Santa Fe Art Auction Catalog 2012 by Gallery Publications

rda

Nov

ber 7 20 2

1 30 p

santa fe Art Auction Saturday, November 17, 2012 | 1:30pm MST Santa Fe Convention Center, Santa Fe, NM santa fe Art Auction P.O. Box 2437 Santa Fe, NM 87504-2437 Tel 505 954-5858 | Fax 505 954-5785 www.santafeartauction.com © 2012 Santa Fe Art Auction Limited Co. Vice President/Executive Director: Peter L. Riess Registrar: Erica Prater Photographer: Molly Wagoner, Cameron Gay Biography Editing: John Macker Graphic Design: Scott C. Edwards Printing and Binding: O’Neil Printing, AZ Cover: Lot 75, Leon Gaspard, (1882-1964), Mongolian Girl, 1921 Back Cover: 150, W.H.D. Koerner, (1878 - 1938), Are You Calling Me a Liar?, ca. 1935

O’Neil Printing joins the Forest Stewardship Council (FSC) in being an international organization whose mission is to promote responsible management of the world’s forest. The intent of the FSC system is to eliminate the destruction to forest ecosystems that often accompanies logging, as well as unlawful logging in undesignated forests. Through this system, the forests from which the trees are harvested, the logging companies, the paper mills, the paper vendors and the printers all become a “link” in the “chain of custody” insuring that the rules set forth by the FSC are strictly adhered to. Each “link” must go through the process of being certified, and will be subject to audit at any given time to insure that the “chain of custody” is not broken.

L i v e Au c t i o n Saturday, November 17th from 1:30pm to 5:30pm MST Santa Fe Convention Center 201 West Marcy Street, Santa Fe

Au c t i o n P r e v i e ws Friday, November 16th from 5pm–8pm Saturday, November 17th from 9am–1pm Santa Fe Convention Center 201 West Marcy Street, Santa Fe

O N L I N E AUCTIO N For online bidding visit: www.liveauctioneers.com

P r e s e n t e d b y G e r a l d P e t e r s G a ll e ry ©

TERMS AND CONDITIONS OF SALE The following Terms and Conditions of Sale are the Santa Fe Art Auction Limited Co.’s (“Santa Fe Art Auction”) and its agents’ and consignors’ entire agreement with the prospective bidders, bidders and Buyers relative to the lots listed in this catalog. The lots will be offered by the Santa Fe Art Auction as agent for the consignors, unless the catalog indicates otherwise. 1. The Santa Fe Art Auction assumes no risk, liability or responsibility beyond the limited warranty contained herein. (a) Except as set forth in paragraph 1(b) below, all lots are sold “AS IS.” There are no representations or warranties that extend beyond these Terms and Conditions of Sale. All lots shall be available for examination prior to the sale. The Santa Fe Art Auction and its agents and consignors make no representations or warranties as to merchantability, fitness for a particular purpose, correctness of the catalog or descriptions of lots, including, but not limited to, the physical condition, size, quality, rarity, importance, medium, provenance, dates, exhibitions, literary or historical relevance of any lot and no statement anywhere, whether oral or written, whether made in the catalog, an advertisement, a bill of sale, a salesroom posting or announcement, or elsewhere, shall be deemed such a warranty, representation or assumption of liability. There are no representations and warranties, express or implied, as to whether the Buyer acquires any copyrights, including, but not limited to, any reproduction rights in any lot. Contents of this catalog are subject to change or supplementation before or during the sale, including the sale of any lot. (b) The authenticity of the authorship attributed to the lots as described in this catalog is guaranteed only to the limited extent as stated in this paragraph 1(b). (i) The authorship attributed to a lot includes name of the artist and any reservations therewith stated, as, for example, “attributed to,” “in the school of ” or “appears to have been signed by.” The Santa Fe Art Auction makes no warranties whatsoever, express or implied, with respect to any material in the catalog other than the authorship attributed to the lots. (ii) This guarantee is further limited as follows: The benefits of this guarantee are not assignable and shall be available only to the Buyer of record; this guarantee shall remain in force and be effective only if notice of rescission is given to the Santa Fe Art Auction within three (3) years following the date of sale, provided the lot is tendered to the Santa Fe Art Auction in Santa Fe, New Mexico, in the same condition as the lot was found at the time of sale; and that the rescission of a sale and the refund of the total purchase price paid (i.e., the successful bid price, plus the buyer’s premium and applicable tax) is exclusive and in lieu of any other remedy which might otherwise be available, and that the Santa Fe Art Auction and its consignors shall not be liable to the Buyer for any incidental, consequential, special, compensatory or punitive damages. (iii) In remitting payment hereunder, Buyer agrees and acknowledges that the absolute limit of Santa Fe Art Auction’s, its agents’ or consignors’ liability and responsibility shall not exceed the total purchase price. 2. Prospective bidders should inspect the lots before bidding to determine condition, size and whether or not the lot has been repaired or restored and to investigate all other matters relating to the lot that is of material importance to the prospective bidder. 3. A buyer’s premium will be added to the successful bid price and is payable by the Buyer as part of the total purchase price. If paying by cash or check, the buyer’s premium is 20% of any successful bid price under $50,000, 15% of any successful bid price over $50,000 up to $100,000, and 12% of any successful bid price above $100,000. If paying by credit card, the buyer’s premium is 23% of any successful bid price under $50,000, 18% of any successful bid price over $50,000 up to $100,000, and 15% of any successful bid price above $100,000. 4. Unless exempted by law, the Buyer will be required to pay all applicable state and local sales, gross receipts, and compensation tax. Proof of exemption in the form of a current Non-Taxable Transaction Certificate must be provided at registration. In the event of deliveries outside the state, it is the Purchaser’s responsibility to pay any applicable compensating use tax of another state on the total purchase price. If a buyer requests that artwork be shipped to an address in New York State, we must collect New York sales tax due to an affiliated business located in New York City under recent legislation (Part P-1 of Chapter 57 of the Laws of 2009). Why SFFA Collects Sales Tax: New Mexico requires a seller of goods to register with the New Mexico Department of Taxation and Revenue and collect and remit sales tax if the seller maintains a presence within the state. More specifically, tax laws require an auction house, like Santa Fe Art Auction, with a presence in New Mexico, to register as a sales tax collector, and remit sales tax collected to the state. Unless exempted, New Mexico sales tax is charged on the hammer price, buyer’s premium and any other applicable charges on any property picked up or delivered in New Mexico, regardless of the state or country in which the purchaser resides or does business. Certain Exemptions: New Mexico allows for specified exemptions to its sales tax. For example, a registered re-seller such as a registered art dealer may purchase without incurring a tax liability, and Santa Fe Art Auction is not required to collect sales tax from such re-seller. As sales tax laws vary from state to state, Santa Fe Art Auction recommends that clients with questions regarding the application of sales or use taxes to property purchased at auction seek tax advice from their local tax advisors. 5. The Santa Fe Art Auction reserves the right to withdraw any lot before or during the sale and shall have no liability whatsoever for such withdrawal. 6. Except as may be announced by the auctioneer, all bids are per lot, as numbered in the catalog. 7. The Santa Fe Art Auction reserves the right to reject any bid. The highest bidder acknowledged by the auctioneer will be the Buyer, subject to reserves. In the event of any dispute between bidders, or in the event of doubt as to the validity of any bid, the auctioneer will have the final discretion to determine the successful bidder, cancel the sale, or reoffer and resell the lot in dispute. If any dispute arises after the sale, the Santa Fe Art Auction’s sale record shall be final and conclusive. The Santa Fe Art Auction, in its discretion, may execute orders or absentee bids as a convenience to clients who are not present at the auction; however, the Santa Fe Art Auction is not responsible for any errors or omissions in connection therewith. 8. If the auctioneer, in his or her discretion, determines that any bid is below the reserve of the lot, he or she may reject the same and withdraw the lot from sale, and if, having acknowledged an opening or other bid, the auctioneer decides that any advance thereafter is insufficient, he or she may reject the advance. 9. On the fall of the auctioneer’s gavel, the highest bidder acknowledged by the auctioneer assumes full risk and responsibility for the offered lot, subject to all of the Terms and Conditions of Sale set forth herein, and is immediately obligated to pay the full purchase price. All sales are final and there shall be no ex-

changes or returns. Payment shall be made by cash, check or wire transfer. As set forth in paragraph 3, above, for an additional percentage Santa Fe Art Auction will also accept credit cards as a form of payment. (Visa and MasterCard only). In addition to other remedies available to Santa Fe Art Auction by law, we reserve the right to impose, from the date of sale, a late charge of 1.5% per month (18% per annum) of the total purchase price, if payment is not made in accordance with the conditions set forth herein. (a) All lots must be removed by the Buyer at his or her expense not later than ten (10) business days following the sale, and, if it is not so removed, (i) a handling charge of 1% of the total purchase price per month, or a portion thereof from the tenth day after the sale (until its removal) will be payable to us by the Buyer, with a minimum of 5% of the total purchase price due for any lot not so removed within 60 days after the sale, and (ii) Santa Fe Art Auction may send the purchased lot to a public warehouse for the account of and at the risk and expense of the Buyer. (b) If any applicable conditions herein are not complied with by the Buyer, the Buyer will be in default, and in addition to any and all other remedies available to the Santa Fe Art Auction and its agents and consignors by law, including, without limitation, the right to hold the Buyer liable for the total purchase price, together with all fees, charges and expenses set forth in these Terms and Conditions of Sale, the Santa Fe Art Auction, at its sole option, may (i) cancel the sale of that, or any other lot or lots sold to the defaulting Buyer, or (ii) resell the purchased lot or lots, whether at auction or by private sale, or (iii) effect any combination thereof. The Buyer will be liable for any deficiency, any and all costs, handling charges, late charges, expenses and commissions of both sales, legal fees and expenses, collection fees and incidental damages. The Santa Fe Art Auction and its agents and consignors shall have all of the rights accorded to a secured party under the New Mexico Uniform Commercial Code. The Buyer of each lot agrees that each lot is unique and that Santa Fe Art Auction, in its sole discretion, shall not be required to sell or otherwise seek to mitigate damages should such Buyer fail to pay the total purchase price. Payment will not be deemed to have been made in full until the Santa Fe Art Auction shall have collected good funds. The Santa Fe Art Auction reserves the right to hold all purchases pending collection of the total purchase price, together with all additional fees, charges and expenses incurred pursuant to these Terms and Conditions of Sale. 10. All lots (unless otherwise indicated by the letters “nr”) are subject to a reserve, which is the confidential minimum price acceptable to the consignor. The Santa Fe Art Auction, or its agents or consignors, may implement such reserve by opening the bidding or they or either of them may bid up to the amount of the reserve by placing successive or consecutive bids for a lot or may bid in response to other bidders. In instances where the Santa Fe Art Auction has an interest in the lot, it may bid up to the reserve to protect such interest. The Santa Fe Art Auction, or its agents or consignors, may also bid upon other lots listed in this catalog. 11. Santa Fe Art Auction is the owner of images of each lot offered for sale and may use such images for its own archival purposes, as well as for advertising and publicity in connection with this or future sales by the Santa Fe Art Auction. 12. These Terms and Conditions of Sale, together with the parties’ respective rights and obligations hereunder, shall be governed and construed and enforced in accordance with the laws of the State of New Mexico, without regard to New Mexico’s rules concerning conflicts of laws. 13. Prospective bidders, bidders and Buyers agree that, in the event of any controversy or claim arising out of or relating to a sale of any lot, the party asserting such controversy or claim shall provide written notice thereof to the other party; that any such controversy or claim not settled within fourteen (14) days of delivery of notice by the other party, including, without limitation, any controversy or claim arising from, or relating to, the sale of any lot or any of these Terms and Conditions of Sale, including the terms of this paragraph, the sole and exclusive means for resolving the dispute shall be by binding arbitration in Santa Fe, New Mexico. Said arbitration shall be confidential and shall be pursuant to the New Mexico Uniform Arbitration Act, shall be conducted before a single arbitrator, and shall otherwise be guided by the then extant New Mexico Rules of Arbitration. This Agreement is deemed made in Santa Fe, New Mexico, and is subject to the internal substantive law of the State of New Mexico without regard to conflicts of laws. The award of the arbitrator shall be final, and may be entered into any court having jurisdiction thereof. Each party shall bear that party’s own costs of arbitration and attorney’s fees. 14. The Santa Fe Art Auction may, in its discretion and at a Buyer’s request, pack and ship items as directed by the Buyer. In such event, Buyer agrees to the following conditions:

(a) All such packing, handling and shipping is at the sole risk of the Buyer and the Santa Fe Art Auction shall have no liability for any loss or dama ge to such items, and (b) Buyer shall pay all related expenses in advance. Buyer should allow four to six weeks for shipping from the date of the auction.

15. Results are posted on the Santa Fe Art Auction web site and, upon request, may be sent to Buyers, catalog subscribers, absentee and phone bidders, and other registered bidders. 16. If any part of these Terms and Conditions is held invalid or unenforceable for any reason, the remaining provisions shall continue to be valid and enforceable to the fullest extent permitted by law. 17. These Terms and Conditions are not assignable by any buyer without the prior written consent of the Santa Fe Art Auction. However, these Terms and Conditions are binding on the buyer’s successors, assigns and representatives. 18. No act, omission or delay by the Santa Fe Art Auction shall be deemed a waiver of its rights and remedies under these Terms and Conditions. 19. The Santa Fe Art Auction shall use reasonable efforts to contact prospective buyers who have made prior arrangements to place telephone bids in order for these buyers to participate in the auction. The Santa Fe Art Auction shall not be liable for its failure to contact said bidders or for any errors or omissions made in connection with telephone bids since telephone bids are offered as a free service that is undertaken subject to the other commitments of Santa Fe Art Auction during the sale. 20. Santa Fe Art Auction shall use reasonable efforts to execute online bids in order for online buyers to participate in the auction. Online bidding is provided as an alternative bidding service and should not be considered a replacement for bidding in the room. Santa Fe Art Auction encourages its buyers to weigh the advantages and limitations of live online bidding when deciding whether to bid in the room or online. Santa Fe Art Auction shall not be liable for any errors or omissions made in connection with online bids or the online bidding process. Although Santa Fe Art Auction will do everything in its power to assure all online bids are recognized, Santa Fe Art Auction has no way of guaranteeing that the internet and the online bidding process will be free from technical malfunctions. In the event of a tie between an online bid and a “room” bid, the “room” bid generally will take precedence. “Room” bids include those bids taken from the live auction room(s), telephones, absentee bidders, or bids made by the auctioneer to protect the reserve. Santa Fe Art Auction will not be responsible for errors or failures to execute bids placed on the internet, including, without limitation, errors or failures caused by (i) a loss of connection on Santa Fe Art Auction’s or on the Buyer’s end, (ii) a breakdown or problems with the online bidding software, and/or (iii) a breakdown or problems with a Buyer’s internet connection, computer or system. Santa Fe Art Auction does not accept liability for failing to execute an online internet bid or for errors or omissions in connection with this activity.

Guide for absentee bidding Absentee Bids If you are unable to attend the auction in person, and wish to place bids, you may give the Santa Fe Art Auction Bid Department instructions to bid on your behalf. Our representatives will then try to purchase the lot or lots of your choice for the lowest price possible, and never for more than the top amount you indicate. The Santa Fe Art Auction offers this service as a convenience to clients who are unable to attend the auction. However, the Santa Fe Art Auction will not be responsible for failure to execute bids, or any errors in executing bids. Placing Absentee Bids Absentee bids are accepted only if you have returned a signed Absentee Bid Form by mail or fax which authorizes the Santa Fe Art Auction to place bids on your behalf. The Absentee Bid Form appears in the back of this catalogue. Please complete and return to the Santa Fe Art Auction by November 17, 2012. To place bids, please use the absentee bid form provided in the back of this catalogue. Be sure the lot number and the descriptions are accurate and note the top price you are willing to pay for each lot. No bid will be placed unless you indicate a Top Limit (i.e., the amount that you would bid if you were attending the auction yourself ). Any alternative bids should be indicated by using the word “OR” between lot numbers. Then if your bid on an early lot is successful, we will not continue to bid on other lots for you. Or, if your early bids are unsuccessful, we will continue to execute bids for alternative lots until a bid is successful. Bids must be placed in the same order as the lot numbers appear in this catalogue. Please place your bids as early as possible. In the event of identical bids, the earliest bid received will take precedence. Telephone Bids Telephone bids are accepted only if you have returned a signed Absentee Bid Form by mail or fax which authorizes the Santa Fe Art Auction to place bids on your behalf. The Absentee Bid Form appears in the back of this catalogue. Please check the telephone bid box on the form, complete, and return to the Santa Fe Art Auction by November 17, 2012. Telephone bidders are encouraged to leave back up bids incase of techincal failure. Buyer’s Premium The Top Limit you indicate on your bid form is the gavel price exclusively. Please keep in mind that a buyer’s premium, as stated in paragraph 3 of the Terms and Conditions of Sale, will be added to the successful bid price of each lot you buy and is payable by you together with the applicable sales tax which is applied to the total cost of the purchase. Successful Bids Successful absentee bidders will be notified and invoiced within a few days of the sale. Successful absentee bidders shall arrange to make payment via cash, check, credit card or wire transfer upon receipt of notification of purchase. To fax a completed Bid Form, dial (505) 954-5785.

Bidding Increments Bidding increments are as follows, but may vary at the sole discretion of the auctioneer: Estimate Increment Under $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 over $100,000 $10,000

For more information contact: Santa Fe Art Auction Ltd. Co. P.O. Box 2437 Santa Fe, NM 87504-2437 Tel 505 954-5858 Fax 505 954-5785 www.santafeartauction.com

The Santa Fe Art Auction is pleased to offer a selection of works from the Ernest and Edith Schwartz Collection. Living in Santa Fe for 17 years, the Schwartzâ&#x20AC;&#x2122;s were passionate about Santa Fe and its artists. They amassed a sizeable collection of Southwest art and chose to donate it to the New Mexico Museum of Art. Many works are now in the permanent collection of the Museum. It was the donorâ&#x20AC;&#x2122;s wish that any works not kept by the Museum be sold to benefit acquisitions.

The Santa Fe Art Auction will donate 10% of the proceeds from the sale of this collection to the New Mexico Museum of Arts’ Acquisition Fund.

1 Dick Jemison (b. 1942) Recollection III, 1988

sand, oxides and acrylic, on canvas 48 x 48 inches titled, dated and signed verso: RECOLLECTION II - 1988 / 48” x 48” M/M / Dich Jemison $12,000 - $15,000

2 Barrett

Study for Stone Sculpture, 1/1 bronze 11 1/2 x 8 x 8 3/4 inches signed: Barrett © 1/1 $400 - $600 nr

3 Unknown

Untitled

ceramic 14 x 13 1/8 x 11 1/4 inches inscribed on bottom: D Gilaroy $100 - $200 nr

Leonard Baskin (1922-2000) At the Bureau, 58/100, 1974

stone lithograph 24 x 33 5/8 inches signed and dated (in image): ·BASKIN·1974· editioned and titled lower left: 58/100 “At the Bureau” signed lower right: Baskin $200 - $500 nr

5 Charles Collins

6 Larry Richmond (b. 1942)

When Ambassadors Meet in Washington

Untitled, 1999

bronze 8 3/4 x 3 1/2 x 4 inches 9 3/4 x 3 1/2 x 4 3/4 inches 10 x 4 7/8 x 4 1/4 inches

ceramic, wood and paint 7 5/8 x 7 1/8 x 7 1/8 inches signed on bottom: richmond / 99

$1,500 - $3,000 nr

$100 - $200 nr

The Santa Fe Art Auction will donate 10% of the proceeds from the sale of this collection to the New Mexico Museum of Arts’ Acquisition Fund.

7 Jeffery Laurence (b.1949)

Visions of Cody, 1997

oil on canvas 52 1/4 x 34 1/8 inches signed, titled and dated verso: Geoff Lawrence ‘97 ‘VISIONS OF CODY’ $15,000 - $25,000

9 Robert Tenorio (b. 1950)

8 V.A. Lambert

Water Jar

Indian in Firelight

ceramic 7 1/2 x 8 x 8 inches signed on bottom: Robert Tenorio / Santo Domingo / Pueblo (with Zia symbol)

oil on canvas 30 1/4 x 24 1/8 inches signed lower right: V.A. LAMBERT

$200 - $300 nr

$4,000 - $6,000

Unknown

Untitled Pot, 1989 ceramic 10 5/8 x 15 x 11 7/8 inches inscribed: Gulino / 1989 (with artist cipher) $100 - $200 nr

11 Russell Sanchez (b. 1963)

Untitled Pot, 1990

ceramic 8 1/2 x 7 3/8 x 7 3/8 inches dated and signed on bottom: 1990 - / Russell Sanchez / San Ildefonso / Pueblo $2,000 - $3,000 nr

12 Leonard Baskin (1922 - 2000) A Cheyenne Woman in the Robes of a Secret Society, 58/100, 1974

stone lithograph 28 x 37 5/8 inches signed, dated and editioned lower left: BASKIN · 1974 · / 58/100 titled lower center: A CHEYENNE WOMAN IN THE ROBES OF A SECRET SOCIETY signed lower right: Baskin $200 - $500 nr

13 Linda Brewer

Blue Burro, 2001

mixed media 14 3/8 x 9 1/2 x 18 inches signed: Brewer / 2001 $200 - $400 nr

The Santa Fe Art Auction will donate 10% of the proceeds from the sale of this collection to the New Mexico Museum of Arts’ Acquisition Fund.

Peterson Yazzie (b. 1979) Moonlight Beauty, 2005

Peterson Yazzie (b. 1979) Moonlight Beauty II, 2005

mixed media on canvas 12 x 12 inches signed lower right: PETERSON YAZZIE titled, signed and dated verso: “Moonlight Beauty” / Acrylic & Sand / PETERSON YAZZIE / ·05·

mixed media on canvas 12 x 12 inches signed lower left: PETERSON YAZZIE titled, signed and dated verso: “Moonlight Beauty II” / Mixed Media / PETERSON YAZZIE / ·05·

$300 - $500 nr

16 Anita Fields (b. 1951)

Untitled

ceramic 39 1/2 x 7 1/2 x 7 1/2 inches (stacked) $2,000 - $3,000 nr

Unknown

Untitled, 1991 mixed media 6 1/2 x 15 3/8x 16 inches dated left wheel: © 91 2119 $100 - $200 nr

18 Bill Worrell (b. 1936) Masked Cape Shaman, 4/50

bronze and stone 21 1/4 x 13 x 4 1/2 inches signed and editioned: Worrell / 4/50 $800 - $1,000 nr

19 Marianne Millar

Wolf Robe, 1996

acrylic on canvas 30 x 23 7/8 inches signed, titled and dated verso: Marianne Millar / “Wolf Robe” 1996 © / Acrylic on Canvas / All reproduction rights / reserved by the artist $2,500 - $3,500 nr

The Santa Fe Art Auction will donate 10% of the proceeds from the sale of this collection to the New Mexico Museum of Arts’ Acquisition Fund.

20 Mike Larsen (b. 1944) A Time Remembered, 1994

acrylic on canvas 69 7/8 x 50 inches signed lower right: lARSen $15,000 - $18,000

21 Bunny Tobias (b. 1963)

Untitled

mixed media 19 1/2 x 11 1/2 x 1 inches $3,000 - $5,000

22 Ford Ruthling (b. 1933) Cows Have an Inner Light, 1989

monotype off tin template 29 1/4 x 41 3/8 inches titled and signed bottom: “Cows Have an Inner Light” #7-G Remembering My Grandmother ~ Frieda Mawer. Ford Ruthing ‘89. $100 - $200 nr

Fr ank Schively Horse Man, 1990

acrylic on canvas 36 x 36 inches signed lower left: ScHively ‘90 / © titled verso: “HORSE MAN” / 36” / ACRYLIC

To Hear the Oldest Songs, 1990

Fr ank Schively

acrylic on canvas 60 x 40 inches signed lower right: SCHIVLEY · / 90 © titled verso: .... “TO HEAR THE OLDEST SONGS” / 60” x 48”/ ARCYLIC

$3,000 - $6,000

25 Unknown

Wooden Horse wood and paint 19 7/8 x 4 1/8 x 30 3/8 inches $100 - $200 nr

The Santa Fe Art Auction will donate 10% of the proceeds from the sale of this collection to the New Mexico Museum of Arts’ Acquisition Fund.

26 Kevin Red Star (b. 1943) Hot Foot / Spotted Horse, 1999

acrylic on canvas 60 x 48 1/8 inches titled verso: HOT FOOT/SPOTTED HORSE / ‘HOT FOOT’ / Also Known As: / “SPOTTED HORSE” signed and dated verso: Kevin Red Star © 1999 / MONTANA U.S.A. $6,000 - $10,000

27 28 Rudy Turk (1927-2007)

Untitled

acrylic on canvas 29 1/2 x 23 1/2 inches signed lower right: Turk $400 - $600 nr

Tammy Tarbell (b. 1950) Nine Women with Beaded Necklaces, 2002

ceramic and beads 12 3/8 x 10 x 9 3/8 inches signed on bottom: TTarbell / 02 $600 - $800 nr

Natalie Skynear (b. 1944)

Mr. Mother, 1991

mixed media 54 7/8 x 45 inches titled verso: MR. MOTHER...IN ILLO TEMPORE / NATALIE SKYNEAR / PRESCOTT AZ signed verso: ARTIST RESERVES ALL COPYRIGHTS AND REPRODUCTION RIGHTS / Natalie Skynear / 1991 $2,000 - $3,000 nr

30 Paul Br ach,(1924 - 2007) Manifest Destiny, 1985

oil on canvas 60 x 90 inches signed, dated and titled verso: Paul Brach ‘85 MANIFEST DESTINY $1,500 - $1,800 nr

The Santa Fe Art Auction will donate 10% of the proceeds from the sale of this collection to the New Mexico Museum of Arts’ Acquisition Fund.

The Santa Fe Art Auction will donate 10% of the proceeds from the sale of this collection to the New Mexico Museum of Artsâ&#x20AC;&#x2122; Acquisition Fund.

31 Paul Pletk a (b. 1946)

Untitled, 3/150

lithograph 17 3/4 x 11 3/4 inches edition lower left: 3/150 signed lower right: Pletka three inscribed lower left: Pletka one signed and editioned: lower left: Pletka / 3/150 $1,000 - $2,000 nr

32 William Churchill Jr. (b. 1943)

Anthropology, 2000

laminated mahogany and mixed media 8 1/2 x 23 1/2 x 23 1/2 inches $2,000 - $3,000 nr

33 R andy Lee White (b. 1951)

Paper Shirt, 1995

mixed media on canvas 35 7/8 x 63 inches signed lower center: R Lee White / 95 $8,000 - $12,000

Elias River a (b. 1937) Tarahumara Twilight

oil on canvas 60 x 96 inches

$40,000 - $60,000

The Santa Fe Art Auction will donate 10% of the proceeds from the sale of this collection to the New Mexico Museum of Artsâ&#x20AC;&#x2122; Acquisition Fund.

35 Roy Wilce (1939 - 1999) Spring Run-Off (Triptych)

oil on canvas 16 x 60 inches signed lower right: Roy Wilce $2,000 - $3,000 nr

36 Steve Tobin (b. 1957)

Pepper Shoe

bronze 5 1/4 x 3 x 10 inches inscribed on bottom: Tobin $800 - $1,000 nr

37 Steve Villalobos

38 Estella Loretto (b. 1954)

Masked Raven

Flute Player

mixed media 51 7/8 x 37 1/4 x 5 1/2 inches

ceramic 22 x 14 7/8 x 9 1/2 inches

$2,500 - $3,500 nr

$1,500 - $2,500 nr

Doug Coffin (b. 1946) Buffalo Skull, 1992

monotype 29 x 22 inches titled lower left: “Buffalo Skull” signed and dated lower right: D. Coffin / 92 $2,000 - $3,000 nr

40 Helen Stanley (b. 1949)

Kiva, 1989

raku ceramic 3 1/8 x 13 1/8 x 13 3/4 inches inscribed: Helen Stanley / 1989 $800 - $1,000 nr

41 Michael Motley

Navajo Portrait, 1989 oil on canvas 30 x 23 3/4 inches signed lower right: Motley / 89 $1,000 - $2,000 nr

The Santa Fe Art Auction will donate 10% of the proceeds from the sale of this collection to the New Mexico Museum of Arts’ Acquisition Fund.

42 Walt Gonske (b. 1942) Rinconada Cottonwoods

oil on canvas 8 x 12 inches signed lower right: Gonske signed and titled verso: gonske / © / “RINCONADA / COTTONWOODS” / #1950 $1,500 - $2,500 nr

43 Carol Whitney (b. 1936)

44 Albert Clymer (b. 1942)

Beloved, 3/10, 2000

Two Riders, 2002

bronze 10 5/8 x 4 1/4 x 4 1/8 inches edition, dated and signed: 3/10 / 2000 Whitney

oil on board 23 3/8 x 18 5/8 inches signed lower right: CLYMER / 2002

$1,500 - $2,500 nr

$800 - $1,000 nr

George Lundeen (b. 1948) The Spirit of the West, 62/500, 1990

46 Otto Duecker (b.1948) Standing Man with Cigarette

mixed media 24 3/4 x 9 3/4 x 7 1/2 inches $3,000 - $5,000

47 Lawrence Lee (b. 1947) Indian with Parrot

oil on canvas 54 1/4 x 48 1/8 inches signed lower left: Lawrence W Lee © $12,000 - $15,000

The Santa Fe Art Auction will donate 10% of the proceeds from the sale of this collection to the New Mexico Museum of Arts’ Acquisition Fund.

48 Nor a (Nanezbah) Yazzie (b. 1954)

Untitled , 1993

ceramic 17 3/8 x 6 5/8 x 7 7/8 inches signed on bottom: Nanezbah ‘93 $300 - $500 nr

49 Paul Van Ginkel (b. 1960)

Warrior Child, 1999

oil on canvas 71 7/8 x 48 inches signed center right: VAN GINKEL titled, signed and dated verso: “WARRIOR CHILD” © PAUL VAN GINKELL ‘99 $12,000 - $16,000

50 Glenna Goodacre (b. 1939) Water Carriers, 2/99, 1992

bronze 11 3/8 x 5 5/8 x 6 1/4 inches signed and dated: G Goodacre / 1992 / 2/99 $4,000 - $6,000

Greg Skol (b. 1961) Aspens Shimmering, 1996

oil on panel 4 5/8 x 4 1/2 inches signed lower left: S·· signed and dated verso: #66 GREG SKOL / 1996 $1,000 - $2,000 nr

52 Tom Palmore (b. 1945) Rabbit Looking at Mountain Landscape

acrylic on canvas 40 x 30 inches signed lower left: PalMORE $15,000 - $20,000

The Santa Fe Art Auction will donate 10% of the proceeds from the sale of this collection to the New Mexico Museum of Arts’ Acquisition Fund.

53 Siu Ho Lee (b. 1957) The Painting Collection

oil on board 12 x 16 inches titled verso: The Painting / Collection $800 - $1,000 nr

54 Greg Skol (b. 1961) Santa Fe Landscape, 2000

oil on canvas 16 1/4 x 16 1/8 inches signed lower right: S·· signed and dated verso: GREG SKOL SANTA FE, NM 2000 $1,800 - $3,000 nr

55 Carl Von Hassler (1887 - 1969)

Indian Pueblo, 1927

oil on canvas 32 3/4 x 42 1/4 inches signed lower left: C.F. Von Hassler / 1927 Provenance: Private Collection, NM $4,000 - $6,000

56 John Sloan (1871 - 1951) Landscape, Santa Fe

oil on canvas 16 3/8 x 20 1/8 inches Provenance: Private Collection, NM $10,000 - $15,000

57 William Louis Otte (1871 - 1957)

Coastal Scene, 1919

oil on canvas 21 1/4 x 27 3/8 inches signed lower left: William Louis Otte / 1919 Provenance: Private Collection, NM $6,000 - $8,000

58 Julius Rolshoven (1858 - 1930)

Sotto Marina, 1891

pastel on paper 31 7/8 x 25 inches titled and signed upper left: Sotto Marina / RoLshoven / 1891Provenance: Private Collection, NM $20,000 - $30,000

59 Charles Killgore (1889 - 1979)

Mexican Scene

oil on canvas 35 1/4 x 39 1/4 inches signed lower right: Charles Killgore Provenance: Private Collection, NM $4,000 - $6,000

60 Kenneth M. Adams (1897-1966)

Purple Zinnias

oil on board 24 x 17 7/8 inches signed lower left: Kenneth M. Adams Provenance: Private Collection, NM $8,000 - $12,000

61 Leon Gaspard, (1882-1964) Mother, Baby and Two Children, 1934, Tunis, 1934

oil on board 18 3/4 x 21 7/8 inches signed and dated lower left: Leon Gaspard / Tunis 1934 Provenance: Private Collection, NM $40,000 - $50,000

62 Eanger I. Couse (1866-1936)

Sunset

oil on board 6 3/4 x 8 1/2 inches signed lower right: COUSEProvenance: Private Collection, NM $2,000 - $3,000 63 Gustave Baumann (1881-1971)

Oval Still Life, Zinnias

woodblock print 22 1/2 x 18 1/8 inches signed lower right: Gustave (with artist cipher) Baumann Provenance: Private Collection, NM $5,000 - $6,000

64 Kenneth M. Adams (1897-1966) Still Life with Flowers, 1965

oil on canvas 33 x 27 1/8 inches signed lower left: Kenneth M. Adams - â&#x20AC;&#x2DC;65 Provenance: Private Collection, NM $10,000 - $20,000

65 BJO Nordfeldt (1878-1955)

Landscape

watercolor on paper 21 1/4 x 29 1/8 inches signed lower right: Nordfeldt Provenance: Private Collection, NM 3,000 - $5,000

66 Eanger I. Couse (1866-1936)

By the Stream

oil on canvas 23 3/8 x 28 1/2 inches signed lower left: E-I-COUSE Provenance: Private Collection, NM $100,000 - $125,000

67 Joseph Imhof (1891-1955) Trees in Forestscape

oil on board 30 3/8 x 25 inches signed lower right: Imhoff / Taos / NM inscribed verso: JOSEPH A. IMHOFF 1871-1955 / “TREES (A FORESTSCAPE)” / OIL ON PANEL ~ 32” x 24” / SIGNED: LOWER RIGHT Provenance: Private Collection, NM $2,000 - $3,000

68 Peter Hurd (1904-1984) New Mexico Landscape

watercolor on paper 21 1/4 x 30 inches signed lower left: Peter Hurd Provenance: Private Collection, NM $8,000 - $10,000

69 Eanger I. Couse (1866-1936)

Indian by Stream

oil on canvas 24 1/8 x 29 1/8 inches signed lower left: E.I COUSE Provenance: Private Collection, NM $150,000 - $200,000

70 Bert G. Phillips (1868-1956) Portrait of Mexican Girl

oil on board 14 1/4 x 14 3/4 inches signed lower left: PHiLLiPS. Provenance: Private Collection, NM $6,000 - $8,000

71 Bert G. Phillips (1868-1956)

Blue Lake

oil on board 8 7/8 x 10 1/2 inches signed lower left: PHILLIPS. Provenance: Private Collection, NM $3,000 - $5,000

72 Helmuth Naumer (1907-1989) Houses and Mesa, Pecos, N.M.

pastel on paper 21 1/4 x 27 1/4 inches signed lower right: NAUMER / (with artist cipher) titled verso: Houses & Mesa, Pecos. New Mexico signed verso: Artist: Helmuth Naumer / P.O. Box / 302 / Santa Fe. New Mexico. Provenance: Private Collection, NM $3,000 - $5,000 73 Eric Gibberd (1897-1972)

Taos Valley

oil on board 29 1/4 x 29 1/4 inches signed lower left: Gibberd Provenance: Private Collection, NM $3,000 - $5,000

Oscar E. Berninghaus (1874-1952)

Leon Gaspard (1882-1964) Mongolian Girl, 1921

oil on canvas mounted on board 30 5/8 x 40 1/8 inches signed lower right: O.E. BERNINGHAUS

oil on canvas mounted on board 28 7/8 x 31 inches signed lower left: Leon Gaspard / Urga 1921 signed and titled verso: gaspard / Russian Girl

Twilight Taos Pueblo

Provenance: Private Collection, NM $150,000 - $200,000

Provenance: Private Collection, NM $700,000 - $900,000

Frank Hoffman (1888-1958) Scout and Horse in Mountains

oil on board 12 x 16 inches signed upper right: Hoffman Provenance: Private Collection, NM $6,000 - $8,000

Frank Hoffman (1888-1958) Deer in Field

oil on board 12 x 15 3/4 inches signed lower right: Hoffman / (with artist cipher) Provenance: Private Collection, NM $6,000 - $8,000

Frank Hoffman (1888-1958)

Fox

oil on board 8 7/8 x 10 1/2 inches signed upper right: Hoffman Provenance: Private Collection, NM $2,000 - $3,000

79 Ernest L. Blumenschein (1874-1960)

Evergreen

watercolor on paper 15 3/4 x 11 1/2 inches signed lower right: E L BLUMENSCHEIN

Provenance: Private Collection, NM $6,000 - $8,000

Howard Cook (1901-1980)

Pachita

mixed media on paper 13 3/4 x 11 7/8 inches signed lower right: Howard Cook titled verso: Pachita - 100 Provenance: Private Collection, NM $3,000 - $4,000

81 Leon Gaspard (1882-1964) Untitled (Horse)

oil on linen 6 1/8 x 8 5/8 inches signed lower left: Gaspard Provenance: Private Collection, NM $3,000 - $4,000

82 Eric Gibberd (1897-1972) Hard Traveling

oil on board 26 x 30 1/4 inches signed lower left: Gibberd titled verso: â&#x20AC;&#x153;Hard Travel / -ingâ&#x20AC;? Provenance: Private Collection, NM $3,000 - $5,000

83 Doel Reed (1895-1985) New Mexico Landscape

charcoal and pastel on paper 16 5/8 x 24 1/4 inches signed lower left: Doel Reed, N.A. Provenance: Private Collection, NM $3,000 - $5,000

84 Joseph Fleck (1892-1977) Thunderstorm over Pasture

oil on board 23 7/8 x 31 3/4 inches signed lower left: J.A. Fleck Provenance: Private Collection, NM $20,000 - $25,000

85 Helmuth Naumer (1907-1989)

Untitled

watercolor on paper 19 3/4 x 27 7/8 inches

Provenance: Private Collection, CO $3,000 - $5,000

86 Jozef G. Bakos (1891-1977)

Untitled

watercolor on paper 20 1/4 x 13 3/4 inches signed lower right: BAKOS Provenance: Private Collection, NM $2,000 - $4,000 nr

87 Jozef G. Bakos (1891-1977)

Landscape

oil on canvas mounted on board 10 1/8 x 14 1/8 inches signed lower center: BAKOS Provenance: Private Collection, AZ $4,000 - $6,000

88 Fremont Ellis (1897-1985) Winter Haze, Santa Fe Canyon oil on canvas 23 1/2 x 30 1/8 inches signed lower right: FREEMONT ELLIS titled verso: Santa Fe Canyon / Winter Haze

Provenance: Private Collection, AZ $20,000 - $25,000

89 Gerald Cassidy (1879-1934)

Untitled

watercolor 11 7/8 x 15 1/4 inches signed lower left: Gerald (with artist cipher) Cassidy Provenance: Private Collection, WY $10,000 - $14,000

90 Robert Daughters (b.1929)

Untitled

oil on canvas 22 1/4 x 28 inches signed lower left: R. Daughters. Provenance: Private Collection, IA $4,000 - $6,000

91 Joseph H. Sharp (1859-1953) Taos Valley

oil on board 10 3/8 x 13 5/8 inches signed lower left: JH SHARP

Provenance: Private Collection, MO $18,000 - $25,000 92 Joseph H. Sharp (1859-1953) Taos Ca単on

oil on canvas 16 x 20 inches signed lower right: J H SHARP titled verso: Cotton Woods / TAOS Ca単on Provenance: Private Collection, AZ $30,000 - $40,000

93 Emil Bisttram (1895-1976) Cimaron Canyon Cliffs, 1963

acrylic on board 24 1/2 x 39 1/2 inches signed and dated lower right: (with artist cipher) / BISTTRAM titled verso: CIMARON CANYON CLIFFS 500 Provenance: Private Collection, CO $25,000 - $35,000 94 Emil Bisttram (1895-1976) Autumn Symphony, 1963

oil on canvas 27 x 36 inches signed and dated lower right: (with artist cipher) / BISTTRAM / 63 Provenance: Private Collection, CO $20,000 - $25,000

95 Fremont Ellis (1897-1985) October Afternoon, 1960

oil and casein on board 24 3/8 x 29 3/8 inches signed lower left: FREMONT ELLIS inscription verso: â&#x20AC;&#x153;OCTOBER AFTERNOONâ&#x20AC;?/ Painted in 1960 from sketch / made on Cumbres pass above / Chama New Mexico. We had and / early fall storn which already / had put quite a pack of snow on / the high elevations, with the rich / fall coloring remaining farther / down / Fremont Ellis Provenance: Private Collection, NM $12,000 - $15,000

96 Joe De Young (1849-1975) Grizzly Mountain from Two Medicine Lake, 1919

oil on canvas 10 3/8 x 15 1/8 inches signed and dated lower left: Joe De Yong / 1919 titled verso: Grizzley (sic) Mountain from Two Medicine Lake / GAP Provenance: Private Collectio, WY $3,500 - $4,500

97 John Hauser (1859-1913) Game Ahead, 1912

oil on board 9 1/4 x 13 5/8 inches signed and dated lower right: John Hauser / 1912 Provenance: Private Collection, MO $4,000 - $6,000

98 Oscar E. Berninghaus (1874-1952)

Sage Brush in Bloom

oil on canvas 24 3/8 x 28 1/8 inches signed lower right: O.E. BERNINGHAUS Provenance: Private Collection, MO $60,000 - $80,000

99 Morris Rippel (1930 - 2009) Tobblers Ranch, 1987

watercolor on paper 6 7/8 x 11 1/4 inches signed and dated lower left: M. RIPPEL © 1987 / NAWA titled, signed and dated verso: “TOBBLERS RANCH” #802B / (WATERCOLOR ON BOARD) / 7 1/2” x 12” - 2850.00 / M. RIPPEL © 1987 / ALL RIGHT RESERVED Provenance: Private Collection, NM $2,000 - $3,000

100 Wayne Wolfe (b.1945) Taos Mountain

oil on board 8 x 15 7/8 inches signed lower right: WAYNE E. WOLFE / (with artist cipher) Provenance: Private Collection, PA $800 - $1,000 nr

101 G. Harvey (b.1933) Winter Haze, 1982

oil on canvas 24 1/8 x 30 1/8 inches signed and dated lower left: G. Harvey - ÂŠ / 1982 titled and signed verso: #4840 / WINTER HAZE - II / ÂŠ by g. Harvey Provenance: Private Collection, TX $30,000 - $50,000

102 Melvin C. Warren (1920-1995)

Untitled, 1973

oil on canvas 24 x 36 inches signed and dated lower left :

ÂŠ Melvin C. Warren CA, 1973

Provenance: Private Collection, TX $20,000 - $30,000

103 Dave McGary (b.1958) Strikes with Thunder, 78/100, 1989

bronze 12 3/4 x 11 x 8 1/2 inches inscribed with artists thumbprint: DAVE McGARY- / ÂŠ / 1989, 78/100 Provenance: Private Collection, NY $2,000 - $3,000 nr

104 Dave McGary (b.1958) Rain in the Face, 35/50, 1992

bronze 23 x 11 x 8 inches inscribed with artists thumbprint: DAVE McGARY- / 1992 / 35/50 Provenance: Private Collection, NY $4,000 - $6,000

105 Agnes Pelton (1881-1961) Smoke Tree in the Desert (Desert Willow in Spring)

oil on canvas 22 1/8 x 30 1/8 inches signed lower right: Agnes Pelton Provenance: Private Collection, VA $3,000 - $5,000

106 Ray Swanson (1937-2004) Night Ride

watercolor on paper 13 3/8 x 7 3/8 inches signed lower left: Ray Swanson CA / © Provenance: Private Collection, AZ $2,500 - $3,500

107 Walt Gonske (b.1942) Afternoon Shadows. 1986

watercolor on paper 21 1/4 x 29 1/4 inches signed lower left: Walt Gonske © / NAWA signed and titled verso: Gonske / © / “AFTERNOON SHADOWS” / #1192 H Provenance: Private Collection, CO $8,000 - $12,000

108

Cyrus Afsary (b.1940) Desert Sunset

oil on canvas 18 x 24 inches signed lower left: CyRus AFSARY / NAWA

Provenance: Private Collection, AZ $8,000 - $10,000

109 Cyrus Afsary (b 1940)

Winter Pond

oil on canvas 15 1/4 x 19 1/4 inches signed lower left: Cyrus AFSARY / NAWA , NWR Provenance: Private Collection, AZ $12,000 - $15,000

110 Ned Young (b.1954) A Grassy Clearing, 1982

gouache on paper 9 1/4 x 6 3/4 inches signed and dated lower right: © Ned Young, 1982 Provenance: Private Collection, AZ $1,000 - $2,000

111 Ned Young (b.1954) A Winter Day, 1983

112 Ned Young (b.1954) Untitled, 1985

gouache on paper 10 5/8 x 7 5/8 inches signed and dated lower right: © Ned Young , 1985 Provenance: Private Collection, AZ $1,000 - $2,000

113 John Leone (1929-2011) Traveling Light

oil on board 24 x 36 inches signed lower right: John Leonetitled verso: TRAVELING LIGHT Provenance: Private Collection, UK $3,000 - $5,000

114 John Leone (1929-2011)

Untitled

oil on board 29 3/8 x 39 3/8 inches signed lower right: John Leone- Provenance: Private Collection, UK $5,000 - $7,000

115 Leland Curtis (1897 - 1989) Grand Tetons oil on canvas 18 1/8 x 24 inches signed lower left: ÂŠ / LELAND CURTIS signed verso: LELAND CURTIS Provenance: Private Collection, AZ $5,000 - $7,000 116 David Halbach (b.1931) Mormon Pioneers Send Father and Son Ahead in Monument Valley with Blanket to Signal at Fort watercolor on paper 8 1/2 x 11 3/8 inches signed lower left: DAVID HALBACH ÂŠ titled verso: Mormon Pioneers Send Father & Son Ahead in Monument Valley - with blanket to signal at Fort Provenance: Private Collection, AZ $600 - $800

117

Clark Hulings (1922-2011)

Lapland

watercolor on paper 11 3/8 x 16 3/4 inches signed and titled lower left: Clark Hulings / Lapland Provenance: Private Collection, CO $1,000 - $2,000 nr

118 Thomas deDecker (b. 1951)

Lilies and Flowers

oil on board 24 x 30 inches signed lower right: THOMAS deDECKER titled and signed verso: â&#x20AC;&#x153;Lilies and F lowersâ&#x20AC;? by Thomas deDecker Provenance: The Artist $2,500 - $4,000

119

Fr ank P. Sauerwein (1871-1910)

Untitled, 1899

oil on canvas 18 x 26 1/8 inches signed lower left: F.P. SauerWein. 99 Provenance: Private Collection, CO $2,000 - $3,000

120 Ger ard Curtis Delano (1890-1972)

Desert Sky

watercolor on paper 13 x 16 3/8 inches signed lower right: ÂŠ DElano

Provenance: Private Collection, UT $4,000 - $ 6,000

121 Charles Partridge Adams (1858 - 1942)

The Colorado Rockies

watercolor and gouache on paperboard 9 1/4 x 14 1/2 inches signed lower left: charles. Partridge. Adams. Provenance: Private Collection, NM $4,000 - $6,000

122

Robert Pummill (b.1936)

Early November

oil on canvas 23 3/8 x 35 3/8 inches signed lower left: pummill Provenance: Private Collection, TX $5,000 - $8,000

123 Clark Hulings (1922-2011)

The Gift, 1977

oil on canvas 17 3/8 x 26 3/8 inches signed and dated lower left: Hulings 1977 / ÂŠ Provenance: Private Collection, FL $25,000 - $35,000

124 Dave McGary (b.1958) American Horse, 19/50, 1993

bronze 25 1/4 x 12 x 7 1/4 inches inscribed with the artist thumbprint: DAVE McGARY- / 1993 / 19/50 Provenance: Private Collection, NY $4,000 - $6,000 nr 125 Tony Eubanks (b.1939) Sortin the Hiefers

oil on canvas 30 1/8 x 44 inches signed lower left: ÂŠ Eubanks Provenance: Private Collection, TX $8,000 - $12,000 nr

126 Clark Hulings (1922-2011) Friday Morning Market at Bonnieux, 1993

oil on canvas 24 7/8 x 66 inches signed and dated lower left: Hulings ÂŠ 1993 Provenance: Private Collection, NY

$180,000 - $250,000

Hulings says about his art, “Painting what I actually see appeals to me more than reconstructing history. I like rustic bridges, buildings, markets, and dusty rural areas where fanners still use animals. My pleasure comes from seeing the beauty in the ordinary and creating beauty from what is not conventionally beautiful. Most people consider technique to be most important in a painting. For me, finding the right subject matter and recognizing when it is good comes first.” One of the nation’s most respected painters, Clark Hulings is renowned for his tranquil paintings that so beautifully capture the rustic and provincial scenes of everyday life. Open air markets, farms and rural countryside are subjects he has come to know well. Hulings lived in Spain as a young child and the experience has had a profound influence on his choice of subject matter throughout his career. Travels to Egypt, Mexico and Morocco have also provided a plethora of subjects for his paintings that are rich with color, light and texture.

Hulings studied with Sigismund Ivanowski and George Bridgmond at the Art Students League in New York. During these years, he found a steady demand for his portraiture work. After a successful career in illustration, Hulings eventually settled in Santa Fe, New Mexico. In addition to receiving the coveted Prix de West from The National Academy of Western Art in Oklahoma City in 1973, Hulings has also received three silver and two gold medals from subsequent NAWA competitions. In 1976 he was given a one-person show at the National Cowboy Hall of Fame and was presented with the Hall’s Trustees’ Gold Medal for his distinguished contribution to art in the U.S. In his first exhibition since 1999, Clark Hulings’ unprecedented 2007 eastern U.S. tour of 38 new oil paintings resulted in total sales of $2,434,080.

127 Howard Terpning (b.1927) Advance of the Long Knives, 1980

oil on canvas 30 x 46 inches signed and dated lower left: © / Terpning / 1980 / CA titled and signed verso: “ADVANCE OF THE LONG KNIVES” / ALL REPRODUCTION RIGHTS TO THIS PAINTING ARE RETAINED BY THE ARTIST HOWARD TERPNING / H. Terpning Provenance: Private Collection, NY $800,000 - $1,000,000

Howard Terpning is often called the storyteller of the Native American, given his extraordinary talent in palette and brushstroke and exceptional ability to evoke emotion on canvas. His original paintings are among the most sought after and acclaimed images ever produced of Native American traditions, customs, and history. Born in Oak Park, Illinois, he attended the Chicago Academy of Fine Art and the American Academy of Art. Terpning worked in commercial art in Chicago before moving to New York City, where he had a successful career as an illustrator for popular magazines and movie posters. In 1977, Terpning moved to Tucson, Arizona, to document Native American culture and the American West. Two years later, he was elected to the National Academy of Western Art and the Cowboy Artists of America. He became an emeritus member of the CAA in 2003. His deep dedication to the accurate, compassionate and insightful depiction of Native American culture and tradition has earned him many awards and accolades. He is a two-time winner of the prestigious Prix De West Purchase Award (1981, 1996) and was the recipient of the Lifetime Achievement Award from the Autry National Center. “Often the native people called the Calvary ‘long knives’ because of their sabers but some of the trappers carried long knives too,” says Terpning. “This scene occurred countless numbers of time in Wyoming and the Montana territory and depicts a part of brigade of trappers crossing a hill and heading to a rendezvous or perhaps their favorite river to trap beavers. I think the sky really sets the mood for this piece.”

128 Frederic Remington (1861-1909)

129 Frederic Remington (1861-1909)

The Scout

The Half Breed

Provenance: Private Collection, NY $3,000 - $5,000

130 Frederic Remington (1861-1909)

Book of Drawings, 2/250

paper, ink and suede 12 x 18 x 1 inches signed inside front cover: Federic Remington / RM Russell Provenance: Private Collection, NY $6,000 - $8,000

131 Frederic Remington (1861-1909)

The Calvary Officer

chromolithograph 19 3/4 x 14 3/4 inches signed lower right: Federic Remington inscribed lower left: Copyright, 1901, by Robert Howard Russell Provenance: Private Collection, NY $2,000 - $3,000

132 Frederic Remington (1861-1909)

Old Ramon

chromolithograph 18 3/4 x 14 1/4 inches signed lower right: Frederic Remington inscribed lower left: Copyright, 1901, by Robert Howard Russell Provenance: Private Collection, NY $2,000 - $3,000

133 Frederic Remington (1861-1909)

The Cheyenne Buck, 1901

chromolithograph 19 5/8 x 14 3/4 inches signed lower right: Frederic Remington / 1901 inscribed lower left: Copyright, 1901, by Robert Howard Russell Provenance: Private Collection, NY $2,000 - $3,000

134 D.S. Rogers (b.1961) High Tailin, 1/30, 2000

bronze 30 1/4 x 16 3/4 x 38 5/8 inches signed and dated: D.S. ROGERS / © / ‘00 editioned: 1/30 titled: “HIGH TAILIN” Provenance: Private Collection, MO $10,000 - $15,000

135 D.S. Rogers (b.1961)

Tsa · Gaboa · Lao · Ga, Hopi Pot Maker, 7/30, 2000 bronze 10 5/8 x 9 x 8 inches titled: TSA · GABOA · LAO · GA / HOPI POTMAKER signed: D.S. ROGERS 7/30 / © dated: ‘00 Provenance: Private Collection, MO $2,000 - $3,000

136 Edward Borein (1872-1945)

Bucking Horse

watercolor 6 1/4 x 8 inches signed lower left: EDWARD BOREIN Provenance: Private Collection, NM $15,000 - $25,000

137 Nick Eggenhofer (1897-1985)

Navajo

watercolor on paper 8 1/2 x 7 inches signed lower right: N. EGGENHOFER Provenance: Private Collection, CO $2,000 - $3,000 nr

138 Frederic Remington (1861-1909) A Mounted Infantryman, 1890

watercolor and ink on illustration board 18 x 12 3/4 inches signed and inscribed lower left: With compliments to my friend, May Rossi - Frederic Remington 1890 No.6 inscriptions verso: To be returned U.S. Infantry in Montana under Gen. P. Miles, were mounted on captured Indian Ponies and went by the name of the 11th Cavalry. Provenance: Private Collection, NM $200,000 - $300,000

Literature: Century Magazine (March 1891), p.644, wood engraving Peter Hassrick & Melissa Webster, Frederic Remington, A Catalogue Raisonné, Buffalo Bill Historical Center, Cody, WY, 1996, Vol. I, p. 352, pl. 1141. Kellie Keto, Remington: The Years of Critical Acclaim, The Peters Corporation, 1998, p. 20, ill. p. 21.

Related Literature: Harold McCracken, The Frederic Remington Book: A Pictorial History of the Old West, Garden City, New York: Doubleday and Co., Inc., 1966. In late autumn of 1890, Remington accepted a proposal from Harper’s Weekly to accompany General Nelson A. Miles and a group of Indian commissioners to the Cheyenne agency and Crow Reservation at Lame Deer in Montana. Miles had hoped Remington would accompany the “Peace Commission to the Northern Cheyenne” in order to insure favorable publicity. Such assignments allowed Remington to explore his profound interest with the historical contest between Indian and soldier. Works such as this watercolor of a U.S. Infantryman represent the theme of the cavalry’s part in the Indian wars that pervaded Remington’s work during the early 1890s. The format and style of this work became characteristic of Remington’s military portrayals. In these works he depicts a single figure or equestrian portrait isolated against a minimal background, not in the midst of activity, but at rest. This format allowed Remington to focus on the specifics of dress, gear, stance, and physical prototype-details which would communicate his firsthand observations of the military. The cleanly articulated naturalism of A Mounted Infantryman makes it one of the finest watercolors in this genre.

139 Charles M. Russell (1864-1926)

Roping a Calf

watercolor on paper 8 5/8 x 13 3/8 inches initialed lower left with artistâ&#x20AC;&#x2122;s cipher: CMR Private Collection, NM $150,000 - $225,000

140 Dave McGary (b.1958) Short Bull, 15/75

bronze with patina and paint 20 x 10 x 10 inches Dave McGary / 1993 / 15/75 Provenance: Private Collection, NY $3,000 - $5,000

141 Charles M. Russell (1864-1926)

White Manâ&#x20AC;&#x2122;s Burden

bronze 4 3/4 x 6 3/8 x 5 inches signed: CM Russell (with artist cipher) foundry inscription: ROMAN BRONZE WORKS. INC.N.Y. Provenance: Private Collection, NY $4,000 - $6,000

142 Edward Borein (1872-1945)

Emigrant Train

etching and drypoint on paper 5 3/4 x 13 7/8 inches signed lower right: Edward Borein Provenance: Private Collection, CO $2,000 - $3,000 nr

143 Edward Borein (1872-1945) Four Horseman No. 1

etching and drypoint on paper 9 3/4 x 11 3/4 inches inscribed and signed lower right: EDWARD BOREIN / Edward Borein Provenance: Private Collection, CO $2,000 - $3,000 nr

144 Edward Borein (1872-1945) Navajo Visitors at Oraibi

etching 7 1/2 x 12 3/4 inches signed lower right: Edward Borein inscribed verso: Original Etching / By Edward Borein 210 / Navajo Visitors at Oraibi / 7 1/2 x 13 inches Provenance: Private Collection, NM $2,000 - $3,000

145 Edward Borein (1872-1945)

Pack Outfit

etching on paper 7 x 8 5/8 inches inscribed along bottom of matte: Edward Borein (1873-1945) #13 â&#x20AC;&#x153;Pack Outfitâ&#x20AC;? Provenance: Private Collection, AZ $2,000 - $3,000

146A Frederic Remington (1861-1909)

Antelope Hunting, 1889

chromolithograph 12 x 17 7/8 inches signed lower left: Frederic Remington

146B Frederic Remington (1861-1909)

Goose Shooting

chromolithograph 11 7/8 x 17 7/8 inches signed lower left: - Frederic Remington stamped lower left: COPYRIGHT 1890 BY BRADLEY WHIDDEN Provenance: Private Collection, NY $3,000 - $5,000 for the pair

148 147

Martin Grelle (b. 1954)

G. Harvey (b. 1933)

Autumn, 1983

oil on canvas 30 x 48 inches signed and dated lower right: G. Harvey / 1971 titled verso: ‘RIDERS FROM THE RENDERBROOK-SPADE RANCH #383 ©

oil on linen 20 x 30 inches signed lower left: MARTIN GRELLE / 1983 / © titled verso: “AUTUMN” / 20x30 OIL ON LINEN / THIS PAINTING SHOULD PROFESSIONALLY VARNISHED WITH DAMAR VARNISH ANY TIME AFTER APRIL, 1984.

Riders from the Renderbrook Spade Ranch, 1971

Provenance: Private Collection, TX $30,000 - $50,000

Provenance: Private Collection, TX $10,000 - $15,000

149 G. Harvey (b. 1933) Waiting at the Catchpens, 1972

oil on canvas 24 x 30 inches signed and dated lower right: G. Harvey / 1972 © titled verso: - all Copyrights reserved - WAITING AT THE CATCHPENS’ #3827 Provenance: Private Collection, TX $25,000 - $30,000

150 Charles M. Russell (1864-1926) Indians on Horseback, 1894

watercolor 16 7/8 x 22 5/8 inches signed and dated lower left: CM Russell / (with artist cipher) 94 signed lower left: CM Russell / (with artist cipher) Provenance: Private Collection, NM $200,000 - $250,000 B. Byron Price et al, Charles M. Russell: A Catalogue Raisonne, Norman, Oklahoma: University of Oklahoma Press in association with Charles M. Russell Center for the Study of Art of the American West and C.M. Russell Museum, 2007, cat. no. CR.UNL.416.

151 W.H.D. Koerner (1878 - 1938) Are You Calling Me a Liar?, ca. 1935

oil on canvas 36 x 56 1/2 inches signed lower right: WHD / Koerner titled verso, left panel: Stampede # 2: are you calling me a liar?â&#x20AC;? he asked softly at len gth. inscribed verso, right panel: Stampede #1 Provenance: Private Collection, NM $200,000 - $300,000

151 W.H.D. Koerner (1878 - 1938)

Are You Calling Me a Liar?, ca. 1935 oil on canvas 36 x 56 1/2 inches signed lower right: WHD / Koerner titled verso, left panel: Stampede # 2: are you calling me a liar?” he asked softly at length. inscribed verso, right panel: Stampede #1 Provenance: Private Collection, NM $200,000 - $300,000

Renowned as a master illustrator of the Wild West, William “Big Bill” Koerner captured the dynamic spirit of the untamed territories with his vibrant color palette and bold brushwork. Born in Germany, but raised in Iowa, the artist began his career as an illustrator for the Chicago Tribune at the age of 20. While in Chicago, he began his formal art studies at the Francis Smith Art Academy and the Chicago Art Institute. In 1905, Koerner relocated to New York City in order to study at the Art Students League under George Bridgman, who was also Norman Rockwell’s teacher. After two years, he then moved to Wilmington, Delaware, to join Howard Pyle’s illustration school, where he quickly established a reputation as a book and magazine illustrator. Between 1919 and 1922, Koerner was asked by The Saturday Evening Post to illustrate two articles, “The Covered Wagon” and “Traveling the Old Trails.” In order to depict the scenes described accurately, the artist delved into research of the Old West, which in turn, engendered an abiding passion that was to characterize the rest of his career’s work. During the course of his life, he illustrated more than two-hundred and fifty stories with Western themes and painted over six hundred pictures for periodicals. He also illustrated a number of books, including those by Western author Zane Grey, as well as Eugene M. Rhodes’s classic, Paso Por Aqui. Koerner’s dedication to authenticity led him to carry out research at the New York Public Library and the Museum of Natural History, as well to travel with his family to see the Western states first-hand.

Fueled by his passion of the Old West, the artist moved to Montana in 1924. He initially settled in Cook City, but then moved to the Spear Head Ranch on the Crow Reservation. The time he spent in Montana determined much of his later style, as did his profound interest in popular fiction of Western subjects. He specifically drew upon the works of authors Mary Roberts Rinehart, Stewart Edward White, and Emerson Hough for inspiration. The present work was created for Stewart Edward White’s serialized story “Stampede,” which first appeared in the February 23, 1935, issue of The Saturday Evening Post, where this work is illustrated. A coming-of-age tale set in California shortly after it joined the Union in 1850, it depicts the rough-and-tumble atmosphere of the new state. The protagonist, Leslie Drayton, is a young man fresh from Philadelphia sent out to the ranches of central California to act as a field inspector, examining land titles and adjusting boundary lines. The scene that the artist chose to portray is a pivotal moment in the character and plot development of Drayton. On his way to the ranches, he witnesses the beginning of an altercation between an armed and an unarmed man. To make the fight fair, he bravely, but foolishly, hands his pistol to the unarmed man, thus making a friend of one man, but an enemy of the other. Drayton, who wears a navy suit, and his new friend are seen in the right side of the composition, facing off against the angry vaquero on the left. Koerner’s attention to authentic details can be seen throughout the painting, including the silver conchas on the vaquero’s belt, the kerchiefs worn by the men against the dust caused from riding, the serape thrown casually over a man’s shoulder, and the hanging chili peppers, known as ristra, common throughout the Southwest. These details, along with the artist’s use of vigorous brushstrokes and vivid colors, succeed in bringing both the story and the Wild West to life. A prolific and versatile artist, Koerner’s steady work allowed him to purchase a home for his family in suburban Interlaken, New Jersey, in 1919. He lived there with his wife and two children for the rest of his life, excluding a sojourn in Montana. The artist died suddenly at the age of 58. His widow kept his studio intact until 1962, and in 1978, it was reconstructed intact at the Buffalo Bill Historical Center’s Whitney Museum of Western Art in Cody, Wyoming.

152 W.H.D. Koerner (1878 - 1938) Traders and Their Raft, 1928

oil on masonite 24 1/4 x 28 1/2 inches signed and dated lower right: WHD / Koerner / 1928 Provenance: Private Collection, NM $15,000 - $25,000

153 W.H.D. Koerner (1878 - 1938) Early Marriage, ca. 1934

oil on board 14 3/8 x 39 3/8 inches initialed lower right: W.HDK estate stamp verso Provenance: Private Collection, NM $15,000 - $25,000

154 LaVerne Nelson Black, (1887-1938)

Christmas Gathering

oil on paper 15 1/2 x 20 1/2 inches signed lower right: LaVerne Nelson Black / Taos Provenance: Private Collection, NM $180,000 - $275,000

Described as a â&#x20AC;&#x153;small, bristly man with shaggy eyebrows and a mustache,â&#x20AC;? painter, illustrator, and muralist Laverne Nelson Black left behind a rich legacy of southwestern work painted from life. Black was a soft-spoken individualist who preferred letting his work speak for itself over self-promotion (as a result, his work did not receive adequate recognition during his lifetime, and has only recently begun to be reevaluated). Among his favorite subjects were Indians and their horses, which he painted in an Impressionistic style, using rapid brushstrokes and large patches of color. The resulting works appear spontaneous yet controlled, and convey the lively, colorful nature life in Taos. Laverne Nelson Black was born in 1887 in Viola, Wisconsin, a small trading outpost in the Kickapoo valley. His early childhood was spent sketching local Indians and their horses, with pigments made from vegetable juices and reed keel, a local stone used by the Indians for ceremonial body

painting. Around 1900, Black moved with his family to Chicago, the cosmopolitan link between the East and west coast art scenes. Vern (as he was called by close friends) enrolled in the Chicago Art Institute in 1906, where he studied until 1908. He also began working as a newspaper illustrator in Chicago and New York in order to make a living, a popular career choice among struggling artists (several members of the Taos Society of Artists worked as illustrators in the East or Midwest before moving to Taos). Due to his failing health, Black moved to Taos in the late 1920s with his wife and two children. Although he remained in Taos only a few years, his paintings of Indians, typically on horseback and engaged in everyday activities remain among the best known of his career. A few years after his arrival, his increasingly delicate health forced him to move again, to the warmer and drier climate of Phoenix. In Phoenix, the Santa Fe Railway commissioned him to paint several large pictures to hang in the offices of top executives. Other commissions from this time include the 1937 Phoenix Post Office Murals from the Public Works Administration, for which Black was selected along with Oscar Berninghaus. Black completed six panels for the East lobby, depicting the history of Arizona from its pioneer days to the modern era. In poor health already, Black is believed to have been fatally poisoned by the fumes from the large panels, painted in his small, cramped studio with insufficient ventilation. He died shortly after completing the project, on May 11, 1938.

155 Edgar Alwin Payne (1883-1947)

Summer Cloud

oil on canvas 20 x 24 inches signed lower right: EDGAR PAYNE Provenance: Private Collection, NM $100,000 - $150,000

156 Fr ank Tenney Johnson (1874-1939)

Eventide

oil on canvas stretched over board 16 x 20 inches signed and dated lower left: F. Tenney Johnson / 192[] Provenance: Private Collection, NM $150,000 - $225,000

157 E. Martin Hennings (1886-1956) Entrance to the Rio Hondo

oil on canvas 16 1/8 x 20 1/8 inches signed lower right: E. MarTin Hennings titled verso: â&#x20AC;&#x153;Entrance To The Rio Hondoâ&#x20AC;? Provenance: Private Collection, TX

$60,000 - $80,000

158 E. Martin Hennings (1886-1956)

An Indian Song, ca. 1925

oil on board 14 3/4 inches x 14 3/4 inches signed lower right: E. M. Hennings Provenance: Private Collection, NM $150,000 - $250,000

159 Birger Sandzen (1871-1954)

Hidden Lake, 1933

oil on canvas 20 x 24 inches signed lower left: Birger Sandzen titled and signed verso: Hidden Lake. Rocky Mountain National Park, Colorado / Birger Sandzen Lindsborg, Kansas 1933 Provenance: Private Collection, MO $60,000 - $80,000

160 Birger Sandzen (1871-1954)

Flagstaff, 1936

oil on board 4 7/8 x 4 7/8 inches titled, dated and signed verso: Flagstaff / 1936 / Birger Sandzen Provenance: Private Collection, MO $2,000 - $3,000

Around 1910, Sandzén developed a style of paint application and brilliant color that made his work unique among his peers. He used powerful brushstrokes, strong outlines, and balanced forms to give his views of nature a vibrant impact uncommon in two dimensions, as is evident in the works featured here. His rapid brushstrokes and their thick, painterly application recall the influence of the Post Impressionists, particularly Van Gogh. As an artist, Sandzén was concerned with the overall flow and rhythm of a landscape. Color was extremely important to him, and his rich palette included many colors, some of which can be seen in these landscapes of pines and aspens, including cadmium yellow, cadmium red, raw sienna; emerald green, ultramarine blue, and cobalt violet. He also took into consideration and tried to account for the visual effects of the refraction and reflection of light on the natural forms he painted, according to the specific time of day and the atmospheric conditions. Sandzén also discovered and appreciated the various and divergent beauty of the western regions of the country, and starting in 1926, he began spending summers in Estes, Park, Colorado, and Logan, Utah. He visited Bryce and Zion Canyons while in Utah and traveled to the Grand Canyon in Arizona. The magnificent scenery depicted here resembles other landscapes he painted along the Colorado River while in Estes Park. Around 1910, Sandzén developed a style of paint application and brilliant color that made his work unique among his peers. He used powerful brushstrokes, strong outlines, and balanced forms to give his views of nature a vibrant impact uncommon in two dimensions, as is evident in the works featured here. His rapid brushstrokes and their thick, painterly application recall the influence of the Post Impressionists, particularly Van Gogh.

161 Birger SandzĂŠn (1871-1954)

Kansas Creek, 1937

oil on board 21 3/8 x 27 1/2 inches signed lower right: Birger Sandz ĂŠn titled verso: Kansas Creek (Wild Horse Creek) / Graham County, Kansas inscribed verso: Belongs to Alfrida Sandzen / Purchased by / Dr. John C. Mitchell / 1951 Provenance: Private Collection, MO $25,000 - $35,000

162 Birger SandzĂŠn (1871-1954) Pines by the Lake, 1927

oil on board 10 1/8 x 11 7/8 inches signed lower right: Birger Sandz ĂŠn titled, dated and signed verso: Pines by The Lake / Estes Park, Colo. / 1927 / Birger Sandzen / Linsborg, Kansas Provenance: Private Collection, MO $25,000 - $35,000

163 G. Harvey (b. 1933) Spring Branding and Hot Irons, 1972

oil on canvas 24 x 30 inches signed lower right: G. Harvey / 1972 / © titled verso: #3820 Spring Branding & Hot Irons’ Provenance: Private Collection, TX $20,000 - $30,000 164 G. Harvey (b. 1933) Texas Autumn

oil on canvas 36 x 30 1/8 inches signed lower right: G. Harvey titled verso: #9632 “Texas Autumn” Provenance: Private Collection, TX $10,000 - $15,000

165 Martin Grelle (b. 1954) Thoughts of April, 1983

acrylic on linen 20 x 30 inches signed lower right: MARTIN GRELLE / 1983 / © titled verso: “THOUGHTS OF APRIL” / 20x30 / ARCYLIC ON LINEN / SOLWVAR VARNISH Provenance: Private Collection, TX $10,000 - $15,000

166 Gary Niblett (b. 1943)

Day’s End, 1974

oil on board 23 7/8 x 36 inches signed lower left: G NIBLEtt ‘74 titled verso: “Day’s End” Provenance: Private Collection, TX $6,000 - $9,000

167 Oscar E. Berninghaus (1874-1952)

Indian in White Robe, 1916

oil on board 12 x 8 1/4 inches signed and dated lower right: O.E. Berninghaus / -16 Provenance: Private Collection, MO $20,000 - $30,000

168 Oscar E. Berninghaus (1874-1952)

Horses Hitched, 1925

oil on board 10 1/8 x 12 1/8 inches signed and dated lower right: O.E. Berninghaus / Taos - 25 Provenance: Private Collection, MO $20,000 - $30,000

169 W.R. Leigh (1866-1955) Three Riders Resting, 1949

oil on canvas 12 3/4 x 18 5/8 inches signed and dated lower left: ÂŠ / W.R. LEIGH. 1949. Provenance: Private Collection, NM $150,000 - $200,000

170 William Gollings (1878-1932)

Untitled, 1921

oil on canvas 24 x 30 inches signed and dated lower center: Gollings (artist’s cipher) 1921 Provenance: Private Collection, NM $400,000 - $600,000

Born in Pierce City, Idaho, in 1878, Bill Gollings spent his early years on farms in Idaho, Michigan, and New York. His family moved to Chicago in 1889, but preferring life in the West, Gollings left home at the age of 18 and traveled through Iowa, Nebraska, South Dakota, and Montana, making his way as a cowboy, trapper, sheepherder, and gold prospector. Influenced by the magazine illustrations of Frederic Remington, Gollings began to focus on a career in the arts, and in 1903 he sent a mail order to Montgomery Wards to obtain his first oil painting materials. Acting as Gollings’ agent, the artist’s brother sold Bill’s first paintings to a furniture storeowner in Sheridan, Wyoming. His brother also sent pictures to the editor of the Chicago Fine Arts Journal. At the suggestion of the editor, Gollings made his way to Chicago, where, in 1905, he used the proceeds from some painting sales to enroll at the Chicago Academy of Fine Arts. When his finances eventually gave out, Gollings moved back to Sheridan, where he continued painting and breaking horses to make his living. The last of his fulltime “cowboy” jobs was working for the government as a line rider on the Cheyenne Reservation. In 1909, determined to establish his reputation as an artist, he “built a shack and called it a studio,” and devoted himself to painting scenes of the Western life that he knew so well. Gollings’ primary influences were Howard Russell Butler, William P. Henderson, Charles M. Russell, W.H.D. Koerner, Joseph Henry Sharp, and Frederic Remington.

171 Leonard H. Reedy (1899-1956) U.S. Calvary Pursuing Apaches

watercolor on paper 7 7/8 x 10 7/8 inches signed lower left: LEONARD H. REEDY titled lower center: U.S. Calvary Pursuing Apaches Provenance: Private Collection, IN $1,000 - $2,000

172 Leonard H. Reedy (1899-1956)

Untitled

watercolor on paper 7 3/4 x 10 7/8 inches signed lower right: LEONARD H. REEDY Provenance: Private Collection, IN $1,000 - $2,000 173 Leonard H. Reedy (1899-1956)

Untitled

watercolor on paper 7 7/8 x 10 3/4 inches signed lower left: LEONARD H. REEDY Provenance: Private Collection, IN $1,000 - $2,000 174 Leonard H. Reedy (1899-1956)

The Cowpuncher

watercolor on paper 8 x 11 inches signed lower right: LEONARD H. REEDY titled verso: “THE COWPUNCHER” Provenance: Private Collection, IN $1,000 - $2,000

175

G. Harvey (b. 1933) Morning Chores, 1968

oil on canvas 24 x 36 inches signed and dated lower left: G. Harvey - / 1968 titled verso: COMPLETE MORNING CHORES #3493 Provenance: Private Collection, GA $30,000 - $50,000

176 Nicolai Fechin (1881-1955)

Untitled

wood 7 1/4 x 2 7/8 x 4 3/8 inches initialed on bottom: N.F. Provenance: Private Collection, NM $6,000 - $9,000

177

178

Nicolai Fechin (1881 - 1955) Small Pilgrim, 7/21, Cast 1997

Nicolai Fechin (1881 - 1955) Large Pilgrim, 21/21, Cast 1997

Provenance: Private Collection, NM

$2,000 - $4,000

$3,000 - $5,000

179 American School (after C.B. King)

Amiskquew, Menominee War Chief, 19th century oil on board 10 3/4 x 9 inches Provenance: Private Collection, NM $45,000 - $55,000

180 American School (after C.B. King)

Eshtahumbah, Sioux Warrior, 19th century oil on board 10 3/4 x 9 inches Provenance: Private Collection, NM $45,000 - $55,000

181 Attributed to: Fr ank Tenney Johnson (1874 - 1939)

Riding Hard with Two Shooters oil on board 19 1/4 x 15 1/4 inches Provenance: Private Collection, IL $10,000 - $20,000

182 Thomas Mor an (1837-1926) Grand Canyon of Arizona from Hermit Rim Road, 1912

chromolithograph 25 3/4 x 34 3/8 inches signed and dated lower left: Moran. 1912. Provenance: Private Collection, NM $4,000 - $6,000

183A Thomas Mor an (1837-1926) Pink Terraces, Mammoth Hot Springs Gardiner’s River

chromolithograph 4 3/8 x 7 3/8 inches inscribed lower center: PINK TERRACES. MAMMOTH HOT SPRINGS GARDINER’S RIVER inscribed upper left: US GEOLOGICAL SURVEY inscribed upper right: PLATE A

183B Thomas Mor an (1837-1926) Grand Canyon of the Yellowstone River

chromolithograph 4 1/2 x 7 3/8 inches inscribed lower center: GRAND CANYON OF THE YELLOW STONE RIVER inscribed upper left: U.S. GEOLOGICAL SURVEY inscribed upper right: PLATE B

183C Thomas Mor an (1837-1926) Castle Geyser & Beautiful Spring, Upper Geyser Basin

chromolithograph 4 1/2 x 7 3/8 inches inscribed lower center: CASTLE GEYSER AND BEAUTIFUL SPRING. UPPER GEYSER BASIN inscribed upper left: US GEOLOGICAL SURVEY inscribed upper right: PLATE C Provenance: Private Collection, NY

183D Thomas Mor an (1837-1926) Great Blue Spring, Lower Geyser Basin

chromolithograph 4 3/8 x 7 3/8 inches inscribed lower center: GREAT BLUE SPRING. LOWER GEYSER BASIN inscribed upper left: US GEOLOGICAL SURVEY inscribed upper right: PLATE D $8,000 - $15,000 for the set

184 Georgia O’Keeffe (1887 - 1996) Georgia O’Keeffe Drawings, 126 / 250

10 lithographs on paper 25 x 19 inches editioned and signed on cover page: Georgia O’Keeffe 250 published of which 230 were signed and numbered Provenance: Private Collection, NM $4,000 - $6,000

185 John Marin (1870-1953) New Mexico Landscape, 1929

watercolor with traces of charcoal on paper 13 5/8 x 19 5/8 inches signed and dated lower right: Marin 29 Provenance: Private Collection, NM $40,000 - $60,000

186 Wilson Hurley (b.1924)

Untitled, 1958

oil on canvas 20 x 36 inches dated lower left: 1958 signed lower right: HURLEY Provenance: Private Collection, NM $8,000 - $12,000 187 Thomas Macaione (1907-1992)

Untitled, 1979

oil on canvas 20 1/8 x 24 inches signed lower right: Tom. J. / Maccione signed and dated verso: By Tom 路J路 / -79Maccione / 漏 Provenance: Private Collection, NM $2,000 - $4,000

188 R andall Davey (1887-1964) Portrait of Isabel in Pink Blouse, 1934-35

oil on board 31 7/8 x 26 inches signed lower right: Randall Davey Provenance: Private Collection, NM $10,000 - $15,000

189 Joellyn Duesberry (b. 1944) Grey Cliffs Near Chama River, 1986

oil on board 20 x 27 inches dated and signed lower left: JTD 9·86 signed, titled and dated verso: Joellyn Duesberry / Grey Cliffs at Chama / October, 1986 Provenance: Private Collection, NY $3,000 - $5,000

190 Joellyn Duesberry (b. 1944) Pasture in Autumn Near Velvarde, 1986

oil on linen 28 x 22 inches signed and dated lower right: JTD 10·86 titled and dated verso: PASTURE IN AUTUMN NEAR VELVARDE / OCTOBER ‘86 Provenance: Private Collection, NY $3,000 - $5,000

191 Joellyn Duesberry (b. 1944) Haystacks at Ghost Ranch, 1987

oil on linen 34 x 84 inches signed lower left: Joellyn Duesberry 1路87 titled and dated verso: HAYSTACKS AT GHOST RANCH, NM / January 1987 Provenance: Private Collection, NY $6,000 - $8,000

192 Alfred Mor ang (1901-1958) Autumn in the Park, 1954

oil on canvas 16 x 20 inches signed and dated lower right: ALFRED MORANG - 54 Provenance: Private Collection, NM $5,000 - $10,000

193 Alfred Mor ang (1901-1958) Church, Northern New Mexico 1954

watercolor on paper 12 5/8 x 9 7/8 inches signed and dated lower right: Alfred Morang - 54 Provenance: Private Collection, AZ $3,000 - $5,000

194 Ford Ruthling (b.1933) 18” Blue, Black & Butterfly on Yellow Branch, 1969

oil on canvas 15 1/2 inches diameter signed and dated lower right: Ford Ruthling / ‘69 titled verso: #FR-69-79g / plate-Nov-69-“Blue black & white butterfly on yellow branch” Provenance: Private Collection, NM $2,000 - $4,000

195 cecil Cunningham (1897-1973)

Canoe & Totem Poles

watercolor 12 1/8 x 9 1/4 inches signed lower left: C DET CUNNINGHAM Provenance: Private Collection, UK $800 - $1,000

196 cecil Cunningham (1897-1973)

Totem Poles

watercolor 12 1/8 x 9 1/4 inches signed lower left: C. DET. CUNNINGHAM Provenance: Private Collection, UK $800 - $1,000

197 Fritz Scholder (1937-2005)

Standing Indian

acrylic on paper 23 1/4 x 17 1/2 inches Provenance: Private Collection, NM $2,000 - $4,000

198 Gene Kloss (1903-1996) Rio Grande Gorge, 1936

etching and drypoint on paper 13 7/8 x 9 7/8 inches titled lower left: Rio Grande Gorge signed lower right: Gene Kloss inscribed along bottom edge of matte: Kloss #338 Gene Kloss (1903-1996) Drypoint & Aquatint, 1936 14x10 â&#x20AC;&#x153;Rio Grande Gorgeâ&#x20AC;? Provenance: Private Collection, AZ $3,500 -$4,500

199 Gene Kloss (1903-1996) Corn Dance Maiden, 11/50

etching and dry point on paper 5 3/4 x 4 1/4 inches editioned and titled lower left: 11/50 Corn Dance Maiden signed lower right: Gene Kloss N.A. Provenance Private Collection, TX $800 - $1,000

200 Gene Kloss (1903-1996)

Indian Dance

etching and dry point on paper 8 1/4 x 11 3/4 inches signed lower right: Gene Kloss Provenance: Private Collection, NJ $800 - $1,000 201 Gene Kloss (1903-1996) Jesterâ&#x20AC;&#x2122;s Fun, 23/75

etching and drypoint on paper 7 3/8 x 8 7/8 inches editioned and titled lower left: 23/75 Jesterâ&#x20AC;&#x2122;s Fun signed lower right: Gene Kloss Provenance: Private Collection, AZ $800 - $1,000

202 Gene Kloss (1903-1996) Processional - Taos

etching and drypoint on paper 9 3/4 x 13 3/4 inches signed lower right: Gene Kloss titled lower left: Processional - Taos Provenance: Private Collection, MO $2,000 - $3,000 203 Gene Kloss (1903-1996) Across the Campus

etching and drypoint on paper 6 3/4 x 4 7/8 inches titled lower left: Across the Campus signed lower right: Gene Kloss Provenance: Private Collection, AZ $800 - $1,000

204 Gene Kloss (1903-1996) Noonday Shadows, 1941

etching and drypoint on paper 6 7/8 x 8 3/8 inches inscribed and titled lower left: II Noonday Shadows signed and dated lower right: Gene Kloss lrp / 1941 inscribed lower center of matte: Gene Kloss (1903-1996) Etching, 1941, Ed. 75 â&#x20AC;&#x153;Noonday Shadowsâ&#x20AC;? Provenance: Private Collection, AZ $2,000 - $3,000

205 Gene Kloss (1903-1996) Reflection, 49/50

etching and dry point on paper 13 3/4 x 10 7/8 inches editioned and titled lower left: 49/50 Reflection signed lower right: Gene Kloss N.A. Provenance: $800 - $1,000

206 Gene Kloss (1903-1996) Pueblo Leader, 36/50

etching and dry point on paper 13 7/8 x 10 7/8 inches editioned and titled lower left: 36/50 Pueblo Leader signed lower right: Gene Kloss N.A. Provenance: $1,000 - $2,000

207 Gene Kloss (1903-1996) The Rio Grande at Embudo, 62/75

etching and drypoint on paper 7 3/8 x 9 7/8 inches editioned and titled lower left: 62/75 The Rio Grande at Embudo signed lower right: Gene Kloss Provenance: Private Collection, AZ $1,500 - $2,500

208 Gene Kloss (1903-1996) All Soulâ&#x20AC;&#x2122;s Day Gifts

etching and drypoint on paper 13 3/4 x 9 3/4 inches signed lower right: Gene Kloss titled lower left: All Soulâ&#x20AC;&#x2122;s Day Gifts Provenance: Private Collection, NJ $800 - $1,000

209 Gene Kloss (1903-1996) The Journey, 20/50

etching and drypoint on paper 10 x 5 7/8 inches editioned and titled lower left: 20/50 The Journey signed lower right: Gene Kloss N.A. Provenance: Private Collection, AZ $800 - $1,000

210 Gene Kloss (1903-1996) The Wheat Field, 1943

etching and drypoint on paper 7 3/4 x 10 7/8 inches titled and editioned lower left: The Wheat Field / Artist’s Proof signed and dated lower right: Gene Kloss / 1943 Provenance: Private Collection, AZ $1,500 - $2,500

211 Gene Kloss (1903-1996)

War’s End

etching and drypoint on paper 9 1/4 x 7 7/8 inches titled and inscribed along bottom: War’s End - Trial proof of bitten line over original drypoint to guide for drypoint to follow 2 proofs pulled Provenance: Private Collection, AZ $500 - $800

212 Gene Kloss (1903-1996) Clouds at Sunset

etching and dry point on paper 8 7/8 x 13 3/4 inches signed lower right: Gene Kloss Provenance: Private Collection, NJ $1000 - $2,000

213 Gene Kloss (1903-1996) January Morning, 22/75

etching and drypoint on paper 7 3/8 x 8 7/8 inches editioned and titled lower left: 22/75 January Morning signed lower right: Gene Kloss N.A. numbered lower right: BB-1039 Provenance: Private Collection, AZ $2,000 - $3,000 214 Gene Kloss (1903-1996) The Adobe Makers, 47/50

etching and drypoint on paper 4 7/8 x 9 7/8 inches editioned and titled lower left: 47/50 The Adobe Makers signed lower right: Gene Kloss Provenance: Private Collection, AZ $1,000 - $2,000 215 Gene Kloss (1903-1996) You Can Lead a Horse to Water, 6/50

etching and drypoint on paper 5 7/8 x 8 7/8 inches editioned and titled lower left: 6/50 â&#x20AC;&#x153;You Can Lead a Horse to Waterâ&#x20AC;? signed lower right: Gene Kloss Provenance: Private Collection, AZ $800 - $1,000

216 Willard Nash (1898-1942)

Landscape

etching 7 x 11 1/2 inches inscribed lower left: 9 prints signed lower right: Willard Nash imp initialed in image: WN Provenance: Private Collection, NJ $800 - $1,000 217 Doel Reed (1895-1985) Women Gathering Apples, 7/25

print 11 3/4 x 17 3/8 inches editioned lower left: 7/25 signed lower right: Doel Reed, n.a. Provenance: Private Collection, AZ $1,200 - $1,500

218 John Sloan (1871 - 1951) Hombres in the Sun

etching on paper 5 3/4 x 4 7/8 inches inscribed and editioned lower left: - John Sloan - 37 / 100 proof signed lower right: John Sloan Provenance: Private Collection, NM $800 - $1,000

219 R andall Davy (1887 - 1964) M Paddock Hialeah, 19/30

lithograph on paper 13 5/8 x 9 3/4 inches editioned lower left: 19/30 titled lower center: M Paddock-Hialeah signed lower right: Randall Davey Provenance: Private Collection, NM $500 - $700 220 Barbar a Latham (1896 - 1989)

Indians with Horse

woodblock print 5 7/8 x 8 5/8 inches signed lower right: Barbara Latham inscribed on matte: Barbara Latham (1896-1989) woodblock “Indians with Horse” Provenance: Private Collection, AZ $400 - $600 221 Agnes Tait (1894 - 1981)

Nousho Child

lithograph 9 1/4 x 11 1/4 inches signed lower right: Agnes Tait inscribed lower center of matte: Agnes Tait (1894-1981) Lithograph “Nousho Child” Provenance: Private Collection, AZ $400 - $600

222 Celso Gallegos (1864 - 1943) Our Lady of Guadalupe

wood 14 7/8 x 4 x 3/4 inches signed and titled verso: Celso gallegos / Our Lady of Guadalupe Provenance: Estate, NY $1,500 - $2,500

223 Attribuited to

Jose Ar agon (1795 - 1862) Retablo of Woman, ca. 1820

wood and paint 10 1/2 x 6 3/4 x 3/4 inches inscribed verso: NEW MEXICO SPANISH COLONIAL / CA 1820 Provenance: Estate, NY $1,000 - $2,000

224 Maria Martinez (1887-1980) Set of Two Cups and a Plate

ceramic 1 x 6 x 6 inches (plate); 1 x 2 x 2 inches (cups) signed on bottom (plate): Maria & Santana Provenance: Private Collection, NM $1,500 - $2,500

225 Ger ald Nailor (1917-1952) Untitled (Paint Horse with White Colt), 1951

gouache on paper 13 5/8 x12 1/4 inches signed and dated lower right: Gerald Nailor / â&#x20AC;&#x2DC;51 Provenance: Private Collection, NY $2,000 - $3,000

226 Ger ald Nailor (1917-1952) Untitled (Three Horses), 1937

gouache on paper 13 3/8 x 11 1/8 inches signed and dated lower right: Gerald Nailor / â&#x20AC;&#x2DC;37 Provenance: Private Collection, NY $2,000 - $3,000

x 227

Alfonso Roybal (1895 - 1955)

Indian on Horseback

watercolor on paper 10 5/8 x 13 5/8 inches inscribed lower left: The Chief going to the / feast Maybe in Santa Fe Provenance: Estate, NY $2,000 - $3,000

228 John W. Nieto (b. 1936) Apache Mountain Spirit Dancer, 1983

oil on canvas 60 x 48 inches signed lower center: nieto Provenance: Private Collection, NM $8,000 - $10,000

229 Paul McMillan (b.1954) Indian Morning, 1989

oil on canvas mounted on board 11 x 13 7/8 inches signed and dated lower right: Paul Mc Millan / © 89 (with artist cipher) titled, signed and dated verso: “Indian Morning” / Paul Mc Millan 1989 / TAOS NEW MEXICO Provenance: Private Collection, CT $2,000 - $3,000

230 Dan Namingha (b. 1950)

Untitled

mixed media 31 x 26 x 16 3/4 inches signed lower center: Namingha Provenance: Private Collection, WY $2,000 - $3,000

231 Luigi K asimir (1881 - 1962)

Untitled

colored etching on paper 12 x 10 inches signed lower center: Lugi Kasimir inscribed lower right: SANTA . FE N.M. Provenance: Private Collection, NJ $800 - 1,000

232 Gene Kloss (1903-1996) A By-Gone Day in Santa Fe, 9/15 2nd State, 1969

etching and dry point on paper 8 7/8 x 12 inches editioned and titled lower left: 9/15 2nd State A Bygone Day in Santa Fe signed lower right: Gene Kloss WA Provenance: Private Collection, NM $1,500 - $2,500

233 William Lumpkins (1908-2000)

Untitled Landscape

watercolor on paper 20 3/8 x 28 7/8 inches signed and dated lower left: WL / 69 Provenance: Private Collection, NM $2,000 - $3,000

234 Ford Ruthling Winter, Santa Fe, 1969

oil on canvas 24 x 30 inches signed and dated lower right: Ford Ruthling / â&#x20AC;&#x2DC;69 Provenance: Private Collection, NM $2,000 - $4,000

INDEX

Adams, Kenneth M. Purple Zinnias, 60 Still Life with Flowers, 64 Adams, Charles Partridge The Colorado Rockies, 121 Afsary, Cyrus Desert Sunset, 108 Winter Pond, 109 American School (after C.B. King), Amiskquew, Menominee War Chief, 179 Eshtahumbah, Sioux Warrior, 180 Attributed to Frank Tenney Johnson, Riding Hard with Two Shooters, 181 Attributed to Jose Rafael Aragon, Retablo of Woman, 223 Bakos, Jozef G. Landscape, 87 Untitled, 86 Barrett, Study for Stone Sculpture, 1/1 , 2 Baskin, Leonard A Cheyenne Woman in the Robes of a Secret At the Bureau, 58/100, 4 Society, 58/100, 12 Baumann, Gustave Oval Still Life, Zinnias, 63 Berninghaus, Oscar E. Horses Hitched, 168 Indian in White Robe, 167 Sage Brush in Bloom, 98 Twilight Taos Pueblo, 74 Bisttram, Emil Autumn Symphony, 94 Cimaron Canyon Cliffs, 93 Black, LaVerne Nelson Christmas Gathering, 154 Blumenschein, Ernest L. Evergreen, 79 Borein, Edward Bucking Horse, 136 Emigrant Train, 142 Four Horseman No. 1, 143 Navajo Visitors at Oraibi, 144 Pack Outfit, 145 Brach, Paul Manifest Destiny, 30 Brewer, Linda Blue Burro, 13 Cassidy, Gerald Untitled, 89 Churchill Jr., William Anthropology, 32 Clymer, Albert Two Riders, 44

Coffin, Doug Buffalo Skull, 39 Collins, Charles When Ambassadors Meet in Washington, 5 Cook, Howard Pachita, 80 Couse, Eanger I. By the Stream, 66 Indian by Stream, 69 Sunset, 62 Cunningham, Cecil Totem Poles, 196 Totem Poles and Canoes, 195 Curtis, Leland Grand Tetons, 115 Daughters, Robert Untitled, 90 Davey, Randall M Paddock Hialeah, 19/30, 219 Portrait of Isabel in Pink Blouse, 188 De Young, Joe Grizzley Mountain from Two Medicine Lake, 96 deDecker, Thomas Lilies and Flowers, 118 Delano, Gerard Curtis Desert Sky, 120 Duecker, Otto Standing Man with Cigarette, 46 Duesberry, Joellyn Grey Cliffs Near Chama River, 189 Haystacks at Ghost Ranch, 191 Pasture in Autumn Near Velvarde, 190 Eggenhofer, Nick Navajo, 137 Ellis, Fremont October Afternoon, 95 Winter Haze Santa Fe Canyon, 88 Eubanks, Tony Sortin the Hiefers, 125 Fechin, Nicolai Large Pilgrim, 21/21, 178 Small Pilgrim, 7/21, 177 Untitled, 176 Fields, Anita Untitled, 16 Fleck, Joseph Thunderstorm over Pasture, 84 Gallegos, Celso Our Lady of Guadalupe, 222 Gaspard, Leon Mongolian Girl with a Sled and White Horses, 75 Mother, Baby and Two Children, Tunis, 61 Untitled (Horse), 81

INDEX

Gibberd, Eric Hard Traveling, 82 Taos Valley, 73 Gollings, William Untitled, 170 Gonske, Walt Afternoon Shadows, 107 Rinconada Cottonwoods, 42 Goodacre, Glenna Water Carriers, 2/99, 50 Grelle, Martin Autumn, 148 Thoughts of April, 165 Halbach, David Mormon Pioneers Send Father and Son Ahead in Monument Valley with Blanket to Signal at Fort, 116 Harvey, G. Morning Chores, 175 Riders from the Renderbrook Spade Ranch, 147 Spring Branding and Hot Irons, 163 Texas Autumn, 164 Waiting at the Catchpens, 149 Winter Haze, 101 Hauser, John Game Ahead, 97 Hennings, E. Martin Entrance to the Rio Hondo, 157 An Indian Song, 158 Hoffman, Frank Deer in Field, 77 Fox, 78 Scout and Horse in Mountains, 76 Hulings, Clark Friday Morning Market at Bonnieux, 126 Lapland, 117 The Gift, 123 Hurd, Peter New Mexico Landscape, 68 Hurley, Wilson Untitled, 186 Imhof, Joseph Trees in Forestscape, 67 Jemison, Dick Recollection III, 1 Johnson, Frank Tenney Eventide, 156 Kasimir, Luigi Untitled, 231 Killgore, Charles Mexican Scene, 59 Kloss, Gene A By-Gone Day in Santa Fe, 9/15 2nd State, 232 Across the Campus, 203 All Soul’s Day Gifts, 208

Kloss, Gene Corn Dance Maiden, 11/50, 199 Clouds at Sunset, 212 Indian Dance, 200 January Morning, 22/75, 213 Jester’s Fun, 23/75, 201 Noonday Shadows, 204 Processional - Taos, 202 Pueblo Leader, 36/50, 206 Reflection, 49/50, 205 Rio Grande Gorge, 198 The Adobe Makers, 47/50, 214 The Journey, 20/50, 209 The Rio Grande at Embudo, 62/75, 207 The Wheat Field, 210 War’s End, 211 You Can Lead a Horse to Water, 6/50, 215 Koerner, William H.D. Are You Calling Me a Liar?, 151 Early Marriage, 153 Traders and Their Raft, 152 Lambert, V.A. Indian in Firelight, 8 Larsen, Mike A Time Remembered, 20 Latham, Barbara Indians with Horse, 220 Laurence, Geoffrey Visions of Cody, 7 Lee, Lawrence Indian with Parrot, 47 Lee, Siu Ho The Painting Collection, 53 Leigh, William R. Three Riders Resting, 169 Leone, John Traveling Light, 113 Untitled, 114 Loretto, Estella Flute Player, 38 Lumpkins, William Untitled Landscape, 233 Lundeen, George The Spirit of the West, 62/500, 45 Macaione, Thomas Untitled, 187 Marin, John New Mexico Landscape, 185 Martinez, Maria Untitled (Set of Two Cups and a Plate), 224 McGary, Dave American Horse, 19/50, 124 Rain in the Face, 35/50, 104 Short Bull, 15/75, 140 Strikes with Thunder, 78/100, 103

INDEX

McMillan, Paul Indian Morning, 229 Millar, Marianne Wolf Robe, 19 Moran, Thomas Castle Geyser & Beautiful Spring, Upper Geyser Basin, 183D Grand Canyon of Arizona from Hermit Rim Road, 182 Great Blue Spring, Lower Geyser Basin, 183B Grand Canyon of the Yellowstone River, 183C Pink Terraces, Mammoth Hot Springs Gardiner’s River, 183A Morang, Alfred Autumn in the Park, 192 Church, Northern New Mexico, 193 Motley, Michael Navajo Portrait, 41 Nailor, Gerald Untitled (Paint Horse with White Colt), 225 Untitled (Three Horses), 226 Namingha, Dan Untitled, 230 Nash, Willard Landscape, 216 Naumer, Helmuth Houses and Mesa, Pecos, N.M., 72 Untitled, 85 Niblett, Gary Day’s End, 166 Nieto, John W. Apache Mountain Spirit Dancer, 228 Nordfeldt, BJO Landscape, 65 O’Keeffe, Georgia Georgia O’Keeffe Drawings, 126/250, 184 Otte, William Louis Coastal Scene, 57 Palmore, Tom Rabbit Looking at Mountain Landscape, 52 Payne, Edgar Alwin Summer Cloud, 155 Pelton, Agnes Smoke Tree in the Desert (Desert Willow in Spring), 105 Phillips, Bert G. Blue Lake, 71 Portrait of Mexican Girl, 70 Pletka, Paul Untitled, 3/150, 31 Pummill, Robert Early November, 122

Red Star, Kevin Hot Foot/Spotted Horse, 26 Reed, Doel New Mexico Landscape, 83 Women Gathering Apples, 7/25, 217 Reedy, Leonard H. The Cow Puncher, 174 Untitled,172 Untitled, 173 U.S. Calvary Pursuing Apaches, 171 Remington, Frederic A Mounted Infantryman, 138 Antelope Hunting, 146A Book of Drawings, 2/250, 130 Goose Shooting, 146B Old Ramon, 132 The Calvary Officer, 131 The Cheyenne Buck, 133 The Half Breed, 129 The Scout, 128 Richmond, Larry Untitled, 6 Rippel, Morris Tobblers Ranch, 99 Rivera, Elias Tarahumara Twilight, 34 Rogers, D.S. High Tailin, 1/30, 134 Tsa · Gaboa · Lao · Ga Hopi Pot Maker, 7/30, 135 Rolshoven, Julius Sotto Marina, 58 Roybal, Alfonso Indian on Horseback, 227 Russell, Charles M. Indians on Horseback, 150 Roping a Calf, 139 White Man’s Burden, 141 Ruthling, Ford Blue Black and White Butterfly on Yellow Branch, 194 Cows Have an Inner Light, 22 Winter, Santa Fe, 234 Sanchez, Russell Untitled Pot, 11 Sandzen, Birger Flagstaff, 160 Hidden Lake, 159 Kansas Creek, 161 Pines by the Lake, 162 Sauerwein, Frank P. Untitled, 119 Schively, Frank Horse Man, 23 To Hear the Oldest Songs, 24

INDEX

Scholder, Fritz Standing Indian, 197 Sharp, J. H. Taos Ca単on, 92 Taos Valley, 91 Skol, Greg Aspens Shimmering, 51 Santa Fe Landscape, 54 Skynear, Natalie Mr. Mother, 29 Sloan, John Hombres in the Sun, 218 Landscape, Santa Fe, 56 Stanley, Helen Kiva, 40 Swanson, Ray Night Ride, 106 Tait, Agnes Nousho Child, 221 Tarbell, Tammy Nine Women with Beaded Necklaces, 27 Tenorio, Robert Water Jar, 9 Terpning, Howard Advance of the Long Knives, 127 Tobias, Bunny Untitled, 21 Tobin, Steve Pepper Shoe, 36 Turk, Rudy Untitled, 28 Unknown, Untitled, 3 Unknown, Untitled Pot, 10 Unknown, Untitled, 17 Unknown, Wooden Horse, 25 Van Ginkel, Paul Warrior Child, 49 Villalobos, Steve Masked Raven, 37 Von Hassler, Carl Indian Pueblo, 55 Warren, Melvin C. Untitled, 102 White, Randy Lee Paper Shirt, 33 Whitney, Carol Beloved, 43 Wilce, Roy Spring Run-Off (Triptych), 35

Wolfe, Wayne Taos Mountain, 100 Worrell, Bill Masked Cape Shaman, 4/50, 18 Yazzie, Peterson Moonlight Beauty, 14 Moonlight Beauty II, 15 Yazzie, Nora (Nanezbah) Untitled, 48 Young, Ned A Grassy Clearing , 110 A Winter Day, 111 Untitled, 112

NOTES

 ABSENTEE Registration  TELEPHONE Registration Telephone bidders are encouraged to leave safety bids in case of technical difficulties.

Please mail or FAX to (505) 954-5785 by 10am MST November 17, 2012

NAME ______________________________________________________________________ Street Address (NO P.O. Boxes)____________________________________________ _____________________________________________________________________________ City _____________________________________ State___________Zip______________ Phone (

)________________________ Alt. Phone (

)_________________________

 Art to be shipped  Art to be picked up Bank Reference:___________________________________________________________ I have received either in print or electronically and read and agree to SFAA’s Terms and Conditions and acknowledge I am bound by them. The Terms and Conditions are published on SFAA’s website and in its catalogues. I authorize SFAA, in its discretion, to check and obtain my credit references. Signature:_____________________________________________________________________________

Lot Number

Top Limit of Absentee or Safety Bid not including Artist & Title the buyer’s premium and any sales tax that may be owing. (Bid is per lot as listed in the catalog)

____________________________________________$_________________________ ____________________________________________$_________________________ ____________________________________________$_________________________ ____________________________________________$_________________________ ____________________________________________$_________________________ ____________________________________________$_________________________ ____________________________________________$_________________________ ____________________________________________$_________________________ ____________________________________________$_________________________ ____________________________________________$_________________________ ____________________________________________$_________________________ ____________________________________________$_________________________ ____________________________________________$_________________________ ____________________________________________$_________________________ ____________________________________________$_________________________ ____________________________________________$_________________________ ____________________________________________$_________________________

Important Please see Guide for Telephone Bidding in the front of this catalogue. I wish to place the following bids for this sale to be held on November 17, 2012. These bids are to be executed by the Santa Fe Art Auction up to but not exceeding the amount or amounts specified below. I understand that in order to place telephone bids I must complete and return this form, but that I need not specify the top limit of bid below. I further understand that each bid is per lot, as indicated, and all bids will be executed and accepted subject to the Terms and Conditions of Sale and the Guide for Absentee Bidding printed in this catalogue. I understand that a buyer’s premium in the amount stated in paragraph 3 of the Terms and Conditions of Sale, together with all applicable taxes, will be added to the gavel price as part of the total purchase price. Arranging Payment In order to avoid delays in receiving purchases, buyers are requested to make payment arrangements or supply credit references in advance of the sale date. Purchases cannot leave our premises until checks have been cleared. All payment will be cash, check, Visa, MasterCard or wire transfer. Note Please note that the execution of written and telephone bids is offered as an additional service for no extra charge, and at the bidder’s risk. It is undertaken subject to Santa Fe Art Auction’s other commitments at the time of the auction. Santa Fe Art Auction therefore cannot accept liability for failure to place such bids, whether through negligence or otherwise.

Saturday, November 17th from 1:30PM to 5:30pm MST Santa Fe Convention Center | 201 West Marcy Street, Santa Fe Presented by Gerald Peters Gallery ©