947-1998)

Green Grass of Home oil on canvas signed Biss (upper right) 30 x 40 inches Property being sold to benefit the Art Collections at the University of Denver

$1,500-2,500

Apsaroke Winter, 1978 acrylic on canvas signed Biss (upper right) 27 1/2 x 24 1/2 inches

$4,000-6,000

146 W E S T E R N PA I N T I N G S A N D S C U L P T U R E I N C L U D I N G C O N T E M P O R A R Y N AT I V E A M E R I C A N A R T

308

312

311

308 T.C. Cannon (Kiowa, 1946-1978) + His Hair Flows Like a River, edition 43/200 woodblock print signed T.C. Cannon (lower right) 18 x 22 inches $3,000-5,000

*311 Stan Natchez (Shoshoni/Paiute, b. 1947)

312 Dan Namingha (Hopi, b. 1950)

Capture the Flag, 2000 collage on canvas signed Natchez (lower right) 13 3/4 x 18 inches Property from the Ginny L. Williams Trust, Denver, Colorado

Sun and Moon, edition 16/30, 1998 bronze signed D. Namingha, numbered and dated (base) height 5 1/4 x width 6 x depth 1 1/2 inches $600-800

$300-500

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 147

313

315

314

313 Dan Namingha (Hopi, b. 1950)

314 Ed Singer (Diné, b. 1951)

315 Ed Singer (Diné, b. 1951)

Symbols of Hopi acrylic on canvas signed Namingha (lower right) 72 x 72 inches

Powwow Spectator, 1990 oil on canvas signed Singer (lower left) 64 x 48 inches

Bone Weapon oil on canvas signed Singer (lower right) 64 x 48 inches

$6,000-8,000

$1,500-2,500

148 W E S T E R N PA I N T I N G S A N D S C U L P T U R E I N C L U D I N G C O N T E M P O R A R Y N AT I V E A M E R I C A N A R T

318

316

317

316 Ed Defender (Sioux, 1953-2000) +

317 Ed Defender (Sioux, 1953-2000) +

*318 David Bradley (Chippewa, b. 1954) +

The Buffalo are Across the River gouache on paper signed Defender and titled (lower left) 16 x 27 1/2 inches Property from a Private Collection

I Think We Have Him Cornered gouache on paper titled (lower right); artist identified (verso) 23 1/4 x 37 x inches Property from a Private Collection

$600-800

$800-1,200

Hopi Maiden, Homage to Warhol, 2007 acrylic on board signed David Bradley (lower left) 40 x 30 inches Property from the Estate of Patricia Ann Black Smyth, Santa Fe, New Mexico, Sold to Benefit Berea College, Berea, Kentucky $2,000-4,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 149

319

321

320

319 David Bradley (Chippewa, b. 1954) +

320 David Bradley (Chippewa, b. 1954) +

321 David Bradley (Chippewa, b. 1954) +

(Self Portrait) This is a Study for “Indian Power”, 1989 acrylic on canvas signed David P. Bradley and dated (lower left); titled (verso) 8 x 8 inches Provenance: Elaine Horwitch Galleries, Santa Fe, New Mexico

The Migration of the Pecos Pueblo People to Jemez Pueblo, 1988 acrylic on canvas signed David Bradley and dated (lower right); titled (verso) 20 x 15 inches Provenance: Elaine Horwitch Galleries, Santa Fe, New Mexico

Little Big Horn Premonition, together with a signed copy of Indian Country: The Art of David Bradley by Valerie K. Verzuh, 2007 acrylic on paper signed David Bradley, titled, and dated (verso) 48 x 36 inches

$500-700

$1,000-2,000

Literature: Valerie K. Verzuh, Indian Country: The Art of David Bradley, Museum of New Mexico Press, Santa Fe, 2015, plate 67. $3,000-5,000

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324

323

322

322 David Bradley (Chippewa, b. 1954) +

323 David Bradley (Chippewa, b. 1954) +

324 Emmi Whitehorse (Diné, b. 1957)

Little Big Horn, 2007 mixed media on canvas signed David Bradley and dated (lower right); titled (verso) 40 x 30 inches

Two Works: Untitled and The Sheperd, 1985 acrylic on canvas first signed David P. Bradley and dated (lower left); second signed David P. Bradley and dated (lower right) first 8 x 8 inches; second 10 x 8 1/2 inches

Foam Flower, 1996 oil and chalk on paper, mounted to canvas signed E. Whitehorse, titled, and dated (verso) 39 1/2 x 51 inches $2,000-3,000

$3,000-5,000 $1,000-2,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 151

326

327

325

325 Oreland C. Joe, Sr. (Diné/Ute/New Mexican, b. 1958)

326 Oreland C. Joe, Sr. (Diné/Ute/New Mexican, b. 1958)

327 Oreland C. Joe, Sr. (Diné/Ute/New Mexican, b. 1958)

Sunflower, edition 5/12, 1994 bronze signed O.C. Joe, numbered and dated (verso) height 8 x width 5 3/4 x depth 3 1/2 inches Property from the Estate of Anne B. Eldridge being sold to benefit the Booth Western Art Museum and The Salvation Army, Atlanta, Georgia

Capturing Elk Medicine, edition 3/12, 1994 bronze signed O.C. Joe, numbered and dated (base) height 22 x width 13 x depth 12 inches Property from the Estate of Anne B. Eldridge being sold to benefit the Booth Western Art Museum and The Salvation Army, Atlanta, Georgia Provenance: Wadle Galleries, Ltd., Scottsdale, Arizona

Chinle Girl, edition 12/30, 1996 bronze signed O.C. Joe, numbered and dated (base) height 12 x width 4 1/2 x depth 3 3/4 inches Property from the Estate of Anne B. Eldridge being sold to benefit the Booth Western Art Museum and The Salvation Army, Atlanta, Georgia

$700-900

$800-1,200

$1,500-2,500

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328

330

329

328 Cheryl Davis (Choctaw, 20th century) +

329 Bill Russ Lee (Diné, 20th century) +

Zack, 1991 mixed media on paper signed Cheryl Davis and dated (lower right) 27 1/2 x 18 1/2 inches Property from a Private Collection

Untitled, 1988 gouache on paper signed B. Russ Lee and dated (lower left) 29 x 22 inches Property from a Private Collection

$800-1,200

$600-800

330 Tony Tiger (Muscogee Creek/Sac and Fox/ Seminole, b. 1964) + Untitled mixed media on wood and board verso of photograph with identification of family members: Eunah Jacob Tiger, Lillian Tiger, William A. Tiger, Louise Harjo, Aunt Kizzie[sic] y, Grandparents and Father of Tony Tiger, Near Wenoka, Oklahoma, circa 1940 Creek/Seminole signed T. Tiger (lower right) 24 x 16 inches $500-700

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 153

331

332

333

331 Nacona Burgess (Comanche, 20th century) + “Eka Nuaau”, Red Comanche acrylic on canvas signed Nacona Bg (lower left) 12 x 12 inches $600-800

332 Nacona Burgess (Comanche, 20th century) + Hail Storm, Crow acrylic on canvas signed Nacona Bg (lower right) 12 x 12 inches $600-800

333 Tony Abeyta (Diné, b. 1965) Untitled oil on wood signed Tony Abeyta (lower right) 12 x 48 inches Property from the Collection of Jane and Terry Bradshaw, Alpharetta, Georgia $2,000-3,000

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334

335

336

334 Mateo Romero (Cochiti, b. 1966) +

335 Diego Romero (Cochiti, b. 1967) +

336 Diego Romero (Cochiti, b. 1967) +

Untitled mixed media on board signed illegibly (lower left) 30 x 40 inches

Afternoon with an Ancient, edition IV/VII etching signed Diego Romero, titled and numbered (lower right) 7 1/2 x 9 1/4 inches

Hector at the Ships, edition 27/70 etching signed Diego Romero, titled and numbered (lower right) 23 x 17 1/4 inches

$150-350

$500-700

$1,000-1,500

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 155

337

339

337 Tammy Garcia (Santa Clara, b. 1969)

*339 Gregory Lomayesva (Hopi/Hispanic, b. 1971) +

Untitled Bronze Vase, 2014 bronze signed Tammy Garcia and dated (base) height 8 x width 8 1/2 x depth 5 inches

Three Kachinas oil on canvas signed Lomayesva (lower center) 45 3/4 x 45 3/4 inches Property from the Estate of Gary P. Grunau, Milwaukee, Wisconsin

$4,000-6,000

$800-1,200

340

340 Sarah Sense (Chitimacha/ Choctaw, b. 1980) + Weaving Water 28, 2013 mixed media signed Sarah Sense, titled and dated (verso) 27 x 19 inches $500-700

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341

342

341 Ramona Sakiestewa (Hopi, b. 1948) +

342 Ramona Sakiestewa (Hopi, b. 1948) +

Corn Migration 2, 1995 textile signed R. Sakiestewatitled and dated (on tag) 39 x 58 inches Property from the Collection of Robert B. Riley, Urbana, Illinois

Blue Corn 10, 1994 textile signed R. Sakiestewa, titled and dated (on tag) 42 3/4 x 81 inches Property from the Collection of Robert B. Riley, Urbana, Illinois

$3,000-5,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 157

343

344

343 Julia Jumbo, Master Weaver (Diné, 20th century) + Two Grey Hills Tapestry 22 x 33 inches

344 Carolyn Segay (Diné, 20th century) Two Grey Hills Weaving hand-spun wool; triangular designs surrounded by a crenelated border 96 x 120 inches

$1,000-1,500 $4,000-6,000

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345

346

345 Luis Tapia (New Mexican, b. 1950) + El Gato Negro, 1996 wood sculpture signed Luis and dated (dashboard) height 10 1/2 x length 38 x width 15 1/2 inches Property from the Collection of Robert B. Riley, Urbana, Illinois $3,000-5,000

346 Luis Tapia (New Mexican, b. 1950) + Chima Altar IV, 1996 wood sculpture signed Luis T and dated (on side) height 33 x width 60 x depth 13 inches Property from the Collection of Robert B. Riley, Urbana, Illinois $4,000-6,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 159

347

349

348

347 Fernando Bimonte (Uruguayan/New Mexican, 1955-2013) + Santos acrylic on wood panel wood panel storybook of saints, with Spanish descriptions on verso each 18 x 24 inches $2,000-3,000

*348 Ernie Lujan (New Mexican, b. 1951) +

*349 Ernie Lujan (New Mexican, b. 1951) +

Nuestro Padra Jesus Nazareno carved and painted wood signed Ernie R. Lujan and titled (base) height 22 x width 10 x depth 8 inches Published: Rosenak, Chuck and Jan. The Saint Makers (1989: 86). Property from the Estate of Gary P. Grunau, Milwaukee, Wisconsin

Nuestra Senora de los Dolores, 2000 carved and painted wood signed Ernie R. Lujan, titled and dated (base) height 13 x width 7 x depth 5 1/2 inches Property from the Estate of Gary P. Grunau, Milwaukee, Wisconsin $400-600

$400-600

160 W E S T E R N PA I N T I N G S A N D S C U L P T U R E I N C L U D I N G C O N T E M P O R A R Y N AT I V E A M E R I C A N A R T

350

351

352

*350 Margarito Mondragon (New Mexican, 20th century) + Santa Barbara, 1998 signed M. Mondragon and titled (base) height 13 x width 9 1/2 x depth 8 1/4 inches Property from the Estate of Gary P. Grunau, Milwaukee, Wisconsin $400-600

351 Don Lelooska (Kwakwaka’wakw, 1933-1996) Dzunukwa, Wild Woman of the Forrest signed Lelooska (verso) height 15 1/4 x width 13 1/4 x depth 8 1/2 inches $2,000-3,000

352 Don Lelooska (Kwakwaka’wakw, 1933-1996) + Carved Potlatch Hat carved and painted wood signed Lelooska (interior) height 21 1/2 x diameter 15 inches $1,000-1,500

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 161

353

354

355

353 Lelooska Family

354 Lelooska Family

Shaman’s Rattle length 15 x width 5 inches

Raven Rattle length 41 x width 7 inches

$600-800

$1,000-1,500

356

355 Tsungani, Fearon Smith Jr (Kwakwaka’wakw, 20th century)

356 Tsungani, Fearon Smith Jr. (Kwakwaka’wakw, 20th century)

Beaver Bowl, 1990 Ghost Mask, 1987 signed Tsungani and dated (base) signed Tsungani and dated (verso) height 7 x length 15 1/4 x width 6 3/4 height 11 x width 9 x depth 5 inches inches $400-600 $800-1,200

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357

358

360 359

357 Tsungani, Fearon Smith Jr. (Kwakwaka’wakw, 20th century)

358 Tsungani, Fearon Smith Jr. (Kwakwaka’wakw, 20th century)

*359 Randy Stiglitz (Coast Salish/ Cree, b. 1956) +

Mask closed height 15 1/2 x width 18 1/2 x depth 19 inches; open height 15 1/2 x width 26 x depth 9 1/2 inches

Sun and Moon, 1986 signed Tsungani and dated (verso) height 22 x width 21 3/4 x depth 7 inches

Crooked Beak of Heaven, 1987 signed R. Stiglitz and dated (interior) height 21 1/2 x length 41 x width 10 inches Property from the Estate of Billie Ross, Chicago, Illinois

$1,000-2,000

360 Bill Bellis (Haida, b. 1963) + Totem Pole 86 1/2 x 22 1/2 inches Property from the Estate of Harold and Carlyn Leeper, Chicago, Ilinois $3,000-5,000

$600-800 $800-1,200

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 163

361

362

361 Isaac Tait (Nisga’a, 1965-2000) + Button Blanket with dogfish imagery and white and iridescent shell buttons 58 x 50 inches Includes copy of receipt from Douglas Reynolds Gallery, Vancouver, B.C. Blanket acquired in 1997. $1,000-1,500

362 Marilyn Hank and James Omnik (Iñupiaq, 20th century) + Baleen Baskets, 1993 signed Marilyn Hank (interior) and James Omnik (base) first height 3 1/4 x diameter 3 inches; second height 3 x diameter 4 inches From a Northern Pennsylvania Collection

363

363 Marilyn Hank (Iñupiaq, 20th century) + Baleen Basket signed Marilyn Hank (interior) height 4 1/4 x diameter 4 1/2 inches $800-1,200

$800-1,200

164 W E S T E R N PA I N T I N G S A N D S C U L P T U R E I N C L U D I N G C O N T E M P O R A R Y N AT I V E A M E R I C A N A R T

364

365

366

367

364 Lydia Quezada (Mata Ortiz, 20th century) +

365 Iris Youvella Nampeyo (Hopi, b. 1944-2018) +

366 Preston Duwyenie (Hopi, b. 1951) +

Blackware Pottery Vase signed Lydia Quezada (base) height 17 x diameter 11 inches Property from the Collection of Edrie Shenuski, Peoria, Arizona

Buff Jar, with Appliqued Corn signed Iris Y. Nampeyo (base) height 5 1/4 x diameter 8 inches Property from the Private Collection of Ross Hubbard, Naples, Florida

$600-800

Micaceous Blackware Pottery Jar with imbedded “shifting sands” silver inset signed with hallmark (base) height 6 1/2 x diameter 9 1/2 inches Property from the Collection of Robert B. Riley, Urbana, Illinois.

367 Sylvia Naha (Hopi/Tewa, b. 1951) Group of Three Painted Pottery Jars, with Lizards each signed with feather and S (base) largest height 4 x diameter 5 1/2 inches $1,500-2,500

$500-700

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 165

368

369

370

371

368 Camille “Hisi” Quotskuyva Nampeyo (Hopi, b. 1964) +

369 Les Namingha (Tewa/Zuni, b. 1967) +

370 Hubert Candelario (San Felipe, b. 1965) +

Pottery Bowl, 1995 signed Hisi Nampeyo and dated (base) height 5 x diameter 9 1/2 inches Property from the Collection of Robert B. Riley, Urbana, Illinois

Poem I, December signed Les Namingha and titled (base) height 8 x width 4 inches

Micaceous Seed Jar, 2003 signed Hubert Candelario and dated (on base) height 3 1/4 x diameter 4 1/2 inches

$800-1,200 $800-1,200

$600-800

166 W E S T E R N PA I N T I N G S A N D S C U L P T U R E I N C L U D I N G C O N T E M P O R A R Y N AT I V E A M E R I C A N A R T

371 Alvina Yepa (Jemez, b. 1954) + Deeply Carved Redware Pottery Jar signed Alvina Yepa (on base) height 6 1/4 x diameter 7 1/2 inches Property from the Collection of Edrie Shenuski, Peoria, Arizona $800-1,200

372

373

375 374

372 Teresita Naranjo (Santa Clara, 1919-1999) +

373 Helen Shupla (Santa Clara, 1928-1985) +

374 Mela Youngblood (Santa Clara, 1931-1990)

375 Joseph Lonewolf (Santa Clara, 1932-2014) +

Carved Redware Jar, with Avanyu signed Teresita Naranjo (base) height 7 x diameter 5 inches Property from the Private Collection of Ross Hubbard, Naples, Florida

Pottery Melon Jar signed Helen Shupla (base) height 6 x diameter 11 inches $3,000-5,000

Blackware Vase signed Mela Youngblood (on base) height 12 1/2 inches Property from the Collection of Barbara and Gabe Alovis, Scottsdale, Arizona

Black, Red, and Sienna Sgraffito Seed Jar, with Iktomi, 1973 signed Joseph Lonewolf and dated (base) height 2 1/4 x diameter 2 1/4 inches

$1,000-2,000

$800-1,200

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 167

376

377

378

376 Joseph Lonewolf (Santa Clara, 1932-2014) +

377 Linda Cain (Santa Clara, b. 1949) +

Sgraffito Seed Jar, with Butterfly signed Joseph Lonewolf (base) height 3/4 x diameter 3/4 inch

Carved Micaceous Redware Jar, with Avanyu and Raindrops, 2013 signed Linda Cain and dated (base) height 6 x diameter 3 3/4 inches

$800-1,200

$600-800

378 Nathan Youngblood (Santa Clara, b. 1954) Blackware Bean Pot and Ladle signed Nathan Youngblood (base) height 6 x diameter 6 inches Property from the Collection of Barbara and Gabe Alovis, Scottsdale, Arizona $800-1,200

168 W E S T E R N PA I N T I N G S A N D S C U L P T U R E I N C L U D I N G C O N T E M P O R A R Y N AT I V E A M E R I C A N A R T

379

380

381

381 Alice Cling (Diné, b. 1946 +

379 Group of Six Miniature Santa Clara Pottery +

380 Crucita Calabaza, Blue Corn (San Ildefonso, 1920-1999) +

signatures include Pho-Sa-We (Susan Romero, Santa Clara, b. 1955), Goldenrod (Gloria Garcia, Santa Clara, b. 1942), Dean Haungooah (Kiowa/Santa Clara, 20th century), Geri Naranjo (Santa Clara, b. 1952), and Mae Tapia (Santa Clara, b. 1956) sizes range from height 2 3/4 inches x diameter 2 1/2 inches to 1 1/2 inches x diameter 1 inch

Polychrome Jar, with Repeating Feather Design signed Blue Corn (base) height 6 x diameter 6 inches Property from the Private Collection of Ross Hubbard, Naples, Florida

Award-Winning Navajo Pottery Vase, 1999 signed Alice Cling and dated (base) height 12 x diameter 6 1/2 inches Includes First Place Ribbon from the 78th Annual Santa Fe Indian Market, 1999

$600-800

$800-1,200

382

382 Christine McHorse (Diné, 19482021) + Painted Micaceous Pottery Jar signed C. McHorse (base) height 5 3/4 x diameter 6 1/4 inches $500-700

$800-1,200

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 169

383 384

386 385

383 Lucy McKelvey (Diné, b. 1950) + “Eagle Basking in the Sun”, 2006 award-winning polychrome pottery sculpture signed Lucy Leuppe McKelvey and titled (base) height 14 1/2 inches Property from the Private Collection of Ross Hubbard, Naples, Florida Includes First Place ribbon from the 85th Annual Santa Fe Indian Market

384 Lucy Leuppe McKelvey (Diné, b. 1950) + Mother Earth and Father Sky, 2011 signed Lucy Leuppe McKelvey (base) height 11 1/4 inches Property from the Private Collection of Ross Hubbard, Naples, Florida $600-800

385 Frank Vacit (Zuni, 1915-1999) + Silver and Turquoise Channel Inlay Necklace and Post Earring Set marked with artist’s fleur-delis hallmark on reverse necklace length 16 inches, weight 25.2 dwt.; earring length 1 7/8 inches x width 1 inch, weight 7.7 dwt. $600-800

$1,000-1,500

170 W E S T E R N PA I N T I N G S A N D S C U L P T U R E I N C L U D I N G C O N T E M P O R A R Y N AT I V E A M E R I C A N A R T

386 Charles Loloma (Hopi, 1921-1991) + Silver, Coral, Lapis, and Ironwood Cuff Bracelet, with Gold Accents signed Loloma (interior) width 1/2 x interior circumference 5 x gap length 3/4 inch, weight 26.2 dwt. $8,000-10,000

387

388

390 389

387 Evelyn (Eveli) Sabatie (Moroccan, b. 1940) +

388 Verma Nequatewa, Sonwai (Hopi, b. 1946)

389 Fred Thompson (Diné, 1921-2002) +

Silver and Ironwood Clip Earrings signed Eveli length 3 x width 1 3/4 inches; weight 32.8 dwt. Property from a Private Collection

Turquoise, Spiny Oyster, Coral, and 18k Gold Necklace signed Sonwai (back of finding) length 18 3/4 inches, weight 37.3 dwt.

Silver and Turquoise Ketoh artist hallmark on back of plate plate length 3 3/4 x width 3 inches, cuff length 9 x width 4 inches, weight 108.0 dwt.

$800-1,200

$5,000-7,000

$800-1,200

390 Victor Beck (Diné, b. 1941) + Silver, Coral, and Shell Belt Buckle, Accented with Gold signed by Victor Beck (verso) length 3 x width 1 1/2 inches, weight 44.3 dwt. Property from the Collection of Robert B. Riley, Urbana, Illinois $600-800

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 171

392

391

393

391 Harvey Austin Begay (Diné, 1938-2009) 14k Gold and Diamond Necklace marked HB, 14k (clasp) necklace length 16 inches, weight 36.1 dwt. $6,000-8,000

392 Raymond Sequaptewa (Hopi, b. 1948) + Silver Cuff Bracelet, Accented with Gold, Turquoise, Lapis, and Coral faintly signed Sequaptewa on interior cuff width 1 3/4 x interior circumference 6 x gap length 1 inch, weight 68.1 dwt. Property from the Collection of Robert B. Riley, Urbana, Illinois $500-700

393 Gail Bird & Yazzie Johnson (Diné, b. 1949 & 1946) + Silver and Petrified Wood Belt Buckle, with Deer and Raindrop Design on Reverse marked GY (verso) length 2 x width 2 inches, weight 46.8 dwt. Property from the Collection of Robert B. Riley, Urbana, Illinois $500-700

172 W E S T E R N PA I N T I N G S A N D S C U L P T U R E I N C L U D I N G C O N T E M P O R A R Y N AT I V E A M E R I C A N A R T

394 395

396 397

394 Richard Chavez (San Felipe, b. 1949) +

395 Richard Chavez (San Felipe, b. 1949) +

396 Richard Chavez (San Felipe, b. 1949) +

397 Richard Chavez (San Felipe, b. 1949) +

Silver and Mosaic Inlay Belt Buckle marked with a stylized RC (verso) length 1 1/2 x width 1 1/4 inches, weight 35.5 dwt. Property from the Collection of Robert B. Riley, Urbana, Illinois

Silver, Jet, Turquoise, and Coral Cuff Bracelet marked with a stylized RC (interior) cuff width 1 1/4 x interior circumference 5 1/2 x gap length 1 1/4 inches, weight 77.5 dwt. Property from the Collection of Robert B. Riley, Urbana, Illinois

Silver and Mosaic Inlay Cuff Bracelet marked with a stylized RC (interior) cuff width 1 1/4 x interior circumference 6 x gap length 1 1/8 inches, weight 103.3 dwt. Property from the Collection of Robert B. Riley, Urbana, Illinois

Silver and Mosaic Inlay Belt Buckle marked with a stylized RC (verso) length 2 3/4 x width 1 1/2 inches, weight 43.2 dwt. Property from the Collection of Robert B. Riley, Urbana, Illinois

$800-1,200

$1,000-2,000 $1,000-2,000

$800-1,200

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 173

398

399

400

401

398 Michael Garcia, Na Na Ping (Pascua Yaqui, b. 1953) + Sterling Silver, Black Jade, Turquoise, and Serpentine Concha Belt signed Na Na Ping and marked STERLING belt length 46 inches, concha length 3 x width 2 inches, buckle length 3 1/2 x width 2 3/4 inches, weight 913.3 dwt. Property from the Collection of Robert B. Riley, Urbana, Illinois $3,000-5,000

399 Harold Lovato (Kewa, 1954-1997) + Tufa Cast Silver Cuff Bracelet with Inlay marked with a conjoined HL and a cornstalk hallmark cuff width 1 x interior circumference 6 x gap length 7/8 inches, weight 39.6 dwt.

400 Tony Abeyta (Diné, b. 1965) + Silver and Turquoise Ring marked with artist hallmark (interior) size 11.5, weight 17.8 dwt. $1,500-2,000

Publication: Gregory Schaaf, American Indian Jewelry II: A-L 1,800 Artist Biographies, Center for Indigenous Arts & Cultures, Santa Fe, 2013, pp. 371. $800-1,200

174 W E S T E R N PA I N T I N G S A N D S C U L P T U R E I N C L U D I N G C O N T E M P O R A R Y N AT I V E A M E R I C A N A R T

401 Alvin Yellowhorse (Diné, b. 1968) + Sterling Silver and Mosaic Inlay Belt Buckle and Bolo Tie signed Alvin Yellowhorse and marked with horse hallmark and Sterling bolo length 34 inches, slide length 3 x width 1 3/4 inches, weight 60.0 dwt.; buckle length 3 1/4 x width 2 3/8 inches, weight 62.1 dwt. Property from the Private Collection of Ross Hubbard, Naples, Florida $800-1,200

402

403

404 405

402 Kee Yazzie (Diné, b. 1969) + Silver Cuff Bracelet Accented with 14k Gold and Coral signed KEE and marked 14k cuff width 1 1/4 x interior circumference 5 1/2 x gap length 1 1/4 inches, weight 43.0 dwt. Property from the Collection of Robert B. Riley, Urbana, Illinois $600-800

403 Jimmy Calabaza, Ca’Win (Kewa, 20th century) +

404 Large Navajo Silver and Turquoise Pin/Brooch +

Lone Mountain Rolled Turquoise Necklace, with Sterling Silver Pendant signed “CA’WIN” (pendant verso) length 23 inches, weight 115.0 dwt.

not marked overall length 6 x width 1 3/4 inches, weight 66.5 dwt. $600-800

$1,500-2,500

405 Harvey Austin Begay (Diné, 1938-2009) + Basket-Weave Silver Cuff Bracelet marked HB and .925 (interior) cuff width 1 1/4 x interior circumference 6 x gap length 3/4 inch, weight 61.7 dwt. Publication: Dexter Cirillo, Southwestern Indian Jewelry. Rizzoli International Publications, New York, 2008, pp. 114-115, figure 111. $500-700

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 175

Western Art & Native American Art

Kate Hlavin Director, Specialist Western Art katherinehlavin@hindmanauctions.com 303.825.1855

Maron Hindman Vice Chair maron@hindmanauctions.com 303.825.1855

Danica Farnand Director, Senior Specialist 513.871.1670 danicafarnand@hindmanauctions.com

Alexandria Dreas Cataloguer, Fine Art alexandriadreas@hindmanauctions.com 303.825.1855

Erin Rust Specialist 513.871.1670 erinrust@hindmanauctions.com

Logan Browning Business Development, Southwest loganbrowning@hindmanauctions.com 480.490.3175

Madison Light Department Coordinator 513.871.1670 madisonlight@hindmanauctions.com

Estates, Appraisals & Business Development

176

ALYSSA QUINLAN SENIOR VICE PRESIDENT, BUSINESS DEVELOPMENT

MOLLY E. GRON, J.D. NATIONAL DIRECTOR, TRUSTS & ESTATES SENIOR DIRECTOR, CHICAGO

312.447.3272 ALYSSAQUINLAN@HINDMANAUCTIONS.COM

312.334.4235 MOLLYGRON@HINDMANAUCTIONS.COM

TIM LUKE SENIOR APPRAISER 561.833.8053 TIMLUKE@HINDMANAUCTIONS.COM

ATLANTA KRISTIN VAUGHN SENIOR DIRECTOR OF BUSINESS DEVELOPMENT 404.800.0192 KRISTINVAUGHN@HINDMANAUCTIONS.COM

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Auction Inquiries FINANCE MARCO GUSELLA DIRECTOR, FINANCE MARCOGUSELLA @HINDMANAUCTIONS.COM 312.280.1212 CLIENT SERVICES RITA SWANBERG MANAGER, CLIENT SERVICES RITASWANBERG @HINDMANAUCTIONS.COM 312.280.1212 ESTATES, APPRAISALS & BUSINESS DEVELOPMENT VAUGHN SMITH BUSINESS DEVELOPMENT MANAGER VAUGHNSMITH @HINDMANAUCTIONS.COM 312.334.4238 BRIAR KOEHL BUSINESS DEVELOPMENT SENIOR ASSOCIATE BRIARKOEHL @HINDMANAUCTIONS.COM 312.600.6075 SAMANTHA SCHWARTZ BUSINESS DEVELOPMENT ASSOCIATE, TRUSTS & ESTATES SAMANTHASCHWARTZ @HINDMANAUCTIONS.COM 312.447.3297 NNEKA DUNHAM BUSINESS DEVELOPMENT ASSOCIATE, WEST NNEKADUNHAM @HINDMANAUCTIONS.COM 312.334.4232 HANNAH UNGER BUSINESS DEVELOPMENT ASSOCIATE, EAST HANNAHUNGER @HINDMANAUCTIONS.COM 312.447.3267 MUSEUM SERVICES MICHAEL SHAPIRO SENIOR ADVISOR MUSEUMS & PRIVATE COLLECTIONS MICHAELSHAPIRO @HINDMANAUCTIONS.COM 312.334.4210 MIRANDA MAXFIELD BUSINESS DEVELOPMENT SENIOR ASSOCIATE, MUSEUM SERVICES MIRANDALUCE @HINDMANAUCTIONS.COM 312.334.4208 CONSIGNMENT DEPARTMENT JIM SHARP CHIEF OPERATING OFFICER JIMSHARP @HINDMANAUCTIONS.COM MAGGIE PORTER VP SALES STRATEGY, DEPUTY COO MAGGIEPORTER @HINDMANAUCTIONS.COM MOLLY MORSE LIMMER SENIOR VICE PRESIDENT, DECORATIVE ARTS & COLLECTIBLES MOLLYLIMMER @HINDMANAUCTIONS.COM

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GUIDE FOR PROSPECTIVE SELLERS Evaluation of Property If you have property you wish to sell, please call our Consignment Department at 312.280.1212 to arrange for a consultation. At that time, you may make an appointment to bring your property or photographs, along with any other pertinent information, to Hindman LLC and we will be happy to provide you with complimentary estimates and advice. If you have a large collection, an appointment may be made to evaluate the property on-site. Fees for on-site visits may vary.

Bidding Increments Bidding generally opens at half the low estimate and advances in the following order, although the auctioneer may vary the bidding increments during the course of the auction. The standard bidding increments are:

Standard Commission Rates Our standard rate of commission is equal to ten percent (10%) of the hammer price on each lot sold for $5,001 or more; and twenty-five percent (25%) of the hammer price on each lot sold for less than $5,001, with a minimum commission of $75 per lot sold. If your property fails to reach the reserve price agreed upon between you and Hindman LLC, you may be obligated to pay a reduced commission rate of five percent (5%) of the reserve price.

$0 - $500 ........................................ $25 $500 - $1,000 ..................................... $50 $1,000 - $2,000 ................................... $100 $2,000 - $5,000 ................................... $250 $5,000 - $10,000 ................................. $500 $10,000 - $20,000 .............................. $1,000 $20,000 - $50,000 .............................. $2,500 $50,000 - $100,000 ............................ $5,000 $100,000 - $200,000 .......................... $10,000 Above > $200,000 .... At Auctioneer’s Discretion

Shipping Arrangements Hindman LLC can advise you as to how to have your property delivered to our galleries. Packing, shipping and insurance are payable by the seller. In certain instances, packing and shipping costs may be paid by Hindman LLC and deducted from the proceeds of the sale. We may recommend packers and shippers, but we are not responsible for their acts or omissions.

In-House Bidding Our auctions are free and open to the public with no obligation for attendees to bid. Registration requires your full contact information, photo identification, credit card information, your signature and agreement to the Conditions of Sale.. If you are the successful bidder, your paddle number and the hammer price will be announced by the auctioneer.

Appraisals Appraisals can be arranged for insurance, donation, estate tax, family division or other purposes. Appraisal fees vary according to circumstances. Please contact our Estates and Appraisals Department at 312.280.1212 for further information.

Live Bid Online Hindman LLC allows absentee and live bidding through our website at hindmanauctions.com as well as absentee and live bidding through third party online bidding providers which vary by sale. For more information regarding online bidding please visit our website at hindmanauctions.com.

GUIDE FOR PROSPECTIVE BUYERS Conditions of Sale Hindman LLC encourages all prospective buyers to read the Conditions of Sale printed in this catalogue. Exhibitions Hindman LLC recommends that all prospective buyers attend the pre-sale exhibition prior to the auction. Staff members are available at our pre-sale exhibitions to advise prospective buyers on particular objects or on any aspect of the bidding process. Estimates Hindman LLC provides catalogue descriptions and pre-auction estimates for each lot included in the sale. These estimates are a guide for prospective bidders. They are not definitive. All pre-sale estimates are subject to revision. Condition Reports We are happy to provide a condition report for lots with a low estimate of $300 and above. Nevertheless, intending buyers are reminded that condition reports are statements of our opinion only, and that each lot is sold “AS IS,” per our Conditions of Sale, as outlined in the back of this catalogue. All lots should be viewed personally by prospective buyers or their agents to evaluate the condition of the property offered for sale due to the highly subjective nature of condition reports.

Absentee Bidding If you are unable to attend an auction, you may place an absentee bid, either through our website at hindmanauctions.com or through the bid form provided at the back of this catalogue. An absentee bid is the highest price you are willing to pay exclusive of buyer’s premium and applicable sales tax. Hindman LLC will exercise absentee bids at no additional charge. Absentee bids are always confidential, and bids are executed at the lowest price possible by the auctioneer according to reserves and competing bids. Telephone Bidding You may register telephone bid requests either through our website at hindmanauctions.com or through the bid form provided at the back of this catalogue. Upon registering for a telephone bid, you will be called on the day of the auction by a Hindman representative approximately five lots before your item is scheduled to be sold. They will communicate to you the bidding activity and will relay your bids to the auctioneer at your discretion. Please note we can only accept telephone bids for lots with a low estimate of $300 or above unless otherwise noted online. Telephone bids may be requested up to 2 hours prior to the auction start time. Tax Exempt Notice Lots marked with an asterisk (*) are tax exempt as permitted by law. Updated 4/21

Bidding at Auction The highest bidder acknowledged by the auctioneer will be the purchaser. In addition to the hammer price, the buyer agrees to pay Hindman LLC a buyer’s premium as well as any applicable taxes.

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CONDITIONS OF SALE These Conditions of Sale set out the terms upon which Hindman LLC (“we,” “us,” or “our”) sells property by lot in this catalogue. You agree to be bound by these terms by registering to bid and/or by bidding in our auction. A glossary at the end defines the words in bold type.

A. BEFORE THE AUCTION

1. LOT DESCRIPTIONS AND WARRANTIES Our description of a lot, any statement of a lot’s condition, and any other oral or written statement about a lot—such as its nature, condition, artist, period, materials, dimensions, weight, exhibition or publication history, or provenance—are our opinion and shall not to be relied upon by you as a statement of fact. Except for the limited authenticity warranty contained in paragraphs E and F below, we do not provide any guarantee of our description or the nature of a lot. 2. CONDITION The physical condition of lots in our auctions can vary due to age, normal wear and tear, previous damage, and restoration/repair. All lots are sold “AS IS,” in the condition they are in at the time of the auction, and we and the seller make no representation or warranty and assume no liability of any kind as to a lot’s condition. Any reference to condition in a catalogue description or a condition report shall not amount to a full accounting of condition and may not include all faults, inherent defects, restoration, alteration, or adaptation. Likewise, images in our catalogue may not depict a lot accurately, as colors and shades may appear different in print or on screen than on physical inspection. We are not responsible for providing you with a description of a lot’s condition in the catalogue or in a condition report. 3. VIEWING LOTS We offer pre-auction viewings, either scheduled or by appointment, that are free of charge. If you believe that the catalogue description or condition reports are not sufficient, we suggest you inspect a lot personally or through a knowledgeable representative before you bid on a lot to make sure that you accept the description and its condition. We recommend you hire a professional adviser if you are not familiar with how to address the nature or condition of an object. 4. ESTIMATES Estimates of a lot account for the condition, rarity, quality, and provenance of the object and are based upon prices realized for similar objects in past auctions. Neither you nor anyone else may rely on our estimates as a prediction or guarantee of the actual selling price of a lot or its value for any other purpose. Estimates do not include the buyer’s premium, any applicable taxes, and any other applicable charges. 5. WITHDRAWAL We may, in our sole discretion, withdraw a lot from auction at any time prior to or during the sale and shall have no liability to you for our decision to withdraw.

B. REGISTERING TO BID

1. NEW BIDDERS New bidders must register at least twenty-four (24) hours before an auction and must provide us with documentation of their identity. (a) Individuals must provide photo identification (driver’s license, non-driver ID card, or passport) and, if not shown on the photo identification, proof of current address (a current utility bill or bank statement). (b) Corporate clients must provide a Certificate of Incorporation or its equivalent bearing the company’s name and registered address, together with documentary proof of directors and beneficial owners. (c) Trusts, partnerships, offshore companies, and other business entities must contact us in advance of the auction to discuss our requirements. If we are not satisfied with the information you provide us in our bidder identification and other registration procedures, we may refuse to register you to bid, and if you make a successful bid, we may cancel the contract for sale between you and the seller. New bidders may be required to provide us with a financial reference and/or a deposit before we allow them to bid. 2. RETURNING BIDDERS If you have not bought anything from us recently, then we may require you to register as a new bidder, as described in the paragraph above. Please contact us at least twenty-four (24) hours prior to the auction. 3. BIDDING FOR ANOTHER PERSON If you are bidding as an agent on behalf of another person, your principal must be a registered bidder and must provide us with written authorization

allowing you to bid. You, as the agent, shall accept personal liability to pay the purchase price and all other sums due unless we have agreed in writing before the auction that you are acting as an agent on behalf of your principal and that we will only seek payment from your principal. 4. BIDDING IN THE SALEROOM If you wish to bid in the saleroom, you must first acquire a bidding paddle at least thirty (30) minutes before the auction. 5. OUR BIDDING SERVICES We offer the following bidding services as a convenience to our clients, subject to these Conditions of Sale. We shall not be responsible for any error, omission, or failure, human or otherwise, in providing these services. (a) Phone Bids: You must contact us at least twenty-four (24) hours prior to the auction to arrange a phone bid. We will accept bids by telephone for lots only if our staff is available to take the bids. We agree that we may record telephone bids. (b) Internet Bids: You can bid in our live sales via our bidding platform or through third-party bidding sites. (c) Written Bids: You can find a Written Bid Form in the back of our catalogues, at the auction location, or online at www.hindmanauctions.com. We must receive your completed Written Bid Form at least twenty-four (24) hours before the auction. We will endeavor to execute written bids at the lowest possible price consistent with the reserve. If you make a written bid on a lot that does not have a reserve and there is no higher bid than yours, we will bid on your behalf at approximately fifty percent (50%) of the low estimate or, if lower, the amount of your bid. The first written bid we receive of those for identical amounts will be given priority over other bids. 6. CREDIT CARD AUTHORIZATION HOLD When you register to bid you may be asked to provide us with a valid credit card number. You authorize us to verify the validity of the credit card by placing a $100 authorization hold on the card that will remain until it falls off, usually within 48 hours.

C. DURING THE AUCTION

1. BIDDING IN THE AUCTION (a) Live Auctions. We will appoint an individual auctioneer to administer a live auction. The auctioneer may accept bids from (a) written bids left with us by bidders before the auction; (b) bidders in the saleroom; (c) telephone bidders; and (d) Internet bidders. Bidding generally starts below the low estimate and increases in steps, called bid increments. The auctioneer will decide at his/ her sole option where the bidding should start and the bid increments. Bid increments may vary from auction to auction. You shall comply with all laws and regulations in force that govern your bidding. (b) Online-only Auctions. Bids may only be submitted on our website or through third-party bidding sites between the dates and times specified in the lot’s description. Your bid is submitted once you place and confirm your bid amount. You agree that a bid is final once it is placed and that you may never amend or revoke your bid. You are fully responsible for any errors you make in bidding. Bidding generally opens at or below the low estimate and increases in steps (bidding increments) to be determined in Hindman’s sole discretion. 2. AUCTIONEER’S DISCRETION The auctioneer shall have absolute discretion to (a) admit a bidder into or remove a bidder from the saleroom or online auction; (b) accept or refuse any bid; (c) change the order of the lots in the auction; (d) move the bidding backward or forward; (e) withdraw any lot from the auction; (f) divide any lot or combine any two or more lots; (g) reopen or continue the bidding even after the hammer has fallen; and (h) continue the bidding, determine the successful bidder, cancel the sale of the lot, or reoffer and resell any lot in the event that there is an error or dispute related to bidding or the application of the reserve, whether during or after the auction. You must provide us with written notice within three (3) business days of the date of the auction if you believe that the auctioneer has accepted the successful bid in error. The auctioneer will consider the claim and decide in good faith if the sale of the lot is final, whether he/she will cancel the sale of the lot, or whether he/she will reoffer and resell the lot. The auctioneer’s decision in exercise of this discretion is final. This paragraph does not in any way affect our ability to cancel the sale of a lot under other applicable provisions of these Conditions of Sale, including the rights of cancellation set forth in sections B(1), D(6), E(2), and G(1). 3. BIDDING ON BEHALF OF THE SELLER The auctioneer may, at his/her sole option, bid on behalf of the seller up to one bidding increment before the reserve by making either consecutive or responsive bids. The auctioneer will not identify these as bids made on behalf of the seller. If a lot is offered without reserve, the auctioneer will open the bidding at approximately fifty percent (50%) of the lot’s low estimate; where

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necessary, will lower the asking bid until a bid is received; and will solicit higher bids from that amount. If there are no bids on a lot, the auctioneer may deem the lot unsold. 4. SUCCESSFUL BIDS AND INVOICES Subject to paragraph C(2), the contract of sale between the seller and the successful bidder is formed when the final bid is accepted and the auctioneer’s hammer strikes. The successful bid price is the hammer price, and we will issue an invoice only to the registered bidder who made the successful bid. While we send out invoices by mail and/or email after the auction, we shall not be responsible for telling you whether your bid was successful. You should contact us immediately after the auction to find out the success of your bid in order to avoid having to pay storage charges.

D. AFTER THE AUCTION

1. THE BUYER’S PREMIUM In addition to the hammer price, the successful bidder agrees to pay us a buyer’s premium on the hammer price of each lot sold. On all lots, we charge twenty-five percent (25%) of the hammer price up to and including $400,000; twenty percent (20%) of any amount in excess of $400,001 up to and including $4,000,000; and twelve percent (12%) of any amount in excess of $4,000,001. If the bidder bids through a third-party platform the bidder agrees to pay us a surcharge equal to the fee levied by the third-party platform. The third-party platform fee is in addition to the buyer’s premium. 2. TAXES The successful bidder is responsible for any applicable taxes, including any sales or use tax or equivalent tax wherever such taxes may arise on the hammer price, the buyer’s premium, and/or any other charges related to the lot. A sales or use tax is dependent upon a number of factors, including, but not limited to, our volume of sale and the place of delivery of the lot, regardless of the nationality or citizenship of the successful bidder. The applicable sales tax rate will be determined based upon the state, county, or locale to which the lot will be shipped or where it is picked-up in person. We collect sales tax in states where legally required. 3. MAKING PAYMENT (a) Immediately following the auction, you must pay the purchase price, consisting of the hammer price, plus the buyer’s premium, plus any applicable duties and sales, use, or other applicable taxes. Payment is due no later than by the end of the seventh (7th) calendar day following the date of the auction, which we refer to as the due date. (b) We will only accept payment from the registered successful bidder. Once issued, we cannot change the buyer’s name on an invoice or reissue the invoice in a different name. (c) You must pay for lots in US dollars in one of the following ways: (i) Wire transfer. (ii) Bank checks: You must make these payable to Hindman LLC, and we may impose other conditions. Once we have deposited your check, property cannot be released until five (5) business days have passed. (iii) Personal checks: You must make these payable to Hindman LLC, and they must be drawn from US dollar accounts from a US bank. The property will not be released until the check has cleared and the funds are received by us. (d) You must quote your invoice number when making a payment. All payments sent by post must be sent to Hindman LLC, 1338 West Lake Street, Chicago, IL 60607, ATTN: Client Accounting Department. 4. TRANSFERRING OWNERSHIP TO YOU You will not own the lot and title will not pass to you until we have received full payment in good funds of the purchase price, even in circumstances where we have released the lot to you. 5. TRANSFERRING RISK TO YOU Unless we have agreed otherwise with you, the risk in and responsibility for the lot will transfer to you from whichever is the earlier of the following: (a) when you collect the lot; or (b) the end of the thirtieth (30th) day following the date of the auction or, if earlier, the date the lot is taken into care by a third-party warehouse. 6. YOUR FAILURE TO PAY If you fail to pay us the purchase price in full in good funds by the due date, we will be entitled to do one or more of the following (as well as enforce any other rights and remedies we have by law) at our sole discretion: (a) We can charge interest from the due date at a rate of up to one and onehalf percent (1.5%) per month on the unpaid amount due. (b) We can cancel the sale of the lot and sell the lot again, publicly or privately, on such terms as we believe appropriate, in which case you must pay us any shortfall between the amount you owe us and the resale price, plus all costs, expenses, losses, damages, and legal fees we incur due to the cancellation. (c) We can pay the seller the amount due to them, in which case you acknowledge and understand that we will have all the seller’s rights to pursue you for such amount.

(d) We can hold you legally responsible for the amount you owe us and bring legal proceedings against you to recover the amount owed by you, plus other losses, interest, legal fees, and costs as allowed by law. (e) We can reveal your identity and contact details to the seller. (f) We can reject any bids made by or on behalf of you in future auctions or require you to provide us with a deposit before accepting any bids. (g) We can exercise all the rights and remedies of a person holding security over any property in our possession owned by you, whether by way of pledge, security interest, or in any other way as permitted by the law of the place where such property is located. You will be deemed to have granted such security to us and we may retain such property as collateral security for your obligations to us. (h) We can take any other action we deem necessary or appropriate. 7. SHIPPING, COLLECTION, AND STORAGE (a) You must collect purchased lots within thirty (30) days of the auction. We can assist in making shipping arrangements by suggesting art handlers, packers, transporters, or experts, but you must arrange all transport and shipping with them, and we are not responsible for their acts, failure to act, or neglect. (b) If you do not collect any purchased lot within thirty (30) days following the auction, we may, at our sole option, (i) charge you storage and insurance costs; (ii) move the lot to another Hindman location or to a third-party warehouse, whereupon we will charge you transport costs, insurance costs, and administration fees for doing so, and you will be subject to the third-party storage warehouse’s standard terms and responsible for paying its standard fees and costs; or (iii) sell the lot in any commercially reasonable way we think appropriate. (c) In accordance with applicable state law, if you have paid for the lot in full but you do not collect the lot within the time specified by the law of the state where the auction takes place, we may charge you state sales tax for the lot. (d) Nothing in this paragraph is intended to limit our rights under paragraph D(6). 8. EXPORTING, IMPORTING, AND ENDANGERED SPECIES (a) The shipping of a lot is affected by United States export laws or the import laws of other countries. If you are outside the United States, then local laws may prevent you from importing a lot. You alone are responsible for seeking advice prior to bidding and meeting the requirements of any law or regulation applying to the export or import of a lot. (b) Lots made of or including (regardless of the percentage) endangered and other protected species of wildlife—such as, among other things, ivory, tortoiseshell, crocodile skin, rhinoceros horn, whalebone, certain species of coral, and Brazilian rosewood—may be subject to export controls in the US and import controls in other countries. You should check the relevant wildlife laws and regulations before bidding on any lot containing wildlife material if you plan to export the lot from the United States, import the lot into another country, or ship the lot between states. Your purchase of a lot containing endangered and other protected species of wildlife is at your own risk, and you shall be responsible for any scientific test or other reports required for export from the United States or for shipment between states. We will not cancel your purchase and refund the purchase price if your lot may not be exported, imported, or shipped between states, or if it is seized for any reason by a government authority. It is your responsibility to determine and satisfy the requirements of any applicable laws or regulations relating to import, export, and/or interstate shipping of a lot containing endangered and other protected species of wildlife.

E. WARRANTIES

1. SELLER’S WARRANTIES For each lot, the seller gives a warranty that the seller (a) is the owner of the lot or a joint owner of the lot acting with the permission of the other co-owners or, if the seller is not the owner or a joint owner of the lot, has the permission of the owner to sell the lot or the right to do so by law; and (b) has the right to transfer ownership of the lot to the buyer without any restrictions or claims by anyone else. If either of the above warranties are incorrect, the seller shall not have to pay more than the purchase price (as defined in paragraph D(3) above) paid by you to us. The seller will not be responsible to you for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages, or expenses. The seller gives no warranty other than as set out above, and as far as the seller is allowed by law, all warranties from the seller to you, and all other obligations upon the seller that may be added to this agreement by law, are excluded. No employee or agent of Hindman is authorized to make a representation or provide other information, whether orally or in writing, that amends the seller’s warranties or creates an additional warranty on behalf of the seller with respect to a lot. Any such representation, other information, or additional warranty shall be null and void.

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2. OUR LIMITED AUTHENTICITY WARRANTY Our limited authenticity warranty, which lasts for one (1) year from the date of a live auction or three (3) months from an online only auction, is that the lots in our sales are authentic as defined in paragraph H, below. You must notify Hindman regarding concerns of authenticity in writing within one (1) year of the date of a live auction or within three (3) months of the date of an online only auction. Following receipt of that written notification, subject to the terms below, Hindman will refund the purchase price paid by the client. The terms of this limited authenticity warranty are as follows: (a) It will be honored for claims notified in writing within a period of one (1) year from the date of a live auction or three (3) months from an online only auction. After such time, we will not be obligated to honor the limited authenticity warranty. (b) It is given only for information shown in UPPERCASE type in the first line of the catalogue description (the Heading). It does not apply to any information other than that in the Heading, even if it is shown in UPPERCASE type. (c) It does not apply to any Heading or part of a Heading that is qualified. “Qualified” means limited by a clarification in a lot’s catalogue description or by the use in a Heading of one of the terms listed in the definition of “qualified” provided in paragraph H, below. Qualified Headings are not covered at all by this limited authenticity warranty. (d) It applies to the Heading as amended by any saleroom notice. (e) It does not apply where scholarship has developed since the auction, leading to a change in generally accepted opinion. Further, it does not apply if the Heading either matched the generally accepted opinion of experts at the date of the auction or drew attention to any conflict of opinion. (f) It does not apply if the lot can only be shown not to be authentic by a scientific process that, on the date we published the catalogue, was not available or generally accepted for use, was unreasonably expensive or impractical, or was likely to have damaged the lot. (g) Its benefit is only available to the original buyer shown on the invoice for the lot, issued at the time of the sale, and only if, on the date of the notice of claim, the original buyer is the full owner of the lot and the lot is free from any claim, interest, or restriction by anyone else. The benefit of this limited authenticity warranty may not be transferred by the original buyer to anyone else. (h) In order to make a claim under the limited authenticity warranty, you must (i) give us written notice of your claim within one (1) year of the date of a live auction or three (3) months from an online only auction ; (ii) at our option, pay for and provide us with the written opinions of two recognized experts in the field, mutually agreed upon by you and us, confirming that the lot is not authentic (we reserve the right to obtain additional opinions at our expense); and (iii) return the lot at your expense to the saleroom from which you bought it in the condition it was in at the time of sale. (i) Your only right under this limited authenticity warranty is to cancel the sale and receive a refund of the purchase price paid by you to us. We will not, under any circumstances, be required to pay you more than the purchase price, nor will we be liable for any loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, other damages, or expenses. (j) No employee or agent of Hindman is authorized to make a representation or provide additional information, whether orally or in writing, that amends the limited authenticity warranty or creates an additional warranty with respect to a lot. Any such representation, other information, or additional warranty shall be null and void. 3. ADDITIONAL WARRANTY FOR BOOKS If the lot is a book, then we give an additional warranty to the original buyer shown on the invoice for the lot issued at the time of the sale in the following circumstances: (a) We will refund the purchase price to the original buyer if we, in our sole discretion, are convinced that the book is defective in text or illustration, subject to the following terms: (i) This additional warranty does not apply to (A) the absence of blanks, half titles, tissue guards, or advertisements; or damage in respect of bindings, stains, spotting, marginal tears, or other defects not affecting the completeness of the text or illustration; (B) drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps, or periodicals; (C) books not identified by title; (D) lots sold without a printed estimate; (E) books that are described in the catalog as sold not subject to return; or (F) defects stated in any condition report or announced at the time of sale. (ii) To make a claim under this additional warranty, you must give written details of the defect within twenty-one (21) days of the date of the sale and return the lot within twenty-one (21) days of the date of the sale to the saleroom at which you bought it in the same condition as at the time of sale. (iii) Paragraphs E(2)(b), (c), (d), (e), (h), and (i) also apply to a claim under this additional warranty. (c) No employee or agent of Hindman is authorized to make a representation or provide other information, whether orally or in writing, that amends the additional warranty for books or creates an additional warranty with respect to a lot. Any such representation, other information, or additional warranty shall be null and void.

4. JEWELRY (a) Colored gemstones (such as rubies, sapphires, and emeralds) may have been treated to improve their appearance through methods such as heating and/or various clarity enhancements. These methods are considered common by the international jewelry trade but may make a gemstone more fragile and/or cause the gemstone to require special care over time. (b) All types of gemstones may have been improved by some method. You may request a gemological report for any item that does not have a report if the request is made to us at least three (3) weeks before the date of the auction and you pay the fee for the report. (c) We do not obtain a gemological report for every gemstone sold in our auctions. When we do get gemological reports from internationally accepted gemological laboratories, such reports are described in the catalogue. Reports from American gemological laboratories describe any improvement or treatment to the gemstone. Reports from European gemological laboratories describe any improvement or treatment only if we request that they do so, but they do confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree on whether a gemstone has been treated, the amount of treatment, or whether that treatment is permanent. The gemological laboratories only report on the improvements or treatments known to them at the date they make the report. (d) For jewelry sales, estimates are based on the information in any gemological report. If no report is available, assume that the gemstones may have been treated or enhanced. 5. WATCHES AND CLOCKS (a) Almost all clocks and watches are repaired in their lifetime and may include parts that are not original. We do not give a warranty that any individual component part of any watch is authentic. Watchbands described as “associated” are not part of the original watch and may not be authentic. Clocks may be sold without pendulums, weights, or keys. (b) As collectors’ watches often have very fine and complex mechanisms, you are responsible for any general service, change of battery, or further repair work that may be necessary. We do not give a warranty that any watch is in good working order. Certificates are not available unless described in the catalogue. (c) Most wristwatches have been opened to find out the type and quality of movement. For that reason, wristwatches with water-resistant cases may not be waterproof, and we recommend you have them checked by a competent watchmaker before use. (d) Many of the watches offered for sale in this catalogue are pictured with straps made of endangered or protected animal materials such as alligator or crocodile skin. When straps are shown for display purposes only and are not for sale. We may remove and retain the strap prior to shipment from the sale site. Please check with the department for details on a lot with such a strap. 6. YOUR WARRANTIES You warrant to us and the seller that (a) the funds you use for payment are not connected with any criminal activity, including tax evasion, and neither are you under investigation, nor have you been charged with or convicted of money laundering, terrorist activities, or other crimes; (b) where you are bidding on behalf of another person, (i) you have conducted appropriate customer due diligence on the ultimate buyer(s) of the lot(s) in accordance with all applicable anti-money laundering and sanctions laws, you consent to us relying on this due diligence, you will retain for a period of not less than five (5) years the documentation evidencing the due diligence, and you will make such documentation promptly available for immediate inspection by an independent third-party auditor upon our written request to do so; (ii) the arrangements between you and the ultimate buyer(s) in relation to the lot or otherwise do not, in whole or in part, facilitate tax crimes; (iii) you do not know, and have no reason to suspect, that the funds used for payment are connected with or the proceeds of any criminal activity, including tax evasion, or that the ultimate buyer(s) are under investigation for, or have been charged with or convicted of, money laundering, terrorist activities, or other crimes.

F. OUR LIABILITY TO YOU

(a) We give no warranty in relation to any statement made, or information given, by us or our representatives or employees about any lot other than as set out in the limited authenticity warranty or in the additional warranty for books, and as far as we are allowed by law, all warranties and other terms that may be added to this agreement by law are excluded. The seller’s warranties contained in paragraph E(1) are their own, and we do not have any liability to you in relation to those warranties. (b) We are not responsible to you for any reason (whether for breaking this agreement or for any other matter relating to your purchase of, or bid for, any lot) other than in the event of fraud or fraudulent misrepresentation by us, or other than as expressly set out in these Conditions of Sale. (c) WE DO NOT GIVE ANY REPRESENTATION, WARRANTY, OR GUARANTEE

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OR ASSUME ANY LIABILITY OF ANY KIND IN RESPECT OF ANY LOT WITH REGARD TO MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, DESCRIPTION, SIZE, QUALITY, CONDITION, ATTRIBUTION, AUTHENTICITY, RARITY, IMPORTANCE, MEDIUM, PROVENANCE, EXHIBITION HISTORY, LITERATURE, OR HISTORICAL RELEVANCE. EXCEPT AS REQUIRED BY LOCAL LAW, ANY WARRANTY OF ANY KIND IS EXCLUDED BY THIS PARAGRAPH. (d) Our written and telephone bidding services, online bidding services, and condition reports are free services, and we are not responsible to you for any error, omission, or failure of these services. (e) We have no responsibility to any person other than a buyer in connection with the purchase of any lot. (f) If, despite the terms in paragraphs F(a)–(e) or E(2)–(3) above, we are found to be liable to you for any reason, we shall not have to pay more than the purchase price paid by you to us. We will not be responsible to you for any reason for loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, or expenses.

G. OTHER TERMS

1. OUR ABILITY TO CANCEL In addition to the other rights of cancellation contained herein, we can cancel a sale of a lot if (i) any of your warranties in paragraph E(4) are not correct; (ii) we reasonably believe that completing the transaction is, or may be, unlawful; or (iii) we reasonably believe that the sale places us or the seller under any liability to anyone else or may damage our reputation. 2. RECORDINGS We may videotape and/or audio record proceedings at any auction. We will keep any personal information confidential, except to the extent that disclosure is required by law. If you do not want to be videotaped, you may decide to make a telephone or written bid or bid online instead. Unless we agree otherwise in writing, you may not videotape or record proceedings at any auction. 3. COPYRIGHT We own the copyright in all images, illustrations, and written material produced by or for us relating to a lot, including the contents of our catalogues, unless otherwise noted therein. You cannot use them without our prior written permission. We make no representation and offer no guarantee that the buyer of a lot will gain any copyright or other reproduction rights. 4. ENFORCING THIS AGREEMENT If a court finds that any part of this agreement is invalid, illegal, or impossible to enforce, that part of the agreement will be treated as being deleted, and the rest of this agreement will not be affected. 5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES You may not grant a security over or transfer your rights or responsibilities under these terms unless we have given our written permission. This agreement will be binding on your successors or estate and anyone who takes over your rights and responsibilities. 6. PERSONAL INFORMATION We will hold and process your personal information in line with our privacy policy at www.hindmanauctions.com. 7. WAIVER No failure or delay to exercise any right or remedy contained herein shall constitute a waiver of that or any other right or remedy, nor shall it prevent or restrict the further exercise of that or any other right or remedy. No single or partial exercise of such right or remedy shall prevent or restrict the further exercise of that or any other right or remedy. 8. LAW AND DISPUTES This agreement, and any noncontractual obligations arising out of or in connection with this agreement, or any other rights you may have relating to the purchase of a lot will be governed by the laws of Illinois. Before we or you start any court proceedings (except in the limited circumstances where the dispute, controversy, or claim is related to proceedings brought by someone else and this dispute could be joined to those proceedings), you and we agree to try to settle the dispute by mediation submitted to JAMS, or its successor, for mediation in Illinois. If the dispute is not settled by mediation within sixty (60) days from the date when mediation is initiated, then the dispute shall be submitted to JAMS, or its successor, for final and binding arbitration in accordance with its Comprehensive Arbitration Rules and Procedures or, if the dispute involves a non-US party, the JAMS International Arbitration Rules. The seat of the arbitration shall be Illinois, and the arbitration shall be conducted by one arbitrator, who shall be appointed within thirty (30) days after the initiation of the arbitration. The language used in the arbitral proceedings shall be English. The arbitrator shall order the production of documents only upon a showing that such documents are relevant and material to the outcome of the dispute. The arbitration shall be confidential, except to the extent necessary to enforce a judgment or where disclosure is required by law. The arbitration award shall be final and binding on all parties involved. Judgment upon the award may be entered by any court having jurisdiction thereof or having jurisdiction over the relevant party or its assets. This

arbitration and any proceedings conducted hereunder shall be governed by Title 9 (Arbitration) of the United States Code and by the United Nations Convention on the Recognition and Enforcement of Foreign Arbitral Awards of June 10, 1958.

H. GLOSSARY

authentic: a genuine example, rather than a copy or forgery of (a) the work of a particular artist, author, or manufacturer, if the lot is described in the Heading as the work of that artist, author, or manufacturer; (b) a work created within a particular period or culture, if the lot is described in the Heading as a work created during that period or culture; (c) a work of a particular origin or source, if the lot is described in the Heading as being of that origin or source; or (d) in the case of gems, a work that is made of a particular material, if the lot is described in the Heading as being made of that material. buyer’s premium: the charge the buyer pays us along with the hammer price. catalogue description: the description of a lot in the catalogue for the auction, as amended by any saleroom notice. due date: has the meaning given to it in paragraph D(3)(a). estimate: the price range included in the catalogue or any saleroom notice within which we believe a lot may sell. Low estimate means the lower figure in the range, and high estimate means the higher figure. The mid estimate is the midpoint between the two. hammer price: the amount of the highest bid the auctioneer accepts for the sale of a lot. Heading: has the meaning given to it in paragraph E(2). limited authenticity warranty: the guarantee we give in paragraph E(2) that a lot is authentic. other damages: any special, consequential, incidental, or indirect damages of any kind or any damages that fall within the meaning of “special,” “incidental,” or “consequential” under local law. purchase price: has the meaning given to it in paragraph D(3)(a). Provenance: the ownership history of a lot. qualified: has the meaning given to it in paragraph E(2), subject to the following terms: (a) “Cast from a model by” means, in our opinion, a work from the artist’s model, originating in his circle and cast during his lifetime or shortly thereafter. (b) “Attributed to” means, in our opinion, a work probably by the artist. (c) “In the style of” means, in our opinion, a work of the period of the artist and closely related to his style. (d) “Ascribed to” means, in our opinion, a work traditionally regarded as by the artist. (e) “In the manner of” means, in our opinion, a later imitation of the period, of the style, or of the artist’s work. (f) “After” means, in our opinion, a copy or after-cast of a work of the artist. reserve: the confidential amount below which we will not sell a lot. saleroom notice: a written notice posted next to the lot in the saleroom and on www.hindmanauctions.com, which is also read to prospective telephone bidders and provided to clients who have left commission bids, or an announcement made by the auctioneer either at the beginning of the sale or before a particular lot is auctioned. UPPERCASE type: type having all capital letters. warranty: a statement or representation in which the person making it guarantees that the facts set out in it are correct. Updated 4/21

182 W E S T E R N PA I N T I N G S A N D S C U L P T U R E I N C L U D I N G C O N T E M P O R A R Y N AT I V E A M E R I C A N A R T

U P C O M I N G AU C T I ON S C H E D U L E AMERICAN & EUROPEAN ART M AY 3 , 2 0 2 1 | C HICAG O

IMPORTANT JEWELRY MAY 18, 2021 | C HI C AGO

POST WAR & CONTEMPORARY ART M AY 4 , 2 0 2 1 | C HICAG O

MODERN DESIGN MAY 20, 2021 | C HI C AGO

PRINTS & MULTIPLES M AY 5 , 2 0 2 1 | C HICAG O

ATLANTA COLLECTIONS MAY 21, 2021 | AT L A NTA

WESTERN PAINTINGS AND SCULPTURE INCLUDING CONTEMPORARY NATIVE AMERICAN ART M AY 6 -7 , 2 0 2 1 | DE N V E R

PALM BEACH COLLECTIONS MAY 24, 2021 | PA L M B E AC H

BOOKS & MANUSCRIPTS M AY 1 2 , 2 0 2 1 | CH ICAGO CINCINNATI COLLECTIONS F RI DAY, M AY 1 4 , 2021 | CINCIN NATI TIMEPIECES M AY 1 7 , 2 0 2 1 | CH ICAGO

ARMS AND ARMOR MAY 25, 2021 | C I NC I NNAT I ANTIQUITIES MAY 27- 28, 2021 | C HI C AGO SUMMER FASHION & ACCESSORIES J U NE 3 | C HI C AGO

Lot 89 | Charlie Dye (American, 1906-1972) Maverick $12,000 - 18,000

V I E W T H E C O M P L E T E C ATA L O G U E AT H I N D M A N A U C T I O N S . C O M 183

We Invite You to Consign Western Paintings & Sculpture November 4-5, 2021

Eanger Irving Couse (American, 1866–1936) Watching the Rising Trout $70,000 - 90,000 To be offered at auction May 6, 2021

Contemporary Native American Art November 2-3, 2021 Denver | Live + Online We invite you to receive a complimentary auction estimate of historic and contemporary Western paintings and bronzes Contact Katherine Hlavin Director and Specialist of Western Art 303.825.1855 | katherinehlavin@hindmanauctions.com

HindmanAuctions.com

1338 West L ake Street Chicago, Illinois 60607 l ph 312.280.1212 l hindmanauctions.com