American Indian & Ethnographic Art Auction

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WILLIS HENRY AUCTIONS

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WILLIS HENRY AUCTIONS

Karel & Willis Henry 22 Main St Marshfield, MA 02050 781-834-7774 wha@willishenry.com

www.willishenryauctions.com

AMERICAN INDIAN & ETHNOGRAPHIC ART AUCTION SUNDAY, MAY 26, 2013

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WILLIS HENRY AUCTIONS AMERICAN INDIAN AND ETHNOGRAPHIC ART AUCTION Holiday Inn, Rockland, MA (Exit 14) Hotel phone number: 781-871-0545

Sunday, May 26, 2013 at 11 am Preview: Saturday, 12-5 pm; Sunday morning, 9-11 am www.willishenryauctions.com 781-834-7774

wha@willishenry.com

Antiques and Estates appraised, purchased or sold on consignment 22 Main Street, Marshfield, Massachusetts 02050, 781-834-7774, Fax 781-826-3520 Karel & Willis Henry

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Roland E. Engstrom (1913-1984) began to collect Indian relics in the 1920’s. He surface hunted for stone artifacts in the recently plowed fields here on the South Shore. Later, he participated in organized digs under the direction of the Massachusetts Archaeological Society. The relics listed from Lots 1 through 26 are items from his collection.

1 FRAME OF 41 RELICS Forty-one stone relics in a frame, including large knives, drills, points, (ex. Pierce collection, Plymouth, MA).

5 BONE RELICS Framed arrowheads, long bead (2 1/4” l), awls and harpoon, dug by Don and Ruth Veira, at O.D. Site, Kingston, MA.

6 ADENA CLUB Found in Duxbury, MA, in 1957, 4 1/2” l, 2” w.

2 STONE WORKED DISH Rare, and possibly unique, stone worked rectangular dish, found on Monk’s Hill, Plymouth, MA, 1 1/4” h, 7” l, 3 1/2” w.

7 SIX PLUMMETS Found at Bay Farm and Bay Road, Duxbury, MA, (ex. Ford collection).

3 SEVEN DRILLS Frame of seven drills, crescentshape base, O.D. Site, Kingston, MA.

4 SALTWATER PLUMMET “Saltwater plummet, found at Rocky Nook by William Pierce, bought at Janet Smith auction, 8/16/77” on a white tag, 6 1/2” l, 2 3/4” dia.

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8 AXE Large axe, old paper label typed “Axe found 1916 at corner of Marion and Hatherly Rds. Scituate, Mass. By Chas. Brown About one foot deep found while breaking ground.”, “Scituate, MA” in white ink, 8 7/8” x 4 7/8”.

9 MAUL Large maul, full grooved, with white paper label in blue ink “Large Indian Maul found off the Main Street, Duxbury Mass. bought

by Engstrom March 28, 1980 from Don Scothorne, Norwell.”, old patina, 5” x 5”.

12 GOUGE/ADZ Double grooved ends, labeled “Adze found Jan 25, 1963 East Head Reservoir, Carver (MA) 14” in yellow”, 8 1/2” x 2 1/2”.

13 ABRADER STONE Full deep groove on three edges, and 10-12 full-length striations on top and bottom faces, labeled with blue ink “Richardson coll.

Lonsdale, R.I.”, old patina, rare form, 3 1/2” x 2 1/4” x 1 1/4”.

10 RARE GOUGE/ADZ Very old handwritten script presentation label in brown ink attached “Presented to B. Kingman, ...Feb. 15, 1861 - Indian Gouge from Hingham”, (Note: possibly Bradford Kingman, who published the History of the Town of North Bridgewater in 1866), Hingham, MA, great patinated finish, 7 1/4” l, 2 1/2” w.

14 MORTAR Incised sun over “July 10, 1901” - “R.C.B.”, flanked by an anchor and cross, “South Yarmouth, Mass.” in white ink, old patina, 8” x 6 1/2” x 3”.

11 BANNERSTONE Finely drilled and polished, paper label attached “Sept 2, 74, Bannerstone from Foxboro collection”, 2 1/2” x 2”.

15 PESTLE White label in blue ink “Large Pestle, 19” Long, Trennel Collection, Attleboro, Peterson Collection, Natick bought 1976 by Bill Taylor of Middleboro, bought 1977 by R. Engstrom, Attleboro, Ma.”, 3” base dia.

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16 SEMILUNA Rare form, drilled, “Semiluna knife from Cliff Morris Coll., found at Sampson’s Pond Carver (MA) 1938, off Rt 58 So. Carver Mass.”, “Sold Nov 10, 1977 to R. Engstrom”, in a white box, cracked and glued, thin construction, slate, 6” x 3 1/4”.

17 PESTLE Stemmed, found in Middleboro, MA, 4 1/2” x 3”.

18 AXE Full grooved, bell-shaped poll, polished striated stone, labeled “Easton, Mass.”, 7” l, 3” w.

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19 TOMAHAWK Iron, hand-forged, white label “Indian tomahawk from the Barton Coll. Attleboro, 16-74.”, Attleboro, MA, 8 1/8” l, 1 1/2” w.

20 FOUR STONE PIPES Dark red/brown soapstone, fins on top and bottom, scratch carved petroglyphs, “Found by Don Scothorne”, Tiverton, RI, (old nick out of bowl), 1 7/8”; an unfinished chlorite platform pipe, “Pipe from Oaklawn, R.I.” in white, 1 3/8”; a platform soapstone pipe, drill decorated chimney-syle bowl, also drilled end of stem, (repaired), labeled “Hancock Co - Ga.”, 2 1/2” h, 5” l; white soapstone platform pipe with crude carved paw on end of stem, labeled “soapstone pipe, paw platform 224, Eskimo, Lantagne Coll.”, 4 1/2”.

21 EIGHT HARPOON POINTS, ANTLER AND BONE Framed, from Columbia River, Oregon, labeled “Genuine Calapooya Indian Artifact, A.H. Bray 2155 Monroe, Eugene, Oregon, 97405” and “Oct. 5, 1974 bought at Greenfield, N.H.”.

22 EXTREMELY FINE TROPHY AXE Mica flecked granite with double-sided grooved base and rounded poll, labeled “Trophy axe, Haggerstown Maryland bought by Arthur Barton, Attleboro, Mass.”, 8 1/2” l.

24 SEVEN KNIVES AND POINTS Framed knives and points, including 7 1/2” Ohio fluted point, Wayne Co., TN, (ex. Parker); 6” red stone fluted point, Stone Co., MO; 3 1/2” fluted point, Vernon Co., MO; 2 3/4” point from Aqua Plains, Brown Co., MN; and a 1 1/2” Folsom point, Lee Co., NM.

25 GORGET PENDANT Reddish-brown polished stone, anchor shaped, flat back, three drilled holes, white label “Logan Co Ohio Gorget anchor Pendant”, old patina, 3 1/2” l.

26 FRAMED BONE TOOLS Ten bone tools, awls and pointed pieces, one drilled piece labeled “9/11/40 ac., Craig Collection, Phila, Pa”, 3 1/2” l; and another awl labeled “Cliff Dwellers, S.H. Col.” in early script, 5” l.

23 RARE TROPHY AXE Polished green stone, double-sided three-finger grooved head, typed label “Geo. Sholtz farm, Merrill, Wisc., 1931”, 8” l.

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27 MIMBRES POTTERY BOWL Large Mimbres pottery bowl, depicting two powerful animalistic forms with crosshatched, beaver-like paddle tails, three front legs, horns, circular eyes, rows of teeth, inside a border with a lightning like sawtooth framework connected with characteristic multiple paralleled lines, all outlined in black, some small damage at one portion of rim, retains an older gold “Sotheby’s” sales tag, Lot “9” in ink in a round circle, 6 1/2 - 7” h, largest diameter is 14 1/2”, (ex. estate of Stefan Brecht, NY).

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28 MIMBRES POTTERY BOWL Mimbres pottery bowl depicting a fish (approximately 5” l) at the bottom, circular round eye, open mouth, a series of white horizontal triangles representing scales, large black tail and black fins, retains an older gold “Sotheby’s” sales tag, Lot “23” in a pink circular sticker, 5” h, 11” dia, (ex. estate of Stefan Brecht, NY).

29 MIMBRES POTTERY BOWL Mimbres pottery bowl depicting a bee (4 1/2” l) with black head, circular white eye, highly curled antenna, long double proboscis, large light tan body with parallel lines, paralleled brown lines around inside top of rim, retains an older gold “Sotheby’s” sales tag, Lot “12” in a white circular sticker, 3” h, 6 3/4” dia, (ex. estate of Stefan Brecht, NY).

30 MIMBRES POTTERY BOWL Mimbres pottery bowl depicting a small bee (2” l) with a striped brownish/ black and white body, two antenna, three legs, five small stripes above two larger brown stripes circle the inside of the rim, retains an older gold “Sotheby’s” sales tag, Lot “14” in a white circular sticker, 3” h, 7 1/2” dia, (ex. estate of Stefan Brecht, NY).

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31 TWO ANASAZI POTTERY PIECES Globular jar with flattened handle attached to neck and body, overall geometric designs, black on cream white, top edge repaired, 8” h, 7” dia; Globular-shaped canteen, overall geometric designs of black on buff cream background, spout and hanging nodules are replaced, 6” h, 6” dia.

32 BIRDSTONE Polished green flecked hardstone, two drilled wedge-shaped areas underneath, fan-shaped tail, good condition, 3 1/2” overall l, 1 1/2” w.

33 BIRD EFFIGY PIPE Reddish/brown stone, labeled underneath “B152, mound find”, crested shaped head with small drilled eyes, old patinated finish, 2 1/2” h, 4 1/4” l.

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34 THREE PLUMMETS Grooved and shaped redstone, lightly pitted, labeled “1430, Clark Co, Mo.”, 2 1/2” l; Grooved quartz, flattened on two sides, cracking but very stable, 2 1/2” l; Polished red hardstone, finely shaped, drilled at the flattened top, 3” l.

35 BOATSTONE Polished green mottled hardstone, hollowed with tapering side walls, angled flattened ends, two drilled holes towards either end, cracked and repaired on one end at the drill hole, 1 1/2” h, 4” l.

36 BEADS AND PENDANTS Shell beaded necklace (13” l) and bracelet; and 32 unstrung beads and two pendants carved from clam shell, (Note: necklace tagged “367, Fore Co, Okla”).

37 TWO STONE BEADS AND A PENDANT Disc-shaped red stone bead or pendant (2” dia), decorated with geometric incised lines; Polished light colored stone bead, 1/2 oblong shape, 1” h, 1 1/4” dia; Triangular flat gray stone pendant, with notches along the sides and geometric incised lines, 2 1/4” l.

39 MORTAR, HAMMERSTONE AND CHILD’S POT Pink sandstone mortar, 6” l; Round hammerstone (possibly a game stone), indented in middle on both flattened sides, marked “Fulton, Ga”, 2 1/2” dia; Small prehistoric child’s pot, shaped side handles, incised decoration, marked “St. Clair Co., Ill.”, 2 1/2” h, 3” dia.

40 HISTORIC AND PREHISTORIC MATERIAL Collection includes three saber tooth tiger teeth (one is petrified); partial boar’s tooth; dog tooth and shell necklace; bone and copper awls (marked “Talladega Co., Ala”); pendants; gouges; bone fish hook; polished bone pendant; pottery shards; redstone pipe (marked “Schuyler Co., Ill”); flint thunderbird and polished stone pipe with butterfly on stem, 5” l; and more polished stones, etc.

38 FETISH AND FISH HOOKS Light blue flint stone turtle fetish, 2 3/4” l; and two flint fish hooks, one in the shape of an arrow, 2 1/4” and 2” l.

41 WHALE’S TOOTH With dyed and woven basketry cover in red, yellow and dark purple, Northwest Coast, 4” l.

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42 BONE PIPE Northwest Coast, probably Haida or Tsimshian, in the form of a totemic animal (possibly bear’s head) forming the pipe bowl, prominent rows of teeth, enlarged and pointed oval eye rims carved in shallow relief, slight projecting forehead and carved nostrils, elongated body forming the stem of the pipe, flattened mouthpiece, rich aged patina, especially on the pipe bowl, 2” h (at the bowl), 9 1/4” l.

44 DANCE PADDLE Northwest Coast, cedar, totemic animal carved in relief with claws and single eye, painted in black on opposite side, 26 1/2” l, [Note: from the John P. Richardson, Old Fort House collection, “...found hanging in the Captain Barnabus Lincoln house, Lincoln St...” (Hingham, Mass.)].

45 ESKIMO FISHING LINE, LURE AND HOOK Braided plant material, approximately 21’ long, sinew wrapped on a pine holder with forked ends (one tine missing), 17” l; Carved bone lure with forged metal hook, wrapped in skin (seal?); (Note: from the John P. Richardson collection, “Eskimo hand line from collection in the old (1879) Hingham Public Library. Probably part of Thomas Bouve Collection... Old Fort House, Hingham.”); (ex. John P. Richardson collection).

43 EARLY BONE KNIFE Northwest Coast, hilt and partial blade, possibly Haida, carved raven’s head, hammered copper wrap at beginning of blade, finely mounted with wood and secured with an ivory pin, 5 1/2” l (head), 13 1/2” l (overall).

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46 TWO NW COAST HARPOON HEADS Bone and ivory, one with hand-hammered copper blade, tagged “...

Bone arrow tip acquired from Cheever Cressy...He acquired it from President Sills of Bowdoin College...from a collection of Eskimo artifacts brought back by Noted Arctic explorer Donald MacMillan whose ship was named the Bowdoin...” JP Richardson, 10 1/2” overall l; and an early walrus tusk harpoon head with steel point (old patina), still sharp, tagged “brought back to President Sills of Bowdoin College probably in 1930’s by...Donald MacMillan...” JP Richardson collection, 5” overall l.

47 ESKIMO KAYAK MODELS Darkened seal skin covered wood frame, with carved seated wood figure, hand sewn skin trimmed in ivory, 14” l; and another lighter seal skin covered ivory slatted frame, hand sewn with a small carved wood figure with tag “Given to me by E. (Elizabeth) Coatesworth Beston. She said that it was made by Henry Beston while he spent the year at the Outermost House, Cape Cod. John P. Richardson”, (Note: the kayak appears to be Eskimo made, trimmed in ivory around the cock pit and displaying a miniature whale’s tooth carved in bone; and the wooden doll with painted face and movable arms was made by Henry Beston, the author); (ex. John P. Richardson collection).

48 ESKIMO KAYAK MODEL Dark skin covered wooden frame, tipped with ivory on the ends, ivory runners, many ivory pieces attached with sinew to the top of the kayak, carved harpoons, carved wooden faux seal bladder float, carved wooden figure with arms extended, 26” l; (Note: includes pine covered mailing box from John S. Rosa, U.S.C.G. A.P.O. 859, to Blanche Rosa...Lawrence Mass. postmarked Feb 5, 1944, along with a typed certification paper that describes the kayak as a gift and is free from duty, and two pencil drawings on paper of totem poles).

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49 TWO ESKIMO LIDDED BASKETS Round with faded weavers in purple, black and green, geometric diamonds, 5 1/2” h, 9” dia; Globular-shaped finely woven basket in faded purple, black and green, geometric crosses, lid with woven finial, 9” h, 9” dia; both in excellent condition; (Note: interior paper inside “Rochester Museum of Science Center, Age, About 100 yrs. Closes perfect, Alaska”).

51 BASKETRY BOWL Central California basketry bowl, “Yana”, hazel or willow, bear grass, maidenhair fern, 4 1/2” h, 6 1/2” dia.

52 CASCADES REGION BASKET Klikitat imbricated designed basket, looped rim, slightly flared sides, red, white and black cherry bark, triangular zigzag designs, 6 1/2” h, 7” dia at top.

50 TWO NW COAST BASKETS Makah round lidded basketry trinket box, decorated with red whaling boats, original label on bottom “Makah, DA, $1.25”, “ex the Gov. John D. Lowe Estate, Hingham, Massachusetts”, JPR collection, 2 1/4” h, 4” dia; Northern California Yurok oval basket, with openwork rim (some breaks at rim), bear grass and pine root, light and dark geometrics, 3 3/4” h, 8 1/2” l, with tag “the T. Bouve Collection, displayed at the 1879 Hingham Library...”, (ex. John P. Richardson collection).

50A SMALL COOKING POT Redware, flared lip (chipped), four concentric lines around central portion, “Unearthed by J.T. Bouve & Company about 1870”, remnants of a paper label glued to inside lip “Ind...Pot...Found...

Wigwam.”, also index card with history of “The Wigwam, Hingham, Mass.” and the history of the pot, 3 3/4” h, 5” dia, (ex. John P. Richardson collection).

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53 DOLL’S CRADLE BOARD; AND SMALL BURDEN BASKET Central California doll’s cradle board, willow frame and hood, Washo or Paiute, purple and white beaded strips around hood and along the sides, 7 1/2” l, 3 1/4” w; Conical-shaped small twined burden basket, Paiute, willow, central band design and openwork rim rods coiled with peeled willow, 9” h, 5” dia.

54 STORAGE BASKET California twined storage basket, bands of red verticals separated by a dark red central band, flared top, 9” h, 10” dia.

55 BASKETRY BOWL California basketry bowl, stepped geometric design, cotton string woven into the bottom, 4” h, 8” dia.

58 INUIT PRINT 20th c. stonecut print, Inuit, three rats and a fish in a pool, pencil signed “#30 Stone Cut, Rats, 46/50 by Manogak, 1968”, black on white paper, framed, matted and glazed, 17 1/2” x 24 3/4” (sight), (from the James Baird collection).

56 CALIFORNIA BASKETRY BOWL Large basketry bowl, three bands of willow root, openwork crossed willow at upper portion, excellent condition, 4 1/2” h, 15 1/2” dia.

57 INUIT JUGGLER’S PRINT 20th c. stonecut print, Inuit “Women Juggling Stones”, signed “Pitseoluk” (Ashoona), (1904-1983), dated “1968”, and “Printed

by Lukta Qiatsuk”, framed and matted, 8 1/4” x 11 3/4” (sight).

59 ESKIMO FACE Plaster or wood, painted likeness of a happy elderly Eskimo man, outlined in fur and black wool, on a thick card back, signed on back “Nome Al, 1917” (?), 8” h (ex. John P. Richardson collection, Hingham, MA).

60 ESKIMO FISH SPEAR Wood, bone and copper, tied with twined sinew, tag “From collection in old Hingham Library, probably was part of T. Bouve Collection, JPR Old Fort House, Hingham, Mass.”, 22” l; (ex. John P. Richardson collection).

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60A INUIT STONE SCULPTURE Kneeling mother and child, signed in syllabics “Mathew Aqigaad” (1940-2010), possible repair to top of mother’s head, 10 1/2” h, 8” l, 7” w.

60B INUIT STONE SCULPTURE Davidee Nastapoka (1945-), Inukjuak, hunter with fish in bag on back and holding a knife in one hand and fish in the other, 13” h, 11” l, 5” w.

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60C INUIT STONE SCULPTURE Green serpentine stone, signed in syllabics on bottom, one Eskimo carrying another, 11” h, 8” l, 4” w.

60D INUIT STONE SCULPTURE Signed in Roman by Inuit artist “Adamie Anauta” (Anautak, 1946-), finely detailed, mother with child, mother using a knife, (Note: his work is on display at the Museum of Anthropology at the University of British Columbia and Winnipeg Art Gallery), 8” h, 14” l, 6” w.

61 BRONZE STATUE Native American fisherman with spear and fish, signed “Hartmann, 1989” (Jud Hartmann, 1948-) on base, standing figure with finely detailed leggings, sheathed knife, moccasins and fringed shoulder bag, mounted on a wooden base, 19” h, (21 1/2” h with base).

64 CATALINA MOUNTAINS Tucson, Arizona, oil on academy board, signed l.l. “W. Page” (Willard Page, 1885-1958), “Acquired from Hingham authoress Elizabeth Coatesworth Beston, Property of Old Fort House Historical Repository, 99 Fort Hill, Hingham, Mass.”, (Note: probably acquired when Elizabeth and Henry Beston travelled to the Southwest), 8 1/2” x 11”, (ex. John P. Richardson collection).

62 PORTRAIT Oil on canvas, red and green striped shirt, beaded necklaces, signed l.r. “Willard Page”, 14” x 10”, (ex. John P. Richardson collection).

65 OIL OF DRYING CHILI RISTRAS Oil on board, landscape with chili peppers and adobe, signed l.l.

“Morse” (Vernon Jay Morse, 1898-1965), original carved cactus frame, labeled on back “J.F. Collins Company, Inc. Santa Fe, New Mexico”, “Acquired from Elizabeth C. Beston, Shipcote, Ship St., Hingham, Mass...JPR”, (Note: probably acquired when Elizabeth and Henry Beston travelled to the Southwest), 4” x 6”, (ex. John P. Richardson collection).

62A OIL ON ACADEMY BOARD Native American infant sleeping in a carrier, roughness around edges of board, gold frame, 11” h, 10” w.

63 DESERT LANDSCAPE WITH SAGUARO Oil on academy board, signed l.r. “David Swing”, handwritten notes on back, “Acquired from Elizabeth Coatesworth Beston who said this painting by D.C. Swing (1864-1945) was a gift to her husband, author Henry Beston, The Outermost House”, 7 1/2” x 11 3/4”, (ex. John P. Richardson collection).

66 TWO SOUTHWEST LANDSCAPES Oil on board, Ocotillo cactus in bloom, mountains in the background, initialed l.r. “W.P.” (Willard Page), 4 1/2” x 6 1/2” (sight); Oil on board, adobe with chili peppers drying, signed l.r. “W.P.” (Willard Page), labeled on reverse “Original paintings in oil by Willard J. P...”, “Acquired from Elizabeth Coatesworth Beston, Shipcote, Hingham, Mass.”, fly specking (needs cleaning), (Note: probably acquired when Elizabeth and Henry Beston travelled to the Southwest), 3 1/4” x 3 1/4”; (ex. John P. Richardson collection).

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67 NATIVE AMERICAN BUST Plaster of Paris bust of a Native American, c. 1900, handpainted, with beads and bear claw necklace, draped blanket, arrows and tomahawk, impressed on back “The Bailey Co. Copyright 1900”, with Hingham, Mass. history from The Howe General Store, 18” h, (ex. John P. Richardson collection).

70 PAPAGO BASKETRY BOWL Large early 1900’s Papago basketry bowl, with large central circle in Devil’s Claw, with four radiating triangles depicting the four corners, beyond which are other radiating connected geometrics, 6 1/2” h, 17” dia.

68 THREE BASKETRY COVERED BOTTLES Tall jar with sweetgrass, and red and purple colored splint, side handles, with tag “Given to John P. Richardson..by Olive Loring...said it was purchased at a Fair at Norway, Maine in 1920 and was made and sold by a Maine Indian”, 8” h; Tall neck bottle with sweetgrass and small dark splint, round blue label on bottom “Hingham Society, Arts & Crafts”, (Note: John P. Richardson wrote that Indians would come to Hingham and teach basket weaving), 7” h; Glass flask with basket weave covering, some breaks and repair, tagged on bottom “Found in Nye Tavern...John P. Richardson”, 5” h; (ex. John P. Richardson collection).

71 PAPAGO BASKETRY BOWL Papago basketry bowl, with radiating geometric designs, good condition, 12” dia.

69 APACHE BASKETRY BOWL Western Apache basketry bowl, central star, radiating bands with intersecting crosses, very fine condition, early 1900’s, 3” h, 11” dia.

72 PAPAGO BASKETRY BOWL Small Papago basketry bowl, with four figures with outstretched arms, alternating with four upside down arrowheads, 4” h, 4 1/2” dia, (ex. Dorothy Abbe, photographer, Hingham; John P. Richardson collection).

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73 PIMA BOWL Southwest, late 19th/early 20th c., decorated in a four-part fret design, with stitching elements of the seed pod of devil’s claw used to create the black part of the stitching, tagged on the reverse “From the studio of Dorothy Abbe, Hingham, Mass...JP Richardson, Old Fort House, Hingham, Mass.”, (Note: Dorothy Abbe was a photographer/publisher who worked with famed designer W.A. Dwiggins. She travelled to the Southwest in the 1st half of the 20th c., J.P.R. bought a number of pieces from her studio), 13 1/4” dia; (ex.

John P. Richardson collection).

74 PAPAGO BASKETRY BOWL With six figures (three male and three female) around the circumference, and a dog, 4” h, 9” dia.

75 FOUR BASKETRY BOWLS Pima bowl, Four Corners of the World design, 6 1/2” dia; Papago bowl, with original tag “Papago Indian Self-Help Program”, 7” dia; Pima oval bowl, Four Corners of the World design, with tag and provenance, 9” l, 6” w; Hopi bowl, with red and black horses, from the “D. Abbe Studio, Hingham, Ma.”, 4” h, 6 1/2” dia; (all from the John P. Richardson collection).

76 HOPI SEED JAR Hopi polychrome seed jar, Nampeyo style, painted black with outlines in white on a polished orange slip, a pair of classic wing motifs across from each other, 3” opening, 2 3/4” h, 9 1/2” dia.

77 ACOMA OLLA Acoma (People of the White Rock) pottery olla, polychrome decorated with upper band of red and brown on cream geometrics, above a band at the shoulder of inverted alternating triangles, above a large scenic geometric design, cracked and repaired on one side, inverted base, found in Hingham, Mass., 10 3/4” h, 12 1/2” dia, (ex.

John P. Richardson collection).

78 ACOMA BOWL Acoma polychrome pottery bowl, three horizontal bands of alternating rust/red and brown on a cream white slip glaze, bird or butterfly pattern, small slight inverted base, small wear imperfections, 6” h, 9 1/2” dia.

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79 ACOMA OLLA Acoma polychrome pottery olla, three horizontal bands of geometric designs in dark brown and red/orange with inverted base, slight low tapered neck, 8 3/4” h, 10 3/4” dia.

80 ACOMA OLLA/JAR Acoma polychrome pottery olla/jar, two bands of black and brown on a cream slip glazed background, divided by small brown horizontal bands, inverted base, some wear at shoulder, 7 1/4” h, 8 1/2” dia.

81 ZUNI POT Zuni polychrome pottery jar, indented base, rust/red and brown on a cream glaze base, classic geometric designs, out-of-round at the rim, 7” h, 11” dia.

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82 ZIA DOUGH BOWL Zia polychrome pottery bowl, brown and red decoration, in a single wide cream band, alternating and inverted cornflower separated by an undulating red curvilinear design, flat base, thick clay, 6” h, 12” dia.

83 SANTO DOMINGO JAR Santo Domingo jar, polychrome decorated in black and red on a cream polished glaze, two birds on either side eating red and black berries, spirit line at black painted rim, small inverted base, 8 1/2” h, 7” dia.

84 SANTO DOMINGO BOWL Santo Domingo polychrome bowl, large single band of black over cream glaze, reddish bottom, alternating circles and four corners in double outlined rectangles, 5 1/2” h, 9 3/4” dia.

85 SAN ILDEFONSO WATER JAR Early 20th c. San Ildefonso polychrome water jar, upper cream glazed band with red pueblos and black ladders, double horizontal black lines separating lower band of plants and repetitious floral motif, attributed to Maria and Julian Martinez, 10 1/2” x 10 1/2”.

86 SANTA CLARA JAR Santa Clara, deeply carved red glaze on red clay jar, depicting the red carved water serpent “Avanyee” with two rain clouds above, finely carved design, signed on the base “Christina Naranjo”, c.

1970-1975, 7 1/2” h, 10 1/2” dia.

87 CROOKED KNIFE AND LADLE Flattened maple handle, old patina, with carved and raised initials “BW”, steel blade with wrapped twine, tagged “Purchased in 1964 at Kokad-Jo Maine...made and used by Indians and lumberjacks, JPR”, 10” l; Bentwood carved wooden ladle, shaped end, tagged “part of the Thomas Tracy Bouve Collection, mkd TTB...had an extensive Indian artifact collection...This was supposedly made by Maine Indians. John P. Richardson Hingham, Mass.”, 8 1/2” l; (ex. John P. Richardson collection).

88 IRON BLADE TRADE AXE “Unearthed in 1868 from Indian ‘burial place’ on the slope of Atlantic Hill, Hull, Mass...”, “Purchased from the Bouve Family by John P. Richardson 1965”, blade is signed (stamped) in two places, pitted, 7” l, 19th c. maple handle, smooth patinated surface, 22” l, “Iron Trade Axe of Colonial Vintage Traded to the Indians (c.

1700)...”, (Note: rare form with South Shore history), (ex. John P. Richardson collection).

89 FOUR BOWS Eastern origin, two in cherry wood, one half round with flat surface on one side and notched on either end, 66” l, the other is round with a natural bow, 53” l; Two hat bows, both notched on ends, “one found nailed...behind a 1781 plastered wall of the Stephen Stoddard House, Hingham, Mass.”, 4’ l; the other is tagged “found by me in 2002 during extensive renovation of the Ebenezer Gay house, North St. Hingham, Mass.”, “It had fallen from attic down to 1st floor behind the walls by the chimney...”, 47” l; (ex.

John P. Richardson collection, 2002, Hingham, MA).

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90 IROQUOIS FALSE FACE MASK Important 19th c. Iroquois false face mask, carved wood with black and white pigment, attached horsehair, inset tin eyes, some insect damage on nose filled with minor inpaint, from the estate of Col. Leroy Barton (B. 1887) of Port Washington, L.I., former harbormaster for NYC during WWII, Assistant to Secretary of the Treasury (1934-1939) under FDR, 14” h, 9” w.

90A IROQUOIS FALSE FACE MASK Mid 20th c., carved wood with red and white painted features, attached horsehair, carved white painted teeth with protruding tongue, (from a descendant of Charles Crocker, California railroad magnate), 11” l.

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91 BEADED PILLOW Circa 1910, red, white and blue glass beads on a pink wool background, an eagle with two American flags and an arrow in its talons, 10” h, 10” w, (ex. John P. Richardson collection).

92 SIOUX PIPE BAG Sioux pipe/tobacco bag, c. 1890, beadwork on deerskin, tin cones with red dyed horsehair, over a motif of four facing blue and red teepees with American flags above with four gold stars in blue and red and white stripes, flanked by blue crosses with yellow centers, porcupine quillwork on rawhide slats, in red, yellow, white and purple, above many tin cones with red horsehair, frieze below, opposite side shows geometric designs, teepees, crosses in diamonds in reds, cobalt, greens and yellows on white background, 33” l, 8 1/2” w.

93 PLAINS INDIAN TOMAHAWK/SKULLCRACKER Polished stone, secured with rawhide, red and white quillwork decoration, tagged “Western Indian Tomahawk brought back to Hingham Massachusetts by botanical artist Isaac Sprague from his trip west with the John James Audubon expedition in 1840.

I...purchased the tomahawk from Isaac Sprague’s niece...in the 1960’s. John P. Richardson, Hingham, Mass.”, (Note: a small tag handwritten in script “Sprague” is attached to the shaft), 5” l stone head, 15” overall l, (ex. John P. Richardson collection).

95 BEADED MOCCASINS Pair of Plains beaded moccasins, sinew sewn soles, top of foot stitched with geometric white and gold checkerboards, flanking a white band with blue, red, yellow and light blue rainbow pattern, green silk ankle bands, 9” l.

96 TWO PAIRS OF MOCCASINS Two pairs of Plains beaded moccasins: deer hide with white bands with red, blue and yellow geometrics, old label “Sioux...owned by Two Guns White Calf who posed for the Indian Nickel”, 10” l; and a soft deerskin, beaded with blue and light purple crosses on top of foot, traces of yellow pigment on top and light blue painted seam in back, 10” l; both pair have sinew sewn soles.

94 BEADED MOCCASINS Pair of Plains fully beaded hide moccasins, sinew sewn soles, overall stitched with green knife blade pattern on top, with white crosses on the sides, geometric designs on a white background, split beaded tongues with tin cones and red feathers, deerskin fringed backs, 10” l.

97 BEADED CHILD’S MOCCASINS Fine pair of Eastern Native American child’s moccasins, wonderfully decorated with white pony beads, red glass beads on green silk tops, green felt with red wool tape ties, 4” l.

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98 BEADED GAUNTLETS Cree beadwork in shades of green, cobalt and light blue, translucent red and yellow, with a central scalloped radiating petal/floral design stemmed with leaves and flowers, all outlined in white beads, fringed, palms show wear, muslin interior, 14 1/2” l, 9” w at the cuff.

99 EMBOSSED BEADED MOCCASINS Woodlands, high top ladie’s style, secured with white glass button on the side, trimmed in light blue silk, black velvet vamp with floral designed beadwork in red, pink, white, light blue and green, 5 1/2” h, 9” l.

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100 STRIKE-A-LIGHT/BEADED PAINT POUCH Plains, seed beaded in an overall background design in a deep red with three blue and white crosses on blue triangular structures, geometric beaded flap with central round silver attachment, fringed with small tin cones, interior with traces of red pigment, bead work design on back with inverted blue triangles with multiple tin cones below, (loss of white beads on left side), 6” l (to bottom of cones).

101 BEADED MOCCASINS Plains, light blue seed beaded vamp in a stylized snake’s head with black eyes, with pink, green and cobalt surround, protruding tongue in black and light blue, cuffed and edged with small steel cut beads, 10” l.

102 PLAINS BEADED NECKLACE Round brass beads, with 22 glass light blue and four cobalt beads with more brass beads continuing to an attached cut hide painted horse in red, with dark spots, white face and black tail, 15 attached deer claw dangles on strips of green leather, two flat strips of beaded deer skin, each terminating with two tin cones and red horsehair.

103 BEADED KNIFE CASE Northern Plains, geometric designs in green, red, blues and yellow on a white background, beaded tassel attachment with tin cones and red feathers, wood handled knife with filed blade, (see page 33, picture 78, Early Knives and Beaded Sheaths of the American Frontier, John Baldwin), 10” l (to end of tassel).

104 BEADED KNIFE CASE Probably Chippewa, three-petal flower in reds, light blue leaves with cobalt vine on a yellow field, red wool edging, antler handled knife with curved steel blade, 8” l, (knife is 9” l).

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105 BEADED KNIFE CASE Plains, yellow background with multicolor beaded central portion, green and orange bands at top, wood handled knife with very thin blade, 9” l, (knife is 10” l).

107 CHILD’S BEADED MOCCASINS Painted hide in yellow with red on the vamp, trails of beads in tan, green and light blue, tagged “a gift to John P. Richardson from Dorothy Abbe, an associate of Wm Addison Dwiggins, Hingham, Mass...She acquired them on a trip West...J.P.R.”, 7” l, (ex. John P. Richardson collection).

108 BEADED WOMAN’S MOCCASINS Translucent white, with cobalt and red along the length of the vamp, 8 1/2” l.

106 BEADED WOMAN’S AWL CASE Light blue background with red crosses and diamonds outlined in cobalt, tin cones and twisted deer skin drops with three small brass bells, 8” l (to tin cones).

109 EMBROIDERED MOCCASINS Prairie style, Lakes Region, with cut ribbon appliqued top section in purple, outlined in green and red embroidery, delicately embroidered vamp in red and purple petal flowers with green leaves and vines, 7” h, 10” l.

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110 HOPI KACHINA Carved and painted kachina, Tuwalakum or Guard, Hololo, Big Ears Kachina, a live dancer in the Plaza Dances, feathers on top of mask, standing on a round platform, Third Mesa Hopi, 13” h.

113 HOPI KACHINAS Two carved and painted kachinas: Koroasta, seed planter, Big Ears, white squash nose/mouth, signed on bottom of left foot “AMI 52”, 8 1/2” h; and a guard kachina, Tuwalakum, Hesto, inspired from Zuni, guard during the Bean Dance Parade, remnant of feathers, carved and painted three-feather plaque attached on top, 9 1/2” h.

111 HOPI KACHINA Carved and painted kachina, Momoyam (Kachina Woman), Nuvak’chin Mana or Snow Kachina Girl, represents the snow, a prayer that snow may fall and give moisture to the ground, topped with white cotton, carved and white painted cloak, 11” h.

112 HOPI KACHINAS Two carved and painted kachinas: Nuvak’chin, Prickly Pear Cactus Kachina, Big Ears, crested with downy yellow and blue feathers, tubular mouth, wearing a painted turquoise and silver necklace, 10” h; and a similar carved and painted kachina, “Hilili”, Powak-chin, fearsome Guard at the Kiva Dances, diagonally divided mask, a wildcat skin draped across the shoulders, carved fox skin attached on back at the belt, remnant of feathers on top of mask, 10” h.

114 HOPI KACHINAS, GOURD RATTLE Two carved and painted Hopi cottonwood kachinas: Hololo, big red ears, protruding round eyes and rectangular mouth, bright yellow and red skirt, carved black feet, 10” h; Small cottonwood kachina, carved and finely painted in the form of butterfly maiden without a headdress, 6 1/2” h; and a gourd rattle with carved wood handle in the form of a kachina mask, painted brown with black highlights, (paint wear and loss), protruding round wood and top notch ears, with attached feathers, probably Navajo origin, 12” h.

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114 HOPI KACHINAS, GOURD RATTLE

(continued)

116 PALHIK MANQ KACHINA A Dance Personage of Water Drinking Girl (Butterfly Girl), tall rectangular headdress, with carved and painted geometric designs topped with feathers, blue, yellow and red mask with feathers, cotton robe trimmed in black and red, holding remnants of feathers, 15” h.

117 BLACK OGRIS AWATOVI KACHINA Awatovi Soyok Taka, black mask with large popped eyes covered with feathers and gray wool hair, deer skin cape, holding a long sword in the right hand, (the monster demands food and tries to take the children to eat, especially ones that have misbehaved), 12 1/2” h.

115 SMALL KACHINAS Collection of 12 small kachinas and a kachina puppet on a painted stick, 12” l, including Mudhead Ogre, Snow Kachina Girl, Hummingbird (Tocha Kachina), etc., (Note: some ears and beaks are missing).

118 CLOUD KACHINA Omau-u, horns and face painted with stylized clouds and lightning bolts, feathered headdress, red body with stylized clouds and rain, finely carved and painted kilt with bright sash and fox tail, holding feather and dance bow, 13” h.

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119 FIVE SKOOKUM DOLLS Dressed in Native American blankets, three adults, two children (one head broken), and two papoose.

120 NATIVE AMERICAN NECKLACE AND BRACELET Three strands of rolled turquoise graduated beads, terminating in two coral stones with three polished turquoise nuggets, 13” l; Wide silver cuff bracelet, inset with mother-of-pearl, turquoise and coral, 1 1/4” w.

121 TURQUOISE BRACELET Silver with gold and turquoise, stamped “14K” and “925”, asymmetrical design with pebbled ground with raised geometric designs, alternating inset triangular chip turquoise and alternating gold chip pebbled inlay, (Note: exceptional Navajo craftsmanship), 1/2” w.

122 NATIVE AMERICAN BRACELET AND NECKLACE Hopi silver cuff bracelet, hand cut overlay figure depicting “Rainbow Man”, a yeii commanding the rainbow and committed to living in harmony with all of nature, signed “L.H.B.”; Rectangular 14” flat head silver necklace, with a silver rain god pendant/pin, set with a turquoise nugget in his belly, 2” w.

123 NATIVE AMERICAN BRACELET AND PIN Silver openwork cuff, circular overlay design with nine deep set oval turquoise stones, signed “Rosco Scott”, 1 3/4” dia; Oval Zuni style cluster pin, embossed lunettes of silver, scratch signed on back “Momk”(?), 3” l.

124 NATIVE AMERICAN BRACELET AND NECKLACE Finely shaped, heavy silver band with four black obsidian rectangular cut stones, separated with thin silver partitioning and a rectangular cut coral stone at one end, signed “C. Marvezi”; Silver chain necklace, 11” l.

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125 NATIVE AMERICAN NECKLACE & THREE BRACELETS Heishe and turquoise nugget, three-strand necklace with silver tube ends and fastener, 14” l; Two slim silver bracelets, cut on diagonals, one with inset turquoise, the other with channel inlaid turquoise, mother-of-pearl jet, dark pen shell and coral; Cuff bracelet with three strands of silver beads, signed “TAHB”.

126 NATIVE AMERICAN NECKLACE, BRACELET & PIN Zuni, thin silver tubular beads, with fetish birds, fish and animals, 12” l; Silver bracelet, simple design, seven etched lines; Pendant/ pin with a petal flower with turquoise and dark pen shell, 2 1/2” h.

128 TWO NATIVE AMERICAN NECKLACES Classic Navajo hand stamped, handmade silver beads, graduated, 14” l; Silver bead necklace, interspersed with shaped silver tubes, 10” l.

129 NATIVE AMERICAN JEWELRY Heavy Navajo pawn bracelet with arrows, four runners, etc.; Silver ring with oval turquoise stone; Hinged lid box with green oval turquoise stone on top; Circular silver pin with tiny round clustered turquoise stones; Two classic earrings with circular silver globes.

130 NATIVE AMERICAN NECKLACE AND BRACELET Four strands of light green rolled stone beads, interspersed with coral and turquoise; Silver cuff bracelet, with two strands of rolled beads in light green, turquoise and coral, and channel inset medial stones, coral, turquoise, etc.

127 NATIVE AMERICAN NECKLACE, BRACELET & JOCLAS Classic rolled sky blue turquoise graduated beads, five nuggets with silver fastener, 8” l; Sand cast openwork bracelet, with turquoise arrowhead and two-strand green turquoise, terminating with four small turquoise nuggets and three black pen shell nuggets, 6” l.

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131 THREE NATIVE AMERICAN PENDANTS/PINS Silver and turquoise bird effigy pins, mother-of-pearl inset eye and wings in the Northwest Coast style, signed “Patty Fawn”; Thunderbird with turquoise nugget; Stork with glass eye and turquoise scarab, signed “the Dreamer”, 4” h.

132 NATIVE AMERICAN BELT BUCKLE, BRACELETS, RINGS Silver buckle with raised leaves and two blue turquoise nuggets, 3” w; Cuff bracelet with ghan dancer, mosaic inlay with turquoise, mother-of-pearl jet and coral, signed “BB” (Begay family); Silver ring with stylized bear claw and shadowbox coral, signed “DM”; Silver ring depicting a spider; Cuff bracelet, signed “Wayne Paquin”, missing inlay (not pictured).

Principal Ann Berthold retired from teaching at the Woodcock School of No. Attleboro, MA after 39 years. In retirement she traveled to Gallup, New Mexico by plane (TWA), where she visited and purchased the jewelry and basket from the Mike Kirk Trading Post in Gallup, New Mexico. (Purchased items pictured below.)

132A PINS, PENDANTS AND BELT BUCKLE Fine collection of 12 Navajo pawn silver pins, pendants and belt buckle, all set with blue turquoise stones, (Mike Kirk Trading Post, Gallup, NM).

132B COLLECTION OF NAVAJO PAWN JEWELRY Silver rings (six), two bracelets, two pins depicting rain gods (one with a small turquoise stone), pendants, single earring, and two large shell wampum beads, (Mike Kirk Trading Post, Gallup, NM).

132C PAIUTE BASKETRY BOWL Fully beaded Paiute basketry bowl, in blue and red on geometric white background, some beads are missing, overall good condition, 3” h, 5” dia, (Mike Kirk Trading Post, Gallup, NM).

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132E EASTERN BEADED CLOTH POUCH Black velvet background, with multicolor beadwork in floral patterns, silk trimmed top shows wear, interior with blue glazed cotton, two shaped beaded flaps, some wear on cloth edges, 6 1/2” h, 7 1/4” w.

132D TWO PLAINS CATLINITE PIPES Finely carved and polished with concentric circles at top of bowl and on stem, stylized hawk’s head finger rest at bottom of bowl, 4” l; Smaller flat pipe in a darker catlinite.

132F COLLECTION OF 14 POSTCARDS Portraits of Native Americans, eight cards “copyrighted by E.S. Curtis, 1904”, in a sepia tone, one showing Zuni Pueblo and other dramatic posed portraits, and six other cards, three in a tinted color, “copyright 1903, by Lowman & Hanford, S. & P. Co., Seattle”, and copies of photos of Mike’s Trading Post.

The following (5) lots are presumed 20th century.

133 PLAINS WAR SHIRT Thin beaded strips in red, white and blue on buckskin, red painted sleeves, red dots at the waist, fringed at shoulders and under the arms, red wool edged collar.

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134 PLAINS WAR SHIRT Soft buckskin with long fringe, beaded strips of dark green background with yellow crosses, and long yellow claw marks, outlined in red.

136 LADIES TANNED BUCKSKIN SHIRT Rectangular beaded panels on front and back in blues, with three vertical red and light blue columns, beaded panels at the shoulder with flowers and strawberries on a white background, attached cowry shells around sleeves and across the top of the panels, fringed.

135 OLDER BUCKSKIN SHIRT Beaded collar with gold and red flowers, front chest pocket with red and purple flowers, in the Woodland style, thin green and white beaded strips on shoulders and at cuffs, trailing vines and flowers across the top of the shoulders, in blues and greens, fringed, mother-of-pearl button.

137 BUCKSKIN SHIRT Turquoise blue dyed skin, with yellow dyed triangular leather bib with fringe, strips of beadwork in blue, yellow and green, blocks on white background, long yellow fringe at sleeves.

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138 NAVAJO RUG Gray, red, brown and cream/white, central cross, gray outlined in brown, stepped geometrics, serrated border, circa 1930, (Note: purchased by Hingham, MA collectors at the Santa Fe Antique Indian Market in the 1990’s), 3’ 8” x 6’ 2”.

141 NAVAJO BLANKET Red field, four serrated central diamonds, red, cream and black, with grays, some bleed and repairs, 4’ 6” x 5’ 6”.

139 NAVAJO RUG Fifteen white crosses with interior black crosses on red background, yellow and black stripes, (Note: purchased by Hingham, MA collectors just north of Santa Fe in the 1970’s), 4’ 5” x 5’ 10”.

142 NAVAJO RUG Central diamonds, reds, tan, gray and black, outlined in black, cream background, many sewn repairs, missing a piece on one end, 3’ 7” x 5’.

140 NAVAJO RUG Central stylized crosses, bordered by red and white zigzag, on blue and black stripe background, (Note: purchased by Hingham, MA collectors at the Blue Mountain Trading Post in Blanding, Utah in 1998), 4’ 3” x 6’ 9”.

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142A NAVAJO RUG Two central serrated diamonds with red, black and tan, on a natural background surrounded with red, alternating brown and tan squares, bordered in brown, circa 1930, good condition, 4’ 5” x 6’ 9”.

142B NAVAJO RUG Striped pattern, natural gray, red, orange and black, 4’ 8” x 5’ 8”.

143 PORTRAIT OF WAATOPENOT McKenney/Hall hand-colored lithograph portrait of Waatopenot (“The Eagles Bill”), a Fox Chief, published by Rice & Clark, Philadelphia, 1845, framed, glazed and matted, 10” x 14 1/2” (sight), 24” x 19” (framed).

144 PORTRAIT OF NAHETLUEHOPIE McKenney/Hall hand-colored lithograph portrait of Nahetluehopie (“Little Doctor”), Chief of Muskogee, from a Charles Bird King painting, 1825, framed, glazed and matted, published by Rice and Clark, Philadelphia, c. 1843, two slight linear scuff marks on face, ghost impression of type from facing page, (note: the red spots on his blue jacket designate previous bullet wound sites), 14 1/2” x 10” (sight), 24” x 19” (framed).

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145 PORTRAIT OF SHINGABA WOSSIN McKenney/Hall hand-colored lithograph portrait of Shingaba Wossin (“Image Stone”), Chippewa Chief, painted by James Otto Lewis, 1826, copied by Charles Bird King, published by Key and Biddle, Philadelphia, 1833, framed, matted and glazed, slight imperfections, overall good condition, 18 1/2” x 13” (sight), 28” x 22” (framed).

146 PRINT OF WA-KAWN McKenney/Hall hand-colored lithograph print of Wa-Kawn (“The Snake”), Winnebago Chief, painted by James Otto Lewis, 1826, copied in Washington by A. Ford, published by J.T. Bowen, Philadelphia, 1841, framed in bird’s-eye maple, 19 1/2” x 13” (sight), 24 1/2” x 17 1/2” (framed).

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147 PORTRAIT OF WA-EM-BOESH-KAA McKenney/Hall hand-colored lithograph portrait of Wa-EmBoesh-Kaa, Chippewa Chief smoking his pipe, painted by James Otto Lewis, 1826, copied by Charles Bird King, published by F.W. Greenough, Philadelphia, 1836, glazed and framed in bird’s-eye maple, very fine condition, 19 1/2” x 13” (sight), 24 1/2” x 17 1/2” (framed).

148 PORTRAIT OF PAYTA-KOOTHEA McKenney/Hall hand-colored lithograph portrait of PaytaKoothea (“Flying Clouds”), Shawnee of the Chillicothe Tribe, painted by Charles Bird King, published by F.W. Greenough, Philadelphia, 1838, finely matted, three slight fox spots to the left of the figure, 18 1/2” x 13” (sight).

149 PRINT OF KIONTWOGKY McKenney/Hall hand-colored lithograph print of Kiontwogky (“Corn Planter”), A Seneca Chief, painted by F. Bartoli, copied by Otis in Philadelphia, published by F.W. Greenough, Philadelphia, L.T. Bowen Litho, 1838, finely matted, 17” x 13” (sight).

150 PORTRAIT OF KEESHEEWAA McKenney/Hall hand-colored lithograph portrait of Keesheewaa (“The Sun”), a Fox Warrior and Medicine Man, painted by Charles Bird King, c. 1824, published by F.W. Greenough, Philadelphia, L.T. Bowen Litho, 1838, matted with red mat board, 15 1/2” x 13” (sight).

151 KARL BODMER INDIAN PRINTS Two Karl Bodmer hand-colored lithographs, c. 1846, from the Folio of American Indians, two matted prints including Saki Indianer and Crih Indianerin, (litho by J. Honnegger), matted, 9 1/2” x 13” (sight); and a profile of a warrior in a beaded robe, matted, 10 3/4” x 8” (sight).

152 PRINTS OF NATIVE AMERICANS Two hand-colored lithograph prints: after Karl Bodmer’s Folio of American Indians, a double portrait of Chief of the Blood Indians and Woman of the Cree Tribe, matted, 9 1/2” x 13” (sight); and a hand-colored lithograph of a warrior, (originally painted by Hassler), litho by Honegger, c. 1845, 9” x 12” (sight).

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153 COLLECTION OF SIX ENGRAVINGS George Catlin hand-colored wood engraving of a standing warrior holding a spear with feathers, framed, matted and glazed, 6 1/2” x 4 1/2” (sight); McKenney/Hall hand-colored lithograph of Keesheewaa, a Fox Chief, published by F.W. Greenough, Philadelphia, 1838, lightly soiled; Karl Bodmer lithograph, Saki Indianer and Cree Woman, (uncolored), framed and matted; Harper’s Weekly, The Buffalo Dance, drawn by Frederick Remington, c. 1887, matted, 10” x 14 3/4” (sight); Two mounted reprints after McKenney/ Hall, Wa-Pel-la, Chief of Musquakees; and Not-chi-mi-ne, Iowa Chief; both colored.

154 TWO AUSTRONESIAN IGOROT SHIELDS AND PHOTO Carved wood warrior shields, with four woven bamboo/caned strips, dark pigmented surfaces, battle wear and patina, 32” h, 9 1/2” w and 32 1/2” h, 10” w; Early framed photo showing a Kalasag warrior holding a spear and similar shield; (ex. John P. Richardson collection).

155 AUSTRONESIAN CROSSBOW, ARROWS AND QUIVER Hardwood cross bow wrapped with braided cane, bone trigger, twist braided bow string, very old patina, 25” l, 37” w; Woven bamboo strip quiver, 20” l; With 20 bamboo arrows and two steel arrow tips, 35-37” l; (ex. John P. Richardson collection).

156 NEW GUINEA RITUALISTIC DAGGER Sepik River, Cassowary, bone, pigmented clay, cowry shells, boars tusk, cassowary feather headdress, mounted in a deep frame, 24” l, 29” x 15” (frame).

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157 FOOD BOWL Middle Sepik River, old carved wood in an oval form, stylized crocodile head figures for handles, old repair to bottom, dark patina, 24” l.

160 RARE FAN Marquesas Island, Polynesia, wood and fiber, 18th/19th c., handle finely carved with two pairs of Tiki figures kneeling back to back, (Note: upper pair of Tiki’s attached ears are almost worn smooth from handling, as well as the sennit strands tying the fan to the handle show darkened color from use), the fan is a half oval constructed of split pandanus leaves and shows a native repair halfway up the stick, some missing weavers but mostly in very good condition, found in a New Bedford, Mass. estate of 19th c. mariners, 16” h, 4 1/2” handle.

158 CEREMONIAL AXE New Guinea, Central Highlands, Mt. Hagen, wood, stone and rattan, carved wood handle, 29” l, flared polished slate blade, 3” l, 7 1/2” w, decoratively wrapped in intricately woven rattan, 35”, old patina, some wrap is worn, overall good condition.

159 CEREMONIAL ADZE Mangaia Island, slate or volcanic stone, finely shaped and carved head, (some chipping), 13” l, delicately lashed with sennit to the intricately Toki carved handle, 39” l, openwork (four pieces) and footed base with old break, old patina.

161 POLYNESIAN LADLE OR DIPPER Trobriand Islands, coconut or nut shell and carved wood handle, terminating in a stylized bird’s head, 18” l.

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162 THREE REDWARE CERAMIC VESSELS Prehistoric Costa Rica, flared rims, dark bands at neck with remnants of white geometric decoration, all have side nodules, white decoration on bodies, minor chips and a crack on one of the smaller pots, 5”, 6” and 8” dia.

163 TRIPOD REDWARE CERAMIC VESSEL Prehistoric Costa Rica, flared lip, Guanacaste pot, 800-1500 AD, deep red pigment designs on upper part, overall black scratch designs, feet with three red pigment circles and interior rattles, 3” h, 6” dia.

164 TWO TRIPOD REDWARE CERAMIC VESSELS Prehistoric Costa Rica: rolled lips, vertical white decoration, three nodules, 4” h, 4” dia; larger pot with etched designs on neck, two feet show repair, 5” h, 6” dia.

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165 TRIPOD REDWARE CERAMIC VESSELS; SMALL POT Two vessels with flared lips and shallow interior, one with remnants of red and white pigment decoration, and legs cut for rattles, (small chip on rim), 3” h, 5” dia; the other with overall black thin geometric decoration, (flared lip repaired), open tripod legs with three apparent snake heads, 3 1/2” h, 6” dia; Ring footed pot with turtles head on side, remnants of black thin geometric decoration, 3” h, 3 1/2” dia.

166 TWO TRIPOD PRE-COLUMBIAN CERAMIC POTS Mexico: one with lizard shaped feet, black on red circular faces, incised designs, white pigment decorated flared lip, 5 3/4” h, 4” dia; another smaller bowl with white pigment decorated flared lip, protruding faces with heavy carvings on three corners of body, 2 1/2” h, 4 1/2” dia; (ex. Starbuck family of Nantucket; ex. John P. Richardson collection).

167 TWO PREHISTORIC CERAMIC PITCHERS Redware decorated in white pigment with black outline of a twoheaded serpent on two sides, (shows cracks and repairs on bottom and one side), 9” h, 6 1/2” dia; Orange clay ceramic pitcher, with ribbed sides, serpents with forked tongues, divided with pebbled surface, black dots on handle, 8” h, 7” w.

169 NEW GUINEA SHIELD Mid 20th c., flat board with bird/man transformation figure, in black with red pigment outline on white background, 49” h, 13” w.

168 STATUARY FIGURE New Guinea, Sepic River, cowrie shell eyes, tattoo decoration on chest, mounted on a metal plate, 27” h.

170 NEW GUINEA CARVING; CEREMONIAL AXE Black and white pigment, cowrie shells, elongated face, missing tusks, 34” l; Very old ceremonial axe, New Guinea Highlands (missing slate), loose wrap, woven cane, appears intact, 33” l.

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171 POLYNESIAN WEAPON Spade shaped blade with medial ridge, arrow shaped top, 48” l.

173 TWO MEXICAN MASKS Papier-mache from old newspaper, yellow, white and red paint, with long horns, 16”; Carved wood face mask with horns, leather ears and gray horsehair, black, with red and white features, 10” l.

174 POLYNESIAN BLADED WEAPON Intricately carved handle, steel blade with pointed end, 16” l.

172 THREE POLYNESIAN WEAPONS Two ball headed clubs; and a New Hebrides Mallicolo long handled club, with four carved protrusions at end, 21”, 25” and 36”.

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The following 20 African lots (175-195) are from a New Jersey collector.

175 TEKE MASK Teke-Tsaye culture, Democratic Republic of Congo, dance mask, carved in abstract, geometric form with a horizontal division of the rounded face, the mask has various incised designs, including a stylized bird, called “Mossenjo”, the mask was used by the Kidumu society, a bite cord remains attached, an older, less elaborate example in contrast to the more recent, highly stylized decorative ones on the market, aesthetically, the mask demonstrates the early influence of African carvings upon modern art, 14” h.

178 DAN MASK Dan culture, Liberia, “passport mask”, small masks were carved to be carried for protection against dangerous spirits, they were deliberately thin so they could be kept in clothing, but the surface reflects the attention of the devotee, the mask represents a protective spirit, a particularly beautiful example, 6” h.

179 DOGON MASK Dogon culture, Mali, dance mask, an aesthetically serene visage of dignity and power, an elongated face with a curved facial plane, according to oral sources, the Dogon migrated from the Nile to live in the Bandiagara escarpment in Mali, their oldest carvings are made from very hard wood such as this example with astonishing abstract forms, masks are used in different men’s societies to reflect levels of knowledge, 13” h.

176 METOKO MASK Metoko culture, Democratic Republic of Congo, dance mask, represents the simplified style, the face reduced to basic elements, yet the surface alive with various pigment patterns, 12” h.

177 DAN MASK Dan culture, Liberia, dance mask, female mask has narrow, slit eyes, large rounded forehead, and sensual mouth, the embodiment of beauty, called “deangle”, the mask represented a teaching spirit that guided the young through coming-of-age camp, 10” h.

180 BAULE ELDER’S STOOL Baule culture, Ivory Coast, elder’s stool, stools with images carved in relief are rare among the Baule, they were used by chiefs and elders, and the images on the sides reflect the retinue who honor him, a classic Baule face-mask images is on one side, 8” h, 10” w.

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181 HEMBA POWER FIGURE Hemba culture, Democratic Republic of Congo, power figure, Janus images of male and females united were used for protection and power by the Hemba, the center cranium was hollowed out and magical substances were inserted to activate the figure, some believe the image represents the primordial parents of a lineage, 10” h.

184 YORUBA HEAD CREST Yoruba culture, Nigeria, head crest, rare equestrian figure honors a warrior of a clan, who might also be an orisha (or diety), which could be a consecrated object for devotion, the image displays an older style, more characteristic of mid 20th c., 14” h.

side close-up

182 TEKE FETISH FIGURE Teke culture, Democratic Republic of Congo, fetish statue, the figure was created at the birth of a child to protect the infant from disease, various substances were applied building up the surface, the vertical striations on the face and the coiffure are classical elements of the Teke aesthetic, 14” h.

183 LWENA FEMALE FIGURE Lwena culture, Angola, commemorative figure, this rare female figure honors the head of the matrilineal Lwena, in the back is a plug filling a hole in which magical substances had been inserted, the finely carved head creates a serene image, 18” h.

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185 BAULE SHRINE FIGURES Baule culture, Ivory Coast, male and female seated figures, the images represent humans in a trance-like pose with dignity and noble bearing, Baule believed in spirit beings who could intercede for humans and their carvings are refined with great attention to details such as scarification patterns, these images have sacrificial residue on their surface, 14 1/2” h.

186 YORUBA TWIN FIGURE Yoruba culture, Nigeria, twin figure, Yoruba believed twins could bring good fortune if they were honored, twins were believed to share a soul, when a twin died, a statue was carved to house the half soul, clothing (such as a coat and hat) sometimes adorned the figures, cowrie shells were a sign of wealth, 10” h.

187 YORUBA SHRINE FIGURE Yoruba culture, Nigeria, Shango shrine figure, this very old and rare figure shows the remnants of sacrificial attention, the female devotee sought the creative power of orisha Shango to have a strong child, (figure obtained from Ladislas Segy gallery, New York City, late 1970’s), 18” h.

188 KRAN WARRIOR MASK Kran culture, Liberia, warrior mask, the object expressed the power and force of the warrior, with tusks, and exaggerated forms, good signs of age and use, 14” h.

189 RARE FANG DANCE MASK Fang culture, Gabon, dance mask, this very old mask displays fine balance, wear and design, the image combines forceful dignity and gravity with a perimeter of triangles representing a stylized beard but also radiating energy, 12” h.

190 IZZI DANCE MASK Izzi culture, Nigeria, dance mask, similar in some regards to the Northwest Coast transformation masks, this object combines both the human face and the abstract design of elephant tusks, many images from this region balance two forms - males and female or human and animal, 22” l.

191 SENUFO MALE FIGURE Senufo culture, Ivory Coast, shrine figure, this male statue reflects an older, more restrained style, in contrast to the more curved forms of recent Senufo art, the effect is one of strength from the broad shoulders and stoic countenance, 16 1/2” h.

192 TWO TEMNE SHRINE FIGURES Temne culture, Sierra Leone, shrine figures, among the matrilineal Temne and Mende, statues were carved of important females in the lineage, these figures reflect a conservative form from the early 20th c., both have a well worn patina and evidence of use, 11” and 12 1/2” h.

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193 SIX LUBA FIGURES Luba culture, Democratic Republic of Congo, personal power figures, while Luba art is quickly recognizable, this grouping shows some of the variety of styles, most Luba figures are female and connected to fertility, several pieces have cranial cavities with the remains of sacrificial elements, 6” to 11” h.

194 KUBA HELMET MASK Kuba culture, Democratic Republic of Congo, helmet mask, this rare, massive male mask is a complex assemblage of geometrical patterns and pigments, the curved animal horns are a sign of power, the conical eyes are deeply set and distinctively pronounced to show force, 25” l.

196 BIRD FIGURE Baga, West Africa, carved wood with beak rest on man’s head, raised wings, 34” h.

197 SENUFO FIGURE Senufo (Cote d’Ivoire) seated female fertility figure, hands at breasts, 32” h.

195 MOSSI DOLL Mossi culture, Burkino Faso, fertility figure, this finely carved figure is an excellent representation of the geometric possibilities of Mossi form, with a crescent coiffure and minimal details suggesting the face and torso, 9” h.

198 SENUFO MATERNITY FIGURE Senufo (Cote d’Ivoire) standing female maternity figure, scarification on face and on belly, young child on back, some chipping, 44” h.

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199 AFRICAN SHIELD Oval leather shield, water buffalo hide, red and black pigment, decorated wood edge and handle, edge wrapped and bound with leather strap, (Note: older auction tag of “The Auction Gallery of Paul Dias Inc., Hanson, Ma.”), 35” h.

201 TWO CARVED MASKS Ngere (Wobe), Dan Group, Ivory Coast, leopard society, quills, feathers, metal teeth, blackened surface, 12” h; NBete, Dan Group, Ivory Coast, raffia beard, two sets of horns, blackened surface, 11” h.

200 TWO TALL PLANK MASKS Mossi, Yatenga, wood, pigments, face bisected with a carved ridge, 46” h; Oval-shaped face, with diamond shape carved eyes, tall plank with human figure at top, carved wood with red, black and white pigment, 53” h.

202 BAMBARA MASK Bamana, wood with black applied substance, made to honor the diety Kore, 18” h.

203 THREE CARVED FIGURES Baule male figure, intricately carved coiffure, hands on belly, 31” h; Two female figures, one seated, 28” and 24” h.

201 TWO CARVED MASKS Ngere (Wobe), Dan Group, Ivory Coast, leopard society, quills, feathers, metal teeth, blackened surface, 12” h; NBete, Dan Group, Ivory Coast, raffia beard, two sets of horns, blackened surface, 11” h.

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204 TWO RELIQUARY FIGURES Wood covered in metal, Kota with brass covering, decorated with elaborate headdress with embossed facing lizards, raised eyes, 19” h; Mahongwe (Gabon) wood with copper covering, 20” h.

205 TWO DRUMS Kuba, finely decorated, carved interwoven rings, reddish pigment, stitched top held with small wood pegs, old patina, footed, 16” h; Old carved wood, leather top with fur, heavy pegs at top, well used condition, 24” h.

206 TWO NIGERIAN MASKS Ejagham (Ekoi), Cross River Group, headdress, carved with leather covering, carved teeth, old patina, (missing fur on head), 13” h; Widekum People, large carved wood mask, covered in antelope skin, protruding ridge on top of head, 17” h.

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207 TWO KUBA HELMET MASKS MBoon, with cowrie shells, fabric and seed pods, eyes show yellow and white pigment, 10” h; Carved wood with black pigment, white pigment on coiffure, eyes and ears, 13” h.

208 KUBA HELMET MASK Red pigment, raffia, Mwaash A MBoy, nose and ears applied separately, beaded with iron tacks, curved appendage on forehead represents an elephant’s trunk, 19” h.

209 DOGON MASK Dogon (Mali) carved mask, stylized horn bill surmounted with female figure, red and black pigment, encrustation, 33” h.

210 BASKETRY HEADDRESS Mossi, with feathered crest, decorated with four rows of cowrie shells, and three nesting woven baskets, leather edged, from the Thomas T. Bouve collection, (ex. Mason Foley; ex. John P. Richardson collection, Hingham, Mass.).

211 CARVED MARBLE BOARD Handles for transporting, carved figures and mask on two sides, black pigment, 11” h, 28” l.

212 CARVED SONGYE POWER FIGURE Highly decorated with large head, copper tacks, copper sheeting, monkey fur, spotted feathers, protruding belly, magical substances attached at upper arms, wrapped wire, horn on top of head, 24” h.

213 THREE CARVED WOOD MASKS Songye and Luba: Kifwebe Society, pigment, raffia, concentric facial lines, squared mouths, 19” and 17” h; Round mask with black, red and white pigment, 12” dia.

214 STANDING KUBA FIGURE Black pigment figure wearing a mask with gold and white pigment, feathered headdress, woven raffia vest, and leggings, 36” h.

215 TWO CARVED STATUARY FIGURES Lu Luwa Cup, seated male figure, hands holding head, carved handle in shape of a human figure, 11” h; Cross legged female fertility figure, holding a cup with a horn bill around her neck, with raffia wrap, 26” h.

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216 BRONZE MALE FIGURE Tall standing figure, highly decorated with scarification of face, (one hand missing), 39” h.

219 FERTILITY FIGURE Standing female fertility figure, intricately carved coiffure, scarification on chest, belly and face, right hand holding breast, 31” h.

217 MAKONDE CARVED PLAQUE Iron and wood, seven masked faces, 22” l.

220 TWO HEADDRESSES Kuba basketry headdresses: Decorated with cowrie shells and attached blue, red and yellow beads, black and white beads surrounding the protruding eyes, feathers and attached leather at base, 19” h; Raffia beard with feathered headdress, attached wood nose with white pigment, 30” h.

218 HEMBE MALE FIGURE Standing male ancestor figure, Hembe, finely carved facial features with beard, intricately carved coiffure in back, hands on belly, 30” h.

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221 SEATED FEMALE FIGURE Fang-Ngumba, ancestor/guardian of the Southern Cameroon, white pigment on metal eyes, head drilled to hold ritual elements, leather around waist, 14” h.

222 TWO DOGON FIGURES Male and female, representing the concept of social order and harmony, both with hands on knees, 20” and 18” h.

225 CARVED MASK Large carved wood mask, extensive elaborate scarification, attached skin, well used, 29” h.

223 TWO STANDING MALE FIGURES Hemba, standing male ancestor figure, elongated face holding long beard, intricately carved coiffure, scarification on belly, 35” h; Another standing male figure holding beard, with headdress surmounted with lizard, 20” h.

224 THREE MASKS Pende, Mbuya, mask, white and black pigment separating the face into two sections, representing a clown, fiber head covering, 12” h; Two Chokwe masks, both with extensive scarification, 11” and 12” h.

226 BRONZE HEAD Ivory Coast, decorated with birds and reptiles, cast cowrie shells, 14” h.

227 SEATED FEMALE FERTILITY FIGURE Idoma, Nigeria, traces of white kaolin pigments, cane and skin head covering with magical substance attachment, carved coiffure, carrying child on back, 19” h.

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228 TWO NIGERIAN CONTAINERS Fired clay, flared top, red bases with darkened tops, concentric circles on larger container and circular decoration, raised on a flared foot, 25” and 21” h.

229 MENDE HELMET MASK Sande Women’s Society, Mende, helmet mask, Sierra Leone, elaborate hairstyle, delicate female features, black pigment, 17” h.

230 TWO CARVED STATUES Yoruba, Egungun hunter, with carved shrine depicting lizards, 16” h; Standing figure with blackened red and yellow pigment, missing arms, 17” h.

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231 TWO ASANTE DOLLS Ghana, Akan sculpture “Akua ‘ba” dolls, carried by girls to help promote conception and ensure beauty, 16” and 14” h.

232 NIGERIAN HEADDRESS Mumuye, Nigeria, bush cow headdress, red pigment, circular eyes with kaolin, well worn, 20” l.

233 THREE DOLLS Akan, Asante, Akua’ba, (similar to Lot 231), in black pigment, two are 14” h, one is 16” h.

234 THREE KUBA WEAVINGS; KUBA MASK Two in dark and light, (18” and 19” sq), and multicolor in tan, black and yellow, (28” sq); and a Kuba mask, (Ngaady A Mwaash), with cloth headdress decorated with cowrie shells, colored beads, good age, patina.

235 TWO MASKS Mossi (Burkina Faso) transformation mask, human face with horns, carved geometric designs with red and black pigment, 18” h; Round face mask, multicolored with red and black dots, lines on white, 12” h.

236 TWO MASKS Mossi transformation mask, carved horns, incised scarification, 13” l; Antelope carved headdress mask, polished surface, concentric circular eyes with white kaolin, 16” h.

237 CONTAINER AND PIPE Seated figure on carved stool, arms raised, body trunk is the container, 14” h; Carved pipe with bowlshaped head and long stem, with geometric decoration and small carved head, 13” l.

238 CARVED STANDING MUSICIAN Senufo, playing a xylophone hung around his neck, and smoking a pipe, 17 1/2” h.

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239 CARVED MASKETTE/HANGING Senufo, extensive scarification, surmounted bird with head, 15” h.

242 TWO MALE ANCESTOR FIGURES Standing Hemba figures, carved chin beards, one with cross on the back of the head, 17” and 19 1/2” h.

240 THREE MOSSI CHARMS (DOLLS) Burkina Faso, used to promote fertility, one is leather covered, 14”, 13 1/2” and 11” l.

241 THREE MASKS Black and white pigments, decorative style, 10 1/2” and 12”.

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243 MASK, CONTAINER AND FEMALE FIGURE Standing Kuba dancer in a carved “Mwaash A MBoy” mask, beads, cowrie shells, raffia, 12” h; Animalistic container, ovalshaped on four legs, 13” l; Half female figure, with drilled hole for magical substance, 17” h.

244 TWO HELMET MASKS Carved horns and white kaolin on a black pigment, skin covered top and base, 14” h; Black pigment colored headdress, 10” h.

245 THREE BRACELETS Bronze, all with decoration, 3” to 3 1/2” w.

246 FOUR SMALL CARVED WOOD FIGURES Yaka kneeling statuette, with hands on knees, 7 1/2” h; Two light colored fertility dolls, one with beads and trinkets around the neck, 9” h; Seated figure with carved horn headdress and red seed eyes, 10” h.

248 TWO MASKS AND A HEADDRESS Senufo transformation mask with horns, elaborate scarification, (some damage), 15” h; Benue River, bush cow headdress, Nigeria, stylized carving with horns, 26” h; Transformation mask, with red horns and tongue, carved teeth, 14” h.

249 HEDDLE PULLEY AND BAULE MASKETTE HIP MASK Three-face pulley, with neck scarification, 10 1/2” h; Transformation mask with curved horns, black polished surface, 13” h.

247 LEGA FACE MASK Bwami Association, carved wood covered with kaolin, fiber beard, heart-shaped face, outlined in black, mounted on a wood block, 10” h (without fiber).

250 NEPAL TRUMPET Brass and copper, highly decorated, with raised geometric designs resembling scales, shaped in the form of a horned mythical dragon, 24” l.

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Conditions of Sale The property listed in this catalogue will be offered and sold subject to the following terms and conditions.

1. Willis R. Henry, herein known as “The Company”, has exercised reasonable care to catalogue and describe correctly the property to be sold, but does not warrant the correctness of description, genuineness, authenticity or condition of said property.

2. Unless otherwise announced by the auctioneer at the time of the sale, all bids are to be for a single article even though more than one article is included under a numbered item in the catalogue. If, however, the articles under any one numbered item are designated as a “Lot” then bids are to be for the lot irrespective of the number of articles described in such item.

3. The highest bidder accepted by the auctioneer shall be the buyer. In the event of any dispute between bidders, the auctioneer may, at his discretion, determine who is the successful bidder, and his decision shall be final; or the auctioneer may reoffer and resell the article in dispute.

4. Any bid which is not commensurate with the value of the article offered, or which is merely a nominal or fractional advance over the previous bid, may be rejected by the auctioneer, in his discretion, if in his judgment such bids would be likely to affect the sale injuriously.

5. The name and address of the buyer of each article or lot shall be given to the Company immediately following the sale thereof and payment of the whole purchase price, or such part thereof as the company may require, shall be immediately made by the purchaser thereof. If the foregoing condition or any other applicable condition herein is not complied with the sale, at the option of the Company, may be cancelled and the article, or lot, reoffered for sale.

6. Except as herein otherwise provided, title will pass to the highest bidder upon the fall of the auctioneer’s hammer and thereafter the property is at the purchaser’s sole risk and responsibility.

7. Articles sold and not paid for in full and not taken by 5 p.m. the day of the sale may be turned over by the Company to a carrier to be delivered to a storehouse for the account and risk of the purchaser, and at his cost. If the purchase price has not been paid in full, the Company may either cancel the sale, and any partial payment already made shall thereon be forfeited as liquidated damages, or it may resell the same, without notice to the buyer and for his account and risk, and hold him responsible for any deficiency.

8. The Company, subject to these Conditions of Sale and to such terms and conditions as it may prescribe, but without charge for its services, will undertake to make bids for responsible parties approved by it. Requests for such bidding must be given with such clearness as to leave no room for misunderstanding as to the amount to be bid and must state the catalogue number of the item and the name or title of the article to be bid on. If bids are to be made on several articles listed as one item in the catalogue, the request should state the amount to be bid on each article, unless the article contains the notation “Lot” in which case the request should state the amount to be bid “for the Lot”.

9. Conditions of Sale cannot be altered except in writing by the auctioneer at the time of the sale.

10. Not responsible for typographical errors or omissions.

11. TERMS: Cash, good check, MC/Visa. All items sold “as is”. A premium of 17% will be added to all property sold, to be paid by the buyer as part of the purchase price.

Note: All purchases subject to Massachusetts Sales Tax unless holder of exemption certificate.

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WILLIS HENRY AUCTIONS ABSENTEE BID FORM Terms: Cash or Good Check, MC/Visa, 17% Buyer’s Premium. All Absentee Bids are executed by a member of our staff as a free service to the bidder. The staff member will bid competitively up to the amount specified. The bid will start in the audience and the next logical raise will be executed by our staff member, until the bidding stops on or below the amount specified on the Absentee Form. If the bidding stops in the audience on the exact amount of the Absentee Bid the Company policy (Plus One) is for our staff member to bid the next raise so that the absentee bidder will not lose the Lot at the exact amount. If two or more absentee bids are received from different bidders on the same Lot, the bidding will start at the next logical raise above the second from the highest bid. If two or more identical absentee bids are received from different bidders, the bid first received by the Company will take precedent. OFFERINGS SUBJECT TO ERROR, ALL GOODS SOLD “AS IS”, ALL SALES FINAL. All other Conditions of Sale in this catalog apply.

To be valid, this form should be filled out, signed and mailed to Willis Henry Auctions, Inc., 22 Main Street, Marshfield, MA 02050 OR faxed to 781-826-3520. Important: Call 781-834-7774 to confirm receipt.

All lots must be paid for and picked up within one week of the sale or a storage fee may apply.

Name

E-Mail

Street City

State

Phone

Zip Code

Tax No.

I wish to place the following bids for the auction being held on Lot No.

Date:

Brief Description

Left Bid

Signature:

MC/Visa #: _________________________________

Exp.: ____________

Security Code:_______ 55

Notes

56 WILLIS HENRY AUCTIONS, INC

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WILLIS HENRY AUCTIONS

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WILLIS HENRY AUCTIONS

Karel & Willis Henry 22 Main St Marshfield, MA 02050 781-834-7774 wha@willishenry.com

www.willishenryauctions.com

AMERICAN INDIAN & ETHNOGRAPHIC ART AUCTION SUNDAY, MAY 26, 2013