Santa Fe Art Auction Catalog 2025

– 8,

November 7 – 8, 2025

THE SIGNATURE LIVE SALE

Friday + Saturday, November 7 + 8, 2025

932 Railfan Road, Santa Fe, NM 87505

Session I | (Lots 1 – 104)

Prints, Multiples + Works on Paper

Jewelry

Friday, November 7 | 1:00pm MST

Session II | (Lots 105 – 231)

Native American Arts

Western Paintings + Photography

Saturday, November 8 | 9:30am MST

Break for Lunch | 12:00pm MST

Session III | (Lots 232 – 354)

Post-War Contemporary Paintings + Sculpture Western Paintings

New Mexico Santeros

Native American Paintings

Saturday, November 8 | 1:00pm MST

RECEPTIONS + PREVIEWS

932 Railfan Road, Santa Fe, NM 87505

Hosted Cocktail Preview Reception

Wednesday, November 5 | 5:00pm – 7:00pm MST

Open House (all day)

Friday, November 7 | 9:00am – 6:30pm

Post Auction Brunch (pickups + payments)

Sunday, November 9 | 9:00am – 11:00am

General Previews

Monday through Friday + by appointment October 27 – November 7 | 10:00am – 5:00pm MST

BIDDING OPTIONS

Online Bidding santafeartauction.com invaluable.com liveauctioneers.com

In-Person Bidding

Register to attend at santafeartauction.com or visit 932 Railfan Road, Santa Fe, NM 87505

Telephone + Absentee Bidding

Arrangements must be made no later than; November 6 | 5:00pm MST for Session I November 7 | 5:00pm MST for Session II + III

Telephone bidders are encouraged to leave absentee bids in the case of technical difficulties. Please direct all inquiries to 505.954.5858

Register online at santafeartauction.com

Friday, November 7 1:00pm MST

1 Gene Kloss (1903 – 1996)

Corn Dance at Taos Pueblo, 1943

etching, edition of 50

titled lower left: Corn Dance - Taos Pueblo signed lower right: Gene KLoss

3 ½ x 5 ⅞ in. (8.9 x 14.9 cm.)

frame: 14 x 16 ½ x 0 ½ in. (35.6 x 41.9 x 1.3 cm.)

Provenance: Private Collection, Arizona

Literature:

A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. I, p. 210, No. 383

$1,000 — $2,000

2 Gene Kloss (1903 – 1996) La Hacienda, 1925

etching titled lower left: La Hacienda signed lower right: Gene Kloss. 5 x 6 ½ in. (12.7 x 16.5 cm.)

Provenance: Private Collection, New Mexico

Literature:

A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. I, p. 28, No. 36

$1,000 — $2,000

Gene Kloss (Alice Geneva Kloss) was a leading American printmaker celebrated for evocative etchings and aquatints of Taos Pueblo life, Northern New Mexico ceremonies, and high-desert landscapes. Born in Oakland, California, she studied at UC Berkeley and first visited Taos in 1925, later dividing her time between California and New Mexico before settling permanently in Taos. Working almost entirely on her own press, she produced 600+ plates—etching, drypoint, and aquatint—distinguished by rich chiaroscuro, luminous tonal ranges, and an unusual sensitivity to sacred subjects (Penitente rites, Pueblo dances), typically portrayed with dignity and restraint rather than spectacle. Kloss contributed prints to New Deal art programs in the 1930s and was one of the few women of her era elected to the National Academy of Design. Though she painted in oil and watercolor, her reputation rests on her masterful intaglio prints, which are held in major collections nationwide.

3 Gene Kloss (1903 – 1996) Far Across the Rio Grande, 1939

etching, artist’s proof, edition of 75 editioned and titled lower left: Artist’s Proof / Far Across the Rio Grande signed lower right: Gene KLoss 11 ½ x 14 ¾ in. (29.2 x 37.5 cm.)

frame: 21 ⅝ x 24 ⅞ x 1 ½ in. (54.9 x 63.2 x 3.8 cm.)

Provenance: Private Collection, New Mexico

Literature:

A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. I, p. 186, No 361

$1,000 — $2,000

4 Gene Kloss (1903 – 1996)

Winter Woods, 1941

etching, edition of 50 titled lower left: Winter Woods Ed 50 signed lower right: Gene Kloss

7 ½ x 8 ¾ in. (19.1 x 22.2 cm.)

frame: 14 ¾ x 15 ¾ x 1 in. (37.5 x 40 x 2.5 cm.)

Provenance: Private Collection, Texas

Literature:

A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. I, p. 205, No. 378

$1,000 — $2,000

6 Gene Kloss (1903 – 1996) Adobe Dusk, 1925

etching, soft ground

titled lower left: Adobe Dusk signed lower right: Gene KLoss

4 ⅛ x 4 ⅞ in. (10.5 x 12.4 cm.)

frame: 11 ½ x 12 x ⅞ in. (29.2 x 30.5 x 2.2 cm.)

Provenance: Private Collection, Arizona

Literature:

A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. I, p. 38, No. 55

$2,000 — $4,000

5 Gene Kloss (1903 – 1996) Winter in Telluride, 1968

etching, drypoint, edition 30 of 75 editioned and titled lower left: 30/75 Winter in Telluride signed lower right: Gene Kloss Imp 11 ¾ x 14 ⅝ in. (29.8 x 37.1 cm.)

frame: 21 ⅛ x 24 ⅛ x ⅞ in. (53.7 x 61.3 x 2.2 cm.)

Provenance: Private Collection, New Mexico

Literature:

A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. II, p. 104, No. 525

$700 — $1,000

7 Gene Kloss (1903 – 1996)

Night Mass at Our Lady of Dolores, 1937

drypoint, aquatint, edition of 30 titled lower left: Night Mass - Our Lady of Dolores signed lower right: Gene KLoss

12 ⅜ x 9 ⅜ in. (31.4 x 23.8 cm.)

frame: 21 ⅛ x 17 ⅝ x ⅝ in. (53.7 x 44.8 x 1.6 cm.)

Provenance: Private Collection, Colorado

Literature:

A. Eugene Sanchez, Gene Kloss: An American Printmaker, A Raisonné, Taos, 2009, Vol. I, p. 172, No. 345

$6,000 — $9,000

– 1992)

1940

lithograph

initialed in plate lower left: HGB

9 ½ x 12 ½ in. (24.1 x 31.8 cm.) frame: 18 ⅜ x 21 ¼ x 1 ⅛ in. (46.7 x 54 x 2.9 cm.)

Provenance: Private Collection, Illinois

$700 — $1,000

airbrushed watercolor, ink on board

signed lower right: WClark 7 ½ x 6 in. (19.1 x 15.2 cm.) frame: 14 x 13 ½ x 1 in. (35.6 x 34.3 x 2.5 cm.)

Provenance: Private Collection, New Mexico

$1,000 — $2,000

– 1980)

woodcut

titled lower center: Taos Pueblo Moonlight signed and dated lower right: Howard Cook imp. 1928

12 x 15 in. (30.5 x 38.1 cm.)

Provenance: Private Collection, New Jersey

$2,000 — $4,000

woodcut signed and dated lower right: Howard Cook imp. 1927 10 x 12 in. (25.4 x 30.5 cm.)

Provenance: Private Collection, New Jersey

$1,500 — $2,500

12 Howard Norton Cook (1901 – 1980)

Spring Flower #1 (Roswell Iris), 1968

pastel on paper

signed lower center: Howard Cook

inscribed verso: Spring Flower #1 / Howard Cook / PASTEL / ROSWELL IRIS / for H.G.B.

11 x 6 ¾ in. (27.9 x 17.1 cm.)

frame: 17 ⅝ x 12 ½ x 1 ¼ in. (44.8 x 31.8 x 3.2 cm.)

Provenance:

Gerald Peters Gallery, Santa Fe, New Mexico

Private Collection, California

$1,000 — $2,000

14 Joann Hensel (20th Century)

Mission Church, 1981

watercolor on paper

signed and dated lower center: HENSEL ©1981 / PSWP

inscribed verso: Mission Church ©1981 / St. Francis of Assisi, Taos, N.Mex

13 ½ x 20 ¼ in. (34.3 x 51.4 cm.)

frame: 20 x 26 ½ x 1 in. (50.8 x 67.3 x 2.5 cm.)

Provenance: Private Collection, New Mexico

$800 — $1,200

13 Franz Strahalm (1879 – 1935) Santa Clara Pueblo, New Mexico, 1926 – 1927

watercolor on paper

signed lower right: Franz Strahalm 4 x 5 ¾ in. (10.2 x 14.6 cm.)

frame: 10 ½ x 12 x 1 in. (26.7 x 30.5 x 2.5 cm.)

Provenance: Private Collection, New Mexico

$600 — $900

15 Arthur Earl Haddock (1895 – 1980)

Untitled (New Mexico), 1975

watercolor on Arches

inscribed and dated lower left: #1059 / Jan 27 1975

stamped lower right: HADDOCK

inscribed verso: #9 / GH • AH • 46 10 ½ x 14 ½ in. (26.7 x 36.8 cm.)

Provenance: Private Collection, New Mexico

$800 — $1,200

16 Ernest Martin Hennings (1886 – 1956)

Beneath the Cottonwoods, ca. 1924

lithograph, edition 30 of 100

editioned and titled lower left: 30/100 “Beneath the Cottonwoods” signed lower right: E. Martin Hennings 10 ½ x 10 ½ in. (26.7 x 26.7 cm.)

Provenance: Private Collection, California

$2,000 — $4,000

18 William Herbert Dunton (1878 – 1936) Heart of the Wilderness (Elk), 1933

lithograph, edition 98 of 100 signed in plate lower right: Dunton / of / Taos titled and editioned lower left: Heart of the Wilderness. / Elk. No. 98. signed and dated lower right: W. Herbert Dunton, ‘33 / “Heart of the West” Series. 13 ½ x 10 ½ in. (34.3 x 26.7 cm.)

frame: 25 ½ x 22 ½ x 1 ½ in. (64.8 x 57.2 x 3.8 cm.)

Provenance: Private Collection, New Mexico

$1,500 — $2,500

17 William Herbert Dunton (1878 – 1936) On the Great Plains (Prairie Horn Antelope), 1932

lithograph, edition 54 of 100

signed in plate lower right: Dunton / of / Taos titled and editioned lower left: On the Great Plains. / Prairie Horn Antelope No. 54-100

signed and dated lower right: W. Herbert Dunton, ‘32 / “Heart of the West” Series. 13 x 10 in. (33 x 25.4 cm.)

frame: 25 ¾ x 22 ¼ x 1 ¼ in. (65.4 x 56.5 x 3.2 cm.)

Provenance: Private Collection, New Mexico

$1,500 — $2,500

19 William Herbert Dunton (1878 – 1936) The First Snow (Mule Deer)

lithograph signed in plate lower left: Dunton / of / Taos titled lower left: -The First Snow- / Mule Deer. No. 48. signed and inscribed lower right: W. Herbert Dunton / “Heart of the West" Series. 11 ½ x 10 in. (29.2 x 25.4 cm.)

frame: 23 x 20 ¼ x ½ in. (58.4 x 51.4 x 1.3 cm.)

Provenance: Private Collection, Arizona

$1,500 — $2,500

20 Gustave Baumann (1881 – 1971)

An Eagle Ceremony at Tesuque Pueblo, 1932

woodcut signed in block lower left: G [hand in heart chop] B printed by Pynson Printers

6 ½ x 6 ½ in. (16.5 x 16.5 cm.) frame: 13 ½ x 13 ½ x 1 in. (34.3 x 34.3 x 2.5 cm.)

Provenance:

Private Collection, New Mexico

Literature:

Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, no. 142

$1,500 — $2,500

21 Gustave Baumann (1881 – 1971)

Frijoles Canyon Pictographs + Original Publishers Prospectus, 1939

woodcuts, letterpress, edition of 480 inscribed on flyleaf page: Christmas 1939 / To our very dearest of friends, Lois, our love and a Merry Christmas from May and Dick. signed at lower right of foldout print: Gustave Baumann. having forty-eight pages with 25 woodcut illustrations on Bayreuth Antique paper, with text printed in letterpress by Willard Clark also present is an original prospectus from the Writer’s Editions with additional information 8 ¾ x 7 ⅝ x ⅜ in. (22.2 x 19.4 x 1 cm.)

Provenance:

Private Collection, New Mexico

Gustave Baumann’s Frijoles Canyon Pictographs, published in 1939 by Writers’ Editions in Santa Fe, New Mexico, is a landmark Southwest book-arts project. Published in a limited edition of 480 with 25 woodcuts (including a folding plate) documenting the rock art of Frijoles Canyon/Bandelier that Baumann sketched and printed himself. The text was letterpress-set by Willard Clark on Bayreuth Antique paper; Hazel Dreis bound the edition in decorated cloth with paper labels. It was named one of the Fifty Books of the Year by the American Institute of Graphic Arts when it appeared in 1939. The volume fuses Baumann’s color-woodcut craft with regional archaeology, making it a prized, quintessential Santa Fe-era publication.

$2,000 — $4,000

22 Gustave Baumann (1881 – 1971) Summer Rain (State IV), 1956

woodcut on cream Zanders laid paper, edition RC 9 of 50 titled lower left: SUMMER RAIN

signed and dated lower right: Gustave [hand in heart chop) Baumann 56

editioned lower right: RC 9-50 10 ½ x 11 ¾ in. (26.7 x 29.8 cm.)

frame: 19 ⅛ x 19 ¾ x 1 ¼ in. (48.6 x 50.2 x 3.2 cm.)

Provenance: Private Collection, Maryland

Literature:

Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, No. 112

Joseph Traugott, Gustave Baumann’s Southwest, 2007, Pomegranate Press, pl. 31, p. 55

David Acton, Martin Krause, and Madeline Yurtseven, Gustave Baumann: Nearer to Art, 2015, Museum of New Mexico Press, pl. 45, p. 59

This print of Gustave Baumann’s Summer Rain is the artist’s lifetime re-cut of his 1926 color woodcut, issued in a small edition of 50 and numbered with the prefix “RC”. Printed from multiple woodblocks in Baumann’s layered, luminous palette, Summer Rain is a beloved Southwestern scene and one of the select images Baumann chose to revisit late in life.

$10,000 — $15,000

23 Gustave Baumann (1881 – 1971)

Morning in Mexico, 1934

woodcut, edition 16 of 125 titled lower left: MORNING IN MEXICO editioned and signed lower right: II 16 125 / Gustave [hand in heart chop] Baumann

13 ¾ x 14 ⅜ in. (34.9 x 36.5 cm.)

frame: 23 x 23 ½ x 1 ¼ in. (58.4 x 59.7 x 3.2 cm.)

Provenance: Private Collection, Arizona

Literature:

Baumann Inventory No. 107

Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, p. 384, No. 143.2

$6,000 — $9,000

24 Gustave Baumann (1881 – 1971)

Big Timber Upper Pecos, 1924

woodcut

titled lower left: Big Timber Upper Pecos

signed lower right: Gustave [hand in heart chop] Baumann

10 ¼ x 11 ⅞ in. (26 x 30.2 cm.)

frame: 19 x 20 ½ x ¾ in. (48.3 x 52.1 x 1.9 cm.)

Provenance: Albert Roullier Art Galleries, Chicago, Illinois Private Collection, Virginia

Literature:

Baumann Inventory No. 55

Gala Chamberlain, Nancy E. Green, and Thomas Leech, In a Modern Rendering: The Color Woodcuts of Gustave Baumann: A Catalogue Raisonné, Rizzoli Electa, 2019, p. 297, No. 99.2

$4,000 — $8,000

25 Norma Bassett Hall (1888 – 1957)

serigraph titled lower left: SANCTUARIO

signed lower right: Norma Bassett Hall

13 x 16 ½ in. (33 x 41.9 cm.)

frame: 23 ¼ x 26 ½ x 1 in. (59.1 x 67.3 x 2.5 cm.)

Provenance: Private Collection, Arizona

$2,500 — $4,500

26 Norma Bassett Hall (1888 – 1957) Spring in Santa Fe

serigraph

titled lower left: SPRING IN SANTA FE

signed lower right: Norma Bassett Hall

9 ⅜ x 8 ¼ in. (23.8 x 21 cm.)

frame: 18 ¾ x 16 ⅞ x ¾ in. (47.6 x 42.9 x 1.9 cm.)

Provenance: Private Collection, Arizona

$2,000 — $4,000

27 Norma Bassett Hall (1888 – 1957)

woodcut, edition 47 of 75 editioned and titled lower left: 47/75 WHALE COVE signed lower right: Norma Bassett Hall 7 ½ x 9 ½ in. (19.1 x 24.1 cm.)

frame: 14 ½ x 18 ¾ x ½ in. (36.8 x 47.6 x 1.3 cm.)

Provenance: Nedra Matteucci Galleries, Santa Fe, New Mexico Private Collection, New Jersey

$1,200 — $1,800

28 William Thomas Lumpkins (1909 – 2000) Governor’s House, 1981

watercolor on paper

signed and dated lower right: Lumpkins 81 in gold leaf frame

17 ¼ x 23 ¼ in. (43.8 x 59.1 cm.)

frame: 27 x 33 x 1 in. (68.6 x 83.8 x 2.5 cm.)

Provenance: Private Collection, Virginia

$1,500 — $2,500

29 Frank G. Applegate (1881 – 1931) Spring at Santa Fe

watercolor on paper titled lower left: Spring at Santa Fe signed lower right: F.G. Applegate 7 ¼ x 10 ⅞ in. (18.4 x 27.6 cm.)

frame: 15 ⅛ x 18 ½ x ⅞ in. (38.4 x 47 x 2.2 cm.)

Provenance: Zaplin-Lampert Gallery, Santa Fe, New Mexico Private Collection, New Mexico

$3,000 — $6,000

31 Dorothy Alden Morang (1906 – 1994)

Landscape Rhythms, 1956

pastel on paper

dated and signed lower left: 1956 DOROTHY MORANG

inscribed verso: Landscape Rhythms

19 ¼ x 25 ¼ in. (48.9 x 64.1 cm.)

frame: 24 ½ x 30 ¼ x 1 in. (62.2 x 76.8 x 2.5 cm.)

Provenance: Private Collection, California

$1,000 — $2,000

32 Dorothy Alden Morang (1906 – 1994)

Untitled, 1967

pastel on paper signed and dated lower right: DOROTHY MORANG 1967

25 x 19 ¼ in. (63.5 x 48.9 cm.)

frame: 31 ½ x 26 x 1 in. (80 x 66 x 2.5 cm.)

Provenance: Private Collection, New Mexico

$1,500 — $2,500

33 Betty Woodman (1930 – 2018)

Reflective Vases I, 2007

monotype, collage on paper titled lower left: “Reflective Vases” I” signed and dated lower right: Betty Woodman ‘07

44 ¼ x 30 ¼ in. (112.4 x 76.8 cm.)

frame: 50 ⅛ x 36 x ⅞ in. (127.3 x 91.4 x 2.2 cm.)

Provenance: Private Collection, Colorado

$3,000 — $5,000

34 William Thomas Lumpkins (1909 – 2000)

Untitled #46, 1992

acrylic on paper signed and dated lower right: LUMPKINS 92

56 ¾ x 43 ¾ in. (144.1 x 111.1 cm.)

frame: 64 ¼ x 50 ⅞ x 2 ⅛ in. (163.2 x 129.2 x 5.4 cm.)

Provenance: Private Collection, New Mexico

$3,000 — $5,000

35 Emil James Bisttram (1895 – 1976)

Untitled (Cross), 1940

encaustic, wax crayon on paper signed and dated lower right: BISTTRAM40

13 ⅝ x 10 ⅝ in. (34.6 x 27 cm.)

frame: 20 ¼ x 17 ¼ x 1 ¾ in. (51.4 x 43.8 x 4.4 cm.)

Provenance: Private Collection, British Columbia

$3,000 — $5,000

36 Emil James Bisttram (1895 – 1976) Directions

encaustic, wax crayon on paper signed lower left: BISTTRAM

7 x 5 ½ in. (17.8 x 14 cm.)

frame: 17 ¼ x 15 ½ x ¾ in. (43.8 x 39.4 x 1.9 cm.)

Provenance: Private Collection, New Jersey

$1,500 — $2,000

37 Alex Katz (b. 1927)

Pair of Prints: Coleman Pond 2 + Coleman Pond 3, 2007

woodcut in heliorelief (photographic woodcut), edition 2 of 40

Coleman Pond 2, 2007 on Tosa Washi Gekko White 120g paper signed and editioned lower left: Alex Katz 2/50

Coleman Pond 3, 2007 on Tosa Washi Hanga Natural 95g paper signed and editioned lower left: Alex Katz 2/50

printed by Tom Pruitt, Graphicstudio, Tampa, Florida published by the artist

each: 6 x 7 ½ in. (15.2 x 19.1 cm.), frame: 16 ½ x 10 ⅞ x 1 in. (41.9 x 27.6 x 2.5 cm.)

Provenance: Private Collection, New Mexico

Alex Katz is a leading American figurative painter whose pared-down portraits, social scenes, and Maine landscapes—rendered in flat planes of vivid color and crisp contours—have defined his singular style since the 1950s. He studied at Cooper Union and Skowhegan, where painting from life became central to his practice. He has split his time between SoHo and Lincolnville, Maine since the ‘50s. Coleman Pond, named for the pond by his summer home in Lincolnville, Maine, is one of Katzís recurring Maine motifs tied to decades of summers in Lincolnville, which feed his landscape work.

$3,000 — $5,000

38 Andrew Dasburg (1887 – 1979)

Untitled (Forest Abstraction), 1930

watercolor on paper

signed and dated lower right: Dasburg ‘30

8 ¾ x 11 in. (22.2 x 27.9 cm.)

frame: 16 ⅝ x 19 x 1 ¼ in. (42.2 x 48.3 x 3.2 cm.)

Provenance:

Private Collection, New Mexico

$4,000 — $8,000

39 Andrew Dasburg (1887 – 1979)

Untitled (Mural Study with Figures), 1936 conte crayon on paper over panel

signed and dated lower right: Dasburg ‘36 9 x 11 ½ in. (22.9 x 29.2 cm.)

frame: 17 ½ x 19.9 x 1 in. (44.5 x 50.5 x 2.5 cm.)

Provenance: Private Collection, Virginia

$1,200 — $1,800

40 Andrew Dasburg (1887 – 1979)

Pizzicato / Windy Landscape

pen, ink on paper

a double-sided work, featuring Pizzicato on the recto and Windy Landscape verso

signed lower right: Dasburg

16 ⅞ x 21 ⅞ in. (42.9 x 55.6 cm.)

frame: 28 x 32 ¼ x ⅞ in. (71.1 x 81.9 x 2.2 cm.)

Provenance:

Owings-Dewey Fine Art, Santa Fe, New Mexico

Gerald Peters Gallery, Santa Fe, New Mexico

Salander-O’Reilly Galleries, Inc., New York, New York

Private Collection, British Columbia

$2,000 — $4,000

41 Andrew Dasburg (1887 – 1979)

Untitled (Arroyo Hondo Valley), 1972

graphite on paper

signed and dated lower left: Dasburg ‘72 14 ¼ x 20 in. (36.2 x 50.8 cm.)

frame: 21 ¼ x 23 ¼ x 1 ½ in. (54 x 59.1 x 3.8 cm.)

Provenance:

The Owings Gallery, Santa Fe, New Mexico

Aaron Payne Fine Art, Santa Fe, New Mexico

Private Collection, British Columbia

$2,000 — $4,000

42 Gerald Ira Diamond Cassidy (1869 – 1934) Untitled (Desert Landscape with Adobe and Mountains)

watercolor on paper

signed right of lower center: Ira Diamond Cassidy

11 ½ x 15 ¾ in. (29.2 x 40 cm.)

frame: 23 ¾ x 27 in. (60.3 x 68.6 cm.)

Provenance:

Private Collection, Indiana

$2,000 — $4,000

43 William Penhallow Henderson (1877 – 1943) Rearing Horse, ca. 1905

watercolor on paper

signed lower left: [artist’s cipher]

5 ½ x 4 ½ in. (14 x 11.4 cm.)

frame: 12 x 11 x 1 in. (30.5 x 27.9 x 2.5 cm.)

Provenance:

Private Collection, New Mexico

$800 — $1,200

Gerald Cassidy was a Santa Fe—based painter, muralist, lithographer, and designer whose crisp, decorative images of the Southwest—Pueblo and Diné (Navajo) subjects, ceremonial scenes, and desert landscapes—helped define the early 20th-century New Mexico art colony. Born in Covington, Kentucky, raised in Cincinnati, he studied under Frank Duveneck at the city’s Mechanic/Mechanical Arts institute and later at the Art Students League in New York. After a severe illness in the 1890s he relocated to the arid Southwest to recuperate, eventually settling in Santa Fe in 1912 with his wife, the writer-sculptor Ina Sizer Cassidy. A highlight of his career was winning the Grand Prize/ Gold Medal for murals in the Indian Arts Building at the 1915 Panama —California Exposition (San Diego). In New Mexico he worked closely with museum leader Edgar Lee Hewett and became a mainstay of the Santa Fe art scene.

44 Raphael Lillywhite (1891 – 1958) Untitled (Rider)

graphite on paper

signed lower left: Raphael / Lillywhite 13 ⅜ x 10 ⅛ in. (34 x 25.7 cm.)

frame: 21 ¾ x 17 ¾ x ⅞ in. (55.2 x 45.1 x 2.2 cm.)

Provenance: Private Collection, New Mexico

$1,000 — $2,000

45 Gerard Curtis Delano (1890 – 1972)

watercolor on paper

signed lower right: © Gerard Curtis Delano inscribed verso: “NAVAJOS” / ORIGINAL WATERCOLOR / BY / GERARD CURTIS DELANO / (COPYRIGHTED)

14 ¼ x 17 ¼ in. (36.2 x 43.8 cm.)

frame: 22 ¼ x 25 ¼ x 1 in. (56.5 x 64.1 x 2.5 cm.)

Provenance: Private Collection, Utah

$10,000 — $15,000

46 Gerard Curtis Delano (1890 – 1972) Young Shepherd

gouache, pastel on paper board

signed lower right: Delano

inscribed on board verso: Young Shepard (Navajo) / 7 ¾” x 9 ¾” / Painted and Copyrighted by stamped on board verso: GERARD CURTIS DELANO 31 EAST 18TH AVE DENVER, COLO. inscribed on frame verso: Gerard Curtis Delano / Young Shepherd

7 ¾ x 9 ½ in. (19.7 x 24.1 cm.)

frame: 16 ½ x 18 ½ x ¾ in. (41.9 x 47 x 1.9 cm.)

Provenance: Private Collection, Utah

Gerard Curtis Delano’s Young Shepherd captures a quiet moment of pastoral life in the American Southwest. Known for his luminous palette and idealized depictions of Navajo subjects, Delano presents the shepherd with dignity and calm against a vast landscape. The painting reflects his characteristic blend of romanticism and realism, emphasizing both the beauty of the land and the enduring traditions of its people.

$6,000 — $9,000

47 James Bama (1926 – 2022) Study for Vision Place, 1996

gouache on paper signed and dated upper right: Bama 1996

2 ¼ x 3 ¼ in. (5.7 x 8.3 cm.)

frame: 8 x 9 x 1 in. (20.3 x 22.9 x 2.5 cm.)

Provenance: Private Collection, California

$2,000 — $4,000

49 Quincy Tahoma (Diné [Navajo], 1920 – 1956)

Buffalo Hunt, 1945

gouache on paper signed and dated lower right: [artist’s cipher] / TAHOMA / ‘45

18 x 17 ⅛ in. (45.7 x 43.5 cm.)

frame: 23 ⅝ x 22 x ⅞ in. (60 x 55.9 x 2.2 cm.)

Provenance: Private Collection, Utah

$3,000 — $5,000

48 Alfonso [Awa Tsireh] Roybal (San Ildefonso, 1898 – 1955)

Untitled (Rider, Horse, and Fox)

casein on paper signed lower right: Awa Tsireh

8 ⅜ x 11 ⅝ in. (21.3 x 29.5 cm.)

frame: 14 ½ x 17 ⅜ x ¾ in. (36.8 x 44.1 x 1.9 cm.)

Provenance: Private Collection, Colorado

$3,000 — $6,000

50 Quincy Tahoma (Diné [Navajo], 1920 – 1956)

Navajo Fire Dance, 1946

gouache on paper signed and dated lower right: [artist’s cipher] / TAHOMA / ‘46 inscribed verso: “Navaho Fire Dance” / By-Quincy Tahoma / Navaho Artist of Santa Fe

25 x 20 ¾ in. (63.5 x 52.7 cm.)

frame: 33 ¾ x 29 ¾ x .75 in. (85.7 x 75.6 x 1.9 cm.)

Provenance: Private Collection, New Mexico

$3,000 — $6,000

51 Quincy Tahoma (Diné [Navajo], 1920 – 1956)

Untitled (Buffalo Hunt), 1952

gouache on paper

signed and dated lower right: [artist’s cipher] / TAHOMA / ‘52

26 x 21 ½ in. (66 x 54.6 cm.)

frame: 35 x 30 x ½ in. (88.9 x 76.2 x 1.3 cm.)

Provenance: Private Collection, Colorado

Quincy Tahoma (1920 – 1956) was a Diné (Navajo) painter celebrated for his dynamic depictions of Navajo life, culture, and tradition. A student of Dorothy Dunn’s Studio School in Santa Fe, he developed a distinctive style marked by strong movement, storytelling, and vibrant color. Despite his short life, Tahoma left a lasting legacy as one of the most expressive voices of 20th-century Native American painting.

$6,000 — $8,000

52 Tonita Vigil [Quah Ah] Peña (San Ildefonso, 1893 – 1949)

Untitled (San Ildefonso Dancers)

gouache on paper

signed lower right: Quah Ah. / Tonita Peña.

13 ¼ x 21 in. (33.7 x 53.3 cm.)

frame: 17 ⅝ x 25 ¼ x ½ in. (44.8 x 64.1 x 1.3 cm.)

Provenance: Private Collection, New Mexico

$3,000 — $5,000

gouache on paper

signed lower right: PAblitA VelArdE inscribed verso: Special Dance / 1940 12 ⅝ x 25 ⅝ in. (32.1 x 65.1 cm.) frame: 22 x 35 ⅛ x 1 ¼ in. (55.9 x 89.2 x 3.2 cm.)

Provenance: Private Collection, New Mexico

Mother to Helen Hardin and grandmother to Margarete Bagshaw, Pablita Velarde was the matriarch of one of the most important families of 20th Century Pueblo artists. Velarde was educated at the famous Santa Fe Indian School, where she was one of Dorothy Dunn’s first female students that attended full-time. She is well-known for her works that reflect her Santa Clara heritage and document Pueblo life and traditions. Special Dance, 1940, is remarkable for its mix of colorfully dressed figures in both Native American and Western attire. The contemporary social setting is nevertheless punctuated by the vegas in the ceiling, creating a visual rhythm that underscores the dance scene and communicates a palpable sense of levity and community.

$4,000 — $6,000

54 Paul Pletka (b. 1946)

Untitled (Native Portrait with Striped Coat)

ink wash on paper

signed lower right: Pletka

39 ¾ x 31 ½ in. (101 x 80 cm.)

frame: 44 ¾ x 36 ¾ x 1 ½ in. (113.7 x 93.3 x 3.8 cm.)

Provenance: Private Collection, New Mexico

$2,000 — $4,000

55 Paul Pletka (b. 1946)

Untitled (Ceremonial Native Warrior)

ink wash on paper

signed lower right: Pletka

39 ½ x 31 ½ in. (100.3 x 80 cm.)

frame: 44 ⅞ x 36 ¾ x 1 ½ in. (114 x 93.3 x 3.8 cm.)

Provenance: Private Collection, New Mexico

$2,000 — $4,000

, 1976

woodcut, edition 41 of 200

editioned and signed lower left: 41/200 / Walter Cannon stamp signed lower right: T C Cannon

15 x 11 ¼ in. (38.1 x 28.6 cm.)

frame: 25 x 19 x 1 in. (63.5 x 48.3 x 2.5 cm.)

Provenance:

Private Collection, New Mexico

$4,000 — $6,000

woodcut, edition 157 of 200 editioned and signed lower left: 157/200 / Walter Cannon stamp signed lower right: T C Cannon 17 x 15 in. (43.2 x 38.1 cm.) frame: 29 ⅞ x 25 ¾ x 1 in. (75.9 x 65.4 x 2.5 cm.)

Provenance: Private Collection, New Mexico

$3,000 — $6,000

58 Jaune Quick-to-See Smith (French-Cree/Shoshone/Salish, 1940 – 2025)

Survival Suite (Four Lithographs), 1996: Wisdom/Knowledge + Humor + Tribe/Community + Nature/Medicine, 1996 lithograph, chine-collé, edition 6 of 50

each editioned lower left: 6/50 each signed lower right: Jqts Smith

printed by Lawrence Lithography Workshop published by Zanatta Editions

each sheet: 36 x 24 ⅝ in. (91.4 x 62.5 cm.)

From a Private Collection

Smith’s Survival Suite is a portfolio of four lithographs with chine-collé titled around the core elements she identifies for Indigenous endurance: Tribe/Community, Nature/Medicine, Wisdom/Knowledge, and Humor. Printed at Lawrence Lithography Workshop and issued by Zanatta Editions in an edition of 50 (plus artist’s and printer’s proofs), each image is layered with Smith’s hallmark visual language; maps, handwritten text, emblematic animals and figures, collaging personal memory with political commentary. Together, the prints operate like a compact manifesto, celebrating community bonds, traditional knowledge and healing, and the sustaining power of wit as essential tools for cultural survival.

$9,000 — $12,000

59 Jaune Quick-to-See Smith (French-Cree/Shoshone/Salish, 1940 – 2025)

Horse Sense, 1994

lithograph, trial proof, edition of 30 editioned lower left: T.P. titled lower center: Horse Sense signed lower right: Jqts Smith published by the artist, Corrales, New Mexico printed by Sarah Amos at Petersburg Press, New York, New York 30 x 22 ½ in. (76.2 x 57.2 cm.)

Provenance: From a Private Collection

$3,000 — $5,000

60 Jaune Quick-to-See Smith (French-Cree/Shoshone/Salish, 1940 – 2025) Where is John Lennon, 2003

lithograph on Rives BFK, edition 14 of 30 editioned lower left: 14/30 signed lower right: Jqts Smith Tamarind chop lower left artist’s + printer’s chops lower center and right collaborating printer: Lee Turner edition printer: Bill Lagattuta 25 x 19 in. (63.5 x 48.3 cm.) frame: 29 x 22 x 1 in. (73.7 x 55.9 x 2.5 cm.)

Provenance: Private Collection, New Mexico

Literature: Tamarind Institute Online Catalogue Raisonné, No. 03-810

$4,000 — $6,000

61 Jaune Quick-to-See Smith (French-Cree/Shoshone/Salish, 1940 – 2025) Wasatch Winter, 2002

lithograph, edition 59 of 75 editioned lower left: 59/75 titled and dated lower center: Wasatch Winter 2002 signed lower right: Jqts Smith publisher’s chop lower left inscribed verso: JQTS-01-4 published by Fine Art Ltd. on behalf of the Cultural Olympiad for the 2002 Salt Lake Olympic Games printed by Michael Sims at Lawrence Lithography Workshop 33 x 24 ½ in. (83.8 x 62.2 cm.)

Provenance: From a Private Collection

$1,500 — $2,500

62 Various Artists

Indian Self-Rule Portfolio, 1983

edition 16 of 50

Jaune Quick-to-See Smith (French-Cree/Shoshone/Salish, 1940 – 2025)

Untitled (Five Buffalo), 1983

lithograph

editioned and titled lower left: 16/50 Indian Self Rule signed lower right: Jqts Smith

28 ¼ x 20 in. (71.8 x 50.8 cm.)

frame: 44 ⅞ x 37 ⅛ x 2 in. (114 x 94.3 x 5.1 cm.)

N. Scott Momaday (Kiowa, 1934 – 2024) I.S.R. (Kiowa Year 1849), 1983 etching, aquatint with hand coloring

editioned lower left: 16/50 titled lower center: ISR

signed lower right: N. Scott Momaday blindstamp lower left

23 ¾ x 17 ¾ in. (60.3 x 45.1 cm.)

frame: 44 ⅞ x 37 ⅛ x 2 in. (114 x 94.3 x 5.1 cm.)

Darren Vigil Gray (Jicarilla Apache, b. 1959)

Indian Self Rule (Portrait of Wovoka), 1983 serigraph

signed in image lower left: Darren editioned lower left: 16/50

titled lower center: Indian-Self-Rule

signed lower right: Darren blindstamp lower left

22 ¼ x 18 in. (56.5 x 45.7 cm.)

frame: 44 ⅞ x 37 ⅛ x 2 in. (114 x 94.3 x 5.1 cm.)

David P. Bradley (Chippewa, b. 1954)

American Indian Gothic, 1983 lithograph on Arches

titled lower left: American Indian Gothic editioned right of lower center: 16/50

signed lower right: David P Bradley

29 ⅞ x 22 ⅜ in. (75.9 x 56.8 cm.)

frame: 44 ⅞ x 37 ⅛ x 2 in. (114 x 94.3 x 5.1 cm.)

Randy Lee White (b. 1951)

Red Hawk’s Portrait (from the “Indian Self Rule” portfolio), 1983 serigraph

editioned lower left: 16/50

titled lower center: Red Hawk’s Portrait / I.S.R. signed lower right: R Lee White blindstamp lower left

23 ⅝ x 20 in. (60 x 50.8 cm.)

frame: 44 ⅞ x 37 ⅛ x 2 in. (114 x 94.3 x 5.1 cm.)

includes original title page and colophon

Provenance:

The Collection of Bernard Pomerance (1940 – 2017) Private Collection, New York (by descent)

Issued in 1983 to mark fifty years since the Indian Reorganization Act (1934), Indian SelfRule brings together five prints by David P. Bradley, Jaune Quick-to-See Smith, N. Scott Momaday, Darren Vigil Gray, and R. Lee White that reflect a spectrum of contemporary Native voices and print media. Printed by David W. Wharton and published by the Institute of the American West, the portfolio was produced in an edition of 50 signed and numbered sets, with proceeds benefiting the Institute’s commemorative “Indian Self-Rule” project. Complete portfolios and individual sheets are held by major institutions, with the folio being recognized as an early, collaborative milestone in late-20th-century Native American printmaking. The Smithsonian American Art Museum/National Museum of the American Indian, the Gilcrease Museum, the Boise Art Museum, and the Wichita Art Museum hold copies of the portfolio in their permanent collections.

$10,000 — $20,000

65 Luis Jiménez (1940 – 2006)

Adeliza’s Candy Store, 1983

lithograph, edition 21 of 40 editioned lower center: 2¼0 signed and dated lower right: Luis Jiménez ‘83 30 x 22 in. (76.2 x 55.9 cm.)

frame: 40 ⅜ x 32 ⅛ x 1 ½ in. (102.6 x 81.6 x 3.8 cm.)

Provenance: From a Private Collection

$2,000 — $4,000

63 Luis Jiménez (1940 – 2006)

Howl, 1977

lithograph, edition 46 of 60 signed and dated lower right: Luis Jiménez ‘77 editioned lower right: 46/60 published by Hand Graphics, Ltd., Santa Fe printed by David Panosh

36 ⅛ x 26 in. (91.8 x 66 cm.)

frame: 40 ⅛ x 30 ⅛ x 1 ½ in. (101.9 x 76.5 x 3.8 cm.)

Provenance: Private Collection, Colorado

$4,000 — $6,000

64 Luis Jiménez (1940 – 2006)

Southwest Pieta, 1983

lithograph, archival impression, edition of 50 editioned, signed and dated lower right: “Archival Imp [artist’s signature] 83

30 x 44 in. (76.2 x 111.8 cm.)

frame: 38 x 52 x 1 ½ in. (96.5 x 132.1 x 3.8 cm.)

Provenance: Sette & Segura Publishing Company, Tempe, Arizona Private Collection, Arizona

Exhibited: Luis Jiménez: Sculptures, Prints, and Drawings, Scottsdale Center for the Arts, Scottsdale, Arizona, October 27, 1991 – February 1, 1992

This image recasts the Pietà through a Southwestern/Indigenous lens, and the print combines Jiménez’s billboard-bright palette and muscular contours with intimate, devotional drama. Developed from substantial 1983 drawings, the image also foreshadows his later fiberglass public sculptures of the same theme, making this lithograph a key, print-based statement within one of his signature narrative subjects.

$4,000 — $8,000

Luis Jiménez was a Mexican-American/Chicano sculptor best known for large, polychromed fiberglass public works featuring bold, neon-slick surfaces learned in his father’s El Paso sign shop, fused with themes from Southwestern life and Mexican muralism. Trained at the University of Texas, he later taught at the University of Arizona and the University of Houston. Signature works include Border Crossing / Cruzando el Río Bravo (1989), the agrarian monument Sodbuster, San Isidro (1982 – 83), and Denver International Airport’s Mustang (installed 2008). His art appears in major museum collections and surveys; a large retrospective, Man on Fire, opened at the Albuquerque Museum in 1994.

66 Ed Mell (1942 – 2024) Diggin’ in

monotype

signed lower right: Ed Mell

19 ¾ x 24 ¾ in. (50.2 x 62.9 cm.)

frame: 27 x 32 x 1 ½ in. (68.6 x 81.3 x 3.8 cm.)

Provenance: Private Collection, California

Mell's work was modernist, exploratory, vibrant. He captured the American Southwest in a style that was inspired in part by the likes of Maynard Dixon.

"Most of my heroes ranged from the modernists in New Mexico to Maynard," he told Arizona Highways Editor Robert Stieve for the magazine's September 2020 issue. This image mirrors the more than 8 foot sculpture commissioned by the City of Scottsdale, Arizona, and completed in 1993. His first large-scale work, Mell said, “Jack Knife has a reverence for the Old West. It is not traditional, but yet it has a traditional theme. The angularity accelerates the power and energy of the rider and horse, more than accurate depiction.”

$5,000 — $10,000

67 Theodore Waddell (b. 1941)

Untitled (Two Horses)

mixed media on black paper

22 ¼ x 30 in. (56.5 x 76.2 cm.)

frame: 32 ¼ x 39 ¾ x 1 in. (81.9 x 101 x 2.5 cm.)

Provenance:

Private Collection, California

$3,000 — $5,000

69 Morris Rippel (1930 – 2009)

The Anasazi, 1992

watercolor on board

signed and dated lower left: M. RIPPEL © 1992 / SFWS

inscribed verso: “THE ANASAZI” / (WATERCOLOR ON BOARD) / 13 ½” x 22” / M. RIPPEL © 1992 / ALL RIGHTS RESERVED

13 ¼ x 21 ⅝ in. (33.7 x 54.9 cm.)

frame: 21 ⅛ x 29 ⅝ x 1 ¾ in. (53.7 x 75.2 x 4.4 cm.)

Provenance:

Colorado Historical Society, Denver, Colorado

Private Collection, Montana

$2,000 — $4,000

68 William Matthews (b. 1949)

Untitled (Resting Cowboy)

watercolor on paper

signed lower left: [artist’s stamp] William M

22 ¼ x 28 ½ in. (56.5 x 72.4 cm.)

frame: 36 ½ x 42 ¼ x ⅞ in. (92.7 x 107.3 x 2.2 cm.)

Provenance: Private Collection, Florida

$3,000 — $6,000

70 Merrill Dean Mahaffey (b. 1937)

Bright Angel Afternoon

watercolor on paper

signed lower left: MERRILL MAHAFFEY

55 ½ x 40 in. (141 x 101.6 cm.)

frame: 64 ¾ x 49 ⅜ x 2 in. (164.5 x 125.4 x 5.1 cm.)

Provenance: Elaine Horwitch Galleries, Scottsdale, Arizona

Private Collection, Colorado

$2,000 — $4,000

71 Diné (Navajo)

Silver Headstall, ca. 1895

silver, leather 18 ½ x 6 x 6 in. (47 x 15.2 x 15.2 cm.)

Provenance: Private Collection, Colorado

Unlike modern bridles with full metal bits and elaborate hardware, a Navajo headstall typically consists of leather straps or rawhide that go around the horse’s head and over the nose, sometimes combined with a simple bit. These headstalls were often decorated with beads, silver conchos, or other ornaments, reflecting both practical use and cultural artistry. They are an important part of Navajo equestrian tradition and craftsmanship.

$3,000 — $5,000

72 Harry Morgan (Diné [Navajo], 1947 – 2008) Silver Concho Belt with Turquoise Cabochons, ca. 1996

sterling silver, turquoise stamped: H MORGAN / Sterling accompanied by Certificate of Authenticity belt: 45 x ¾ in. (114.3 x 1.9 cm.)

buckle: 3 x 3 ½ in. (7.6 x 8.9 cm.) concho: 3 ½ x 4 in. (8.9 x 10.2 cm.)

Provenance:

Private Collection, New Mexico

$3,000 — $4,500

73 Attributed Diné (Navajo) First Phase Revival Concho Belt with Butterfly Buckle, ca. 1995

sterling silver, turquoise stamped: TC / [arrow hallmark] / Sterling belt: 45 x ¾ in. (114.3 x 1.9 cm.)

buckle: 3 ⅛ x 3 ½ in. (7.9 x 8.9 cm.) concho: 3 ⅞ x 4 ½ in. (9.8 x 11.4 cm.)

Provenance:

Private Collection, New Mexico

$2,000 — $3,000

74 Alice Platero (Diné [Navajo], 20th Century) Silver Belt with Natural Kingman Turquoise, ca. 1975

silver, Kingman turquoise stamped: AP belt: 36 ¾ x 2 in. (93.3 x 5.1 cm.)

buckle: 2 ¼ x 1 ¾ in. (5.7 x 4.4 cm.)

Provenance:

Private Collection, New Mexico

$6,000 — $9,000

75 Jack Adakai (Diné [Navajo], active ca. 1955 – 1980)

Sterling Silver Concho Belt, ca. 1965

sterling silver, leather stamped: J.A. having nine conchos

belt: 43 x 1 ⅛ in. (109.2 x 2.9 cm.)

buckle: 4 x 2 ⅜ in. (10.2 x 6 cm.)

concho: 4 x 2 ⅜ in. (10.2 x 6 cm.)

Provenance:

Private Collection, California

$2,000 — $4,000

76 Daniel + Christine Eriacho (Zuni, 20th Century) Needlepoint Turquoise Belt, ca. 1965

turquoise, silver inscribed: DaniEL-ChristiNE EriAcHo / Zuni belt: 30 x 1 in. (76.2 x 2.5 cm.)

buckle: 2 ¾ x 1 ½ in. (7 x 3.8 cm.) concho: 1 ⅜ x 1 ⅜ in. (3.5 x 3.5 cm.)

Provenance: Private Collection, New Mexico

$2,000 — $3,000

77 Attributed Diné (Navajo)

Set of Three Jewelry Items with Geometric Cabochons: Concho Belt + Cuff Bracelet + Pendant, ca. 1990

stabilized turquoise, sterling silver each stamped: R / STERLING

Concho Belt with Ten Turquoise Stones belt: 42 in. (106.7 cm.)

buckle: 3 1/2 x 2 1/4 in. (8.9 x 5.7 cm.)

Pendant 3 ¼ x 2 in. (8.3 x 5.1 cm.)

Cuff Bracelet

total internal circumference: 6 7/8 in. (17.5 cm.)

gap: 1 1/8 in. (2.9 cm.)

width: 3 1/4 in. (8.3 cm.)

Provenance: Private Collection, New Mexico

$2,000 — $4,000

78 Wayne + Virginia Quam (Zuni, 1942 – 2006 + b. 1940) Gold Watch with Multi Stone Zuni Inlay

14k gold, jet, turquoise, coral, shell, diamonds stamped: W. & V. Quam / Zuni / 14 K watch face: ¾ in. (1.9 cm.)

internal circumference: 6 in. (15.2 cm.)

Provenance: Private Collection, New Mexico

$3,000 — $4,500

79 Steve Ballard (20th Century) 14k Gold Cuff Bracelet with Landers Turquoise, ca. 1975

14k gold, Landers turquoise stamped: S B

total internal circumference: 5 7/8 in. (14.9 cm.)

gap: 1 1/8 in. (2.9 cm.)

width: 1 1/8 in. (2.9 cm.)

Provenance: Private Collection, New Mexico

81 14k Gold Pendant with Landers Turquoise Cabochon, ca. 1975

14k gold, Landers turquoise, 17 small diamonds pendant: 1 ½ x 1 ⅛ in. (3.8 x 2.9 cm.) bail: ½ in. (1.3 cm.)

Provenance: Private Collection, New Mexico

$5,000 — $7,000

82 Larry Vasquez (b. 1947) Three-Strand Gold + Coral Necklace

jasper, opal, 14k gold stamped: [artist’s cipher] G hanging length: 9 ½ in. (24.1 cm.) pendant: 1 ¾ x ¾ in. (4.4 x 1.9 cm.)

Provenance: Private Collection, Arizona

$6,000 — $8,000

80 Lee Epperson (Cherokee, b. 1935) 14k Gold Cuff Bracelet with Five Opal Cabochons

14k gold, opal inscribed: 14k / Lee

total internal circumference: 7 1/4 in. (18.4 cm.)

gap: 1 3/8 in. (3.5 cm.)

width: 1 3/8 in. (3.5 cm.)

overall weight: 151 g

Provenance: The “Bing” and Vickie Crosby Collection, Utah

$8,000 — $12,000

$8,000 — $12,000 82

83 Wayne + Virginia Quam (Zuni, 1942 – 2006 + b. 1940)

Inlay Jewelry Set with Gold Cuff Bracelet + Pendant, ca. 1985

14k gold, turquoise, coral, jet, shell

Inlaid Gold Bracelet

stamped: W. & V. Quam / Zuni / 14 K

total internal circumference: 5 7/8 in. (14.9 cm.)

gap: 1 1/8 in. (2.9 cm.)

width: 1 in. (2.5 cm.)

Inlaid Gold Pendant

stamped: W. & V. Quam / Zuni / 14 K

1 ⅝ x ⅞ in. (4.1 x 2.2 cm.)

Provenance:

Private Collection, New Mexico

$2,000 — $4,000

85 Federico Jimenez (Mexican, b. 1941)

Turquoise Cuff Bracelet + Earrings Set

sterling silver, turquoise each stamped: JF / STERLING

total internal circumference: 6 5/8 in. (16.8 cm.)

gap: 1 1/4 in. (3.2 cm.)

width: 1 1/4 in. (3.2 cm.)

earrings: 2 x 1 ¼ in. (5.1 x 3.2 cm.)

Provenance: The “Bing” and Vickie Crosby Collection, Utah

$1,200 — $1,800

84 Various Artists

Set of Three Jewelry Items: Lapis Necklace + Cuff Bracelet + Butterfly Ring

sterling silver, lapis, spiny oyster, turquoise, jet

Albert Jake (Diné [Navajo], b. 1959)

Sterling Necklace with Lapis Pendant stamped: A. JAKE / Sterling hanging length: 12 ½ in. (31.8 cm.) pendant: 4 ⅛ in. (10.5 cm.)

Aaron Toadlena (Diné [Navajo], b. 1958)

Sterling Cuff Bracelet with Lapis Cabochon stamped: Aaron / Toadlena / 925

total internal circumference: 6 3/8 in. (16.2 cm.)

gap: 7/8 in. (2.2 cm.)

width: 3 1/8 in. (7.9 cm.)

Butterfly Ring with Multi-Stone Inlay stamped: CA / STERLING

approximate ring size: 5 ¾

Provenance:

The “Bing” and Vickie Crosby Collection, Utah

$3,000 — $4,500

86 Esther Wood (Diné [Navajo], b. 1946)

Silver Necklace + Earrings Set with Turquoise Cabochons, ca. 1997

silver, turquoise necklace inscribed: Esther accompanied by Certificate of Authenticity hanging length: 11 ½ in. (29.2 cm.)

Provenance: Private Collection, New Mexico

$1,500 — $2,500

87 Herman Vandever (Diné [Navajo], b. 1964)

Silver Link Necklace with Turquoise Cabochons, ca. 1996

silver, turquoise inscribed: Herman Vandever accompanied by Certificate of Authenticity hanging length: 11 in. (27.9 cm.)

Provenance: Private Collection, New Mexico

$1,200 — $1,800

88 Andrew Dewa (Zuni, active ca. 1965 – 2001)

Bolo with Mixed Inlaid Stones, ca. 1985

shell, jet, coral, turquoise, sterling silver stamped: A. DEWA / ZUNI

5 ½ x 3 ½ in. (14 x 8.9 cm.)

Provenance: Private Collection, Arizona

$1,500 — $2,500

89 Alice Quam (Zuni, 1929 – 2003)

Coral Cluster Jewelry Set: Pendant + Cuff Bracelet + Ring

coral, silver

Cluster Pendant stamped: A. Q.

4 ¾ x 2 ⅜ in. (12.1 x 6 cm.)

Cluster Ring stamped: A. Q. approximate size: 6 ¾

Duane + Alice Quam

Zuni, 20th Century + 1929 - 2003

Cluster Cuff Bracelet stamped: D. & A. Q.

total internal circumference: 6 3/8 in. (16.2 cm.)

gap: 1 in. (2.5 cm.)

width: 2 3/8 in. (6 cm.)

Provenance: Private Collection, New Mexico

$2,000 — $4,000

90 Zuni + Diné (Navajo)

Group of Five Silver Works, ca. 1890 – 1940

silver, turquoise

Zuni

Pair of Cluster Earrings, ca. 1940

3 x 1 ½ in. (7.6 x 3.8 cm.)

Diné (Navajo)

Pair of First Phase Conchos, ca. 1890 diameter (each): 3 ⅝ x 3 ⅝ in. (9.2 x 9.2 cm.)

From Economos Works of Art, Santa Fe, New Mexico

Diné (Navajo)

Mother in Law Bell, ca. 1920

2 ⅝ x 1 ½ x 1 ½ in. (6.7 x 3.8 x 3.8 cm.)

From the Collection of Patricia M. Newman

Diné (Navajo)

Three Stone Ring, ca. 1910 ring size: 7 ½ in.

Provenance:

The Ralph T. Coe Center for the Arts Collection*

*This work is being sold to support the Center’s Rehoming Program Grants, which will be awarded to all program participants. More information available through the Coe Arts Center.

$2,000 — $3,000

91 Mary + Lee Webothee (Zuni, 20th Century) Silver and Turquoise Cluster Pendant Necklace, ca. 1985

silver, turquoise stamped: ZUNI / Lee/Mary hanging length: 19 ½ in. (49.5 cm.) pendant: 7 ½ in. (19.1 cm.)

Provenance: Private Collection, New Mexico

$1,500 — $3,000

92 Alvin Begay (Diné [Navajo], 20th Century)

Mixed Stone Jewelry Set with Arrow Necklace + Earrings, ca. 2000

sterling silver, coral, turquoise, shell, jet each stamped: Sterling [artist’s hallmark] Alvin necklace having a detachable middle pendant hanging length: 18 ¼ in. (46.4 cm.) detachable pendant: 3 ¼ x 2 ¾ in. (8.3 x 7 cm.) earrings: 2 x 1 ¼ in. (5.1 x 3.2 cm.)

Provenance: Private Collection, New Mexico

$2,000 — $4,000

93 Various Artists

Sandcast Silver and Coral Set: Necklace + Cuff Bracelet + Drop Earrings + Ring

sterling silver, coral, turquoise, lapis, opal, sugilite

Darryl D. Begay (Diné [Navajo], 20th/21st Century)

Sandcast Coral Inlay Necklace silver, coral, turquoise, lapis, opal, sugilite

hanging length: 10 in. (25.4 cm.)

pendant: 2 ½ in. (6.4 cm.)

Joel Pajarito (Kewa [Santo Domingo], b. 1984)

Sandcast Coral Butterfly Cuff Bracelet stamped: JOEL / KEWA

total internal circumference: 6 in. (15.2 cm.)

gap: 7/8 in. (2.2 cm.) width: 2 in. (5.1 cm.)

94 Various Artists

Turquoise and Spiny Oyster Set of Three: Necklace + Bracelet + Cluster Earrings

sterling silver, purple spiny oyster, turquoise

Federico Jimenez (Mexican, b. 1941)

Turquoise and Purple Spiny Oyster Link Necklace stamped: JF / STERLING hanging length: 11 ½ in. (29.2 cm.) pendant: 2 in. (5.1 cm.)

Federico Jimenez (Mexican, b. 1941)

Link Bracelet with Turquoise Cabochons

sterling silver, turquoise stamped: JF / STERLING length: 7 ⅜ in. (18.7 cm.)

Anthony Skeets (Diné [Navajo], b. 1969)

Spiny Oyster Cluster Earrings stamped: AS / Sterling 2 ⅛ x 1 ⅛ in. (5.4 x 2.9 cm.)

Provenance:

The “Bing” and Vickie Crosby Collection, Utah

$2,000 — $3,000

Geneva Apachito (Diné [Navajo], b. 1969)

Coral Drop Earrings stamped: Geneva J. A. / Sterling

3 ¾ x ¾ in. (9.5 x 1.9 cm.)

Daniel [Sunshine] Reeves (Diné [Navajo], b. 1966) Silver Ring with Coral Cabochon stamped: SUNSHINE REEVES / STERLING approximate ring size: 7 ½

Provenance:

The “Bing” and Vickie Crosby Collection, Utah

$2,000 — $3,000

95 Various Artists

Set of Three Jewelry Works: Purple Spiny Oyster and Turquoise Necklace + Cuff Bracelet + Ring

sterling silver, turquoise, purple spiny oyster

Federico Jimenez (Mexican, b. 1941)

Turquoise and Purple Spiny Oyster Necklace stamped: JF / STERLING

hanging length: 10 ⅝ in. (27 cm.) pendant: 1 ⅝ in. (4.1 cm.)

Federico Jimenez (Mexican, b. 1941)

Purple Spiny Oyster Cuff Bracelet stamped: JF / 950

total internal circumference: 6 1/2 in. (16.5 cm.) gap: 1 1/4 in. (3.2 cm.)

Albert Jake (Diné [Navajo], b. 1959)

Purple Spiny Oyster Ring stamped: A. JAKE / STERLING approximate ring size: 11 ¾

Provenance: The “Bing” and Vickie Crosby Collection, Utah

$1,500 — $3,000

96 Annie Quam Gaspar (Zuni, 1927 – 2002)

Inlaid Turquoise Squash Blossom Necklace + Earrings Set, ca. 1965

turquoise, sterling silver stamped: ZUNI / A. Q. G.

hanging length: 15 in. (38.1 cm.) pendant: 3 ⅜ x 3 ⅝ in. (8.6 x 9.2 cm.)

each earring: 2 ⅜ x 0 ⅞ in. (6 x 2.2 cm.)

Provenance:

Private Collection, California

$2,000 — $4,000

97 Diné (Navajo)

Silver and Turquoise Squash Blossom Necklace, ca. 1995

sterling silver, turquoise stamped: GP / Sterling hanging length: 14 in. (35.6 cm.) pendant: 3 ⅛ x 2 ¾ in. (7.9 x 7 cm.)

Provenance:

Private Collection, California

$1,000 — $2,000

98 Linda Marble (Diné [Navajo], 20th Century)

Silver Beaded Cross Necklace, ca. 2007

sterling silver stamped: L.M. / STERLING hanging length: 17 ⅝ in. (44.8 cm.) pendant: 2 ⅝ x 1 in. (6.7 x 2.5 cm.)

Provenance: Private Collection, California

$1,500 — $3,000

99 Diné (Navajo)

Silver and Turquoise Squash Blossom Necklace, ca. 1975

silver, turquoise stamped: W A hanging length: 16 in. (40.6 cm.) pendant: 4 x 3 ⅛ in. (10.2 x 7.9 cm.)

Provenance: Private Collection, California

$2,000 — $4,000

100 Harry Morgan (Diné [Navajo], 1947 – 2008)

Squash Blossom Necklace with Turquoise Cabochons, ca. 1995

sterling silver, turquoise stamped: H. MORGAN / STERLING hanging length: 16 in. (40.6 cm.) pendant: 3 ¼ x 2 ½ in. (8.3 x 6.4 cm.)

Provenance: Private Collection, California

$2,000 — $3,000

101

1957)

sterling silver, 14K Gold, fossil ivory, fossil walrus ivory, petrified palmwood, Mediterranean coral, psilomelane, edition 5 of 5 stamped: dw / ©1998 / STERLING / FOSSIL IVORY / 14K inscribed: -HOPI WOMAN- / LIMITED EDITION / #5/5 / 2/15/99 / -PETRIFIED PALMWOOD / PSILOMELANE / MEDITERRANEAN CORAL featuring articulated pendant (left arm opens to reveal corn) of Hopi woman holding corn on necklace of 24 carved masks hanging length: 13 ½ in. (34.3 cm.) pendant: 4 x 1 ½ in. (10.2 x 3.8 cm.)

Provenance:

Private Collection, New York

This necklace by Chugach Aleut artist Denise Wallace exemplifies her signature blend of cultural storytelling and masterful jewelry design. Crafted in silver and accented with gold and fossilized materials, the piece features a central figure pendant that reflects traditional attire and forms drawn from Native Alaskan heritage. Wallace is celebrated for her ability to merge ancient motifs with contemporary techniques, creating wearable works of art that honor Indigenous identity, resilience, and spirituality. This necklace is both adornment and narrative, carrying forward the voices and traditions of her community.

$10,000 — $15,000

Mimi (Cuff Bracelet with Carved Face) sterling silver, 14k gold, fossil ivory stamped: DENISE / WALLACE / ©1996 / 14K / STERLING / FOSSIL IVORY inscribed: “MIMI” internal circumference: 5 ¼ in. (13.3 cm.) gap: 1 in. (2.5 cm.)

width: 1 ⅛ in. (2.9 cm.)

Two Matching Cuff Bracelets

sterling silver, 14k gold stamped: DENISE / WALLACE / STERLING / 14K / ©1996 internal circumference: 5 ⅛ in. (13 cm.) gap: 1 ⅛ in. (2.9 cm.)

width: ⅛ in (0.3 cm.)

Provenance: Private Collection, New York

$3,000 — $6,000

sterling silver, 14k gold, fossil ivory, edition 3 of 100 each stamped: DENISE / WALLACE / ©1995 / STERLING / FOSSIL IVORY / 14K each inscribed: SUN/MOON / LIMITED / EDITION / #3/100 hanging length: 1 ¾ in. (7 cm.) pendant: 1 x ¾ in. (2.5 x 1.9 cm.)

Provenance: Private Collection, New York

$1,000 — $2,000

sterling silver, turquoise, edition 2 of 25 inscribed: DA with lid: 7 ¼ x 5 ¼ in. (18.4 x 13.3 cm.) height without lid: 4 ¾ in. (12.1 cm.)

Provenance: Private Collection, New Mexico

$12,000 — $18,000

Saturday, November 8 9:30am MST

105 Diné (Navajo)

Transitional Rug, ca. 1900

handspun wool, natural colors, aniline dyes

90 ½ x 58 in. (229.9 x 147.3 cm.)

Provenance:

Private Collection, New Mexico

$2,000 — $4,000

106 Diné (Navajo)

Transitional Wearing Blanket, ca. 1885

handspun wool, natural colors, aniline dyes

57 x 81 in. (144.8 x 205.7 cm.)

Provenance:

Toh-Atin Gallery, Durango, Colorado

The Ralph T. Coe Center for the Arts Collection*

*This work is being sold to support the Center’s Rehoming Program Grants, which will be awarded to all program participants. More information available through the Coe Arts Center.

$3,000 — $5,000

107 Diné (Navajo)

handspun wool, cochineal and aniline dyes

72 ¼ x 52 ¼ in. (183.5 x 132.7 cm.)

Provenance: Collection of Joel Goldfrank, Santa Fe, New Mexico

$8,000 — $12,000

handspun

114 ½ x 62 in. (290.8 x 157.5 cm.)

Provenance: Private Collection, Colorado

$2,000 — $4,000

109 Diné (Navajo)

Teec Nos Pos Runner, ca. 1940

wool, natural colors, aniline dyes

139 ¾ x 55 ½ in. (355 x 141 cm.)

Provenance: Private Collection, New Mexico

$4,000 — $6,000

110 Grace Nez (Diné [Navajo], 1937–2013) Ganado Rug, ca. 1985

wool, natural colors, aniline dyes

108 x 72 in. (274.3 x 182.9 cm.)

Provenance: Two Grey Hills, Jackson, Wyoming, 1989 Private Collection, South Carolina

$4,000 — $8,000

wool, natural colors, aniline dyes

144 x 105 in. (365.8 x 266.7 cm.)

Provenance: Steve Getzwiller, 1989 Private Collection, South Carolina

$5,000 — $10,000

112 Diné (Navajo)

J.B. Moore Style Rug, ca. 1925

wool, natural colors, aniline dyes

98 ½ x 60 ½ in. (250.2 x 153.7 cm.)

Provenance: Hubbell Trading Post, Ganado, Arizona, 2001 The Coolidge Cost Collection

$3,000 — $5,000

New Mexico

Germantown wool, natural colors, aniline dyes

45 ¾ x 81 in. (116.2 x 205.7 cm.)

Provenance: Private Collection, Colorado

$4,000 — $6,000

114 Diné (Navajo)

Red Mesa Outline Rug, ca. 1945

wool, natural colors, aniline dyes 82 x 58 in. (208.3 x 147.3 cm.)

Provenance: Collection of Joel Goldfrank, Santa Fe, New Mexico

$6,000 — $9,000

115 Diné (Navajo)

Teec Nos Pos Rug, ca. 1985

wool, natural colors, aniline dyes

122 ½ x 75 in. (311.2 x 190.5 cm.)

Provenance: Two Grey Hills, Jackson, Wyoming, ca. 1995

Private Collection, South Carolina

$8,000 — $12,000

116 Diné (Navajo)

Late Classic Men’s Wearing Blanket, ca. 1875

wool, cochineal, lac, and aniline dyes

50 ¾ x 72 ½ in. (128.9 x 184.2 cm.)

Provenance: Private Collection, California

$20,000 — $30,000

wool,

features design taken from Shootingway Chant 90 x 90 in. (228.6 x 228.6 cm.)

Provenance: Steve Getzwiller, 1991

Private Collection, South Carolina

$10,000 — $15,000

118 Molly Murphy Adams (Oglala Lakota [descendant], b. 1977) Past is Prologue, 2008

mixed media cradleboard accompanied with three competition ribbons from the Heard Museum Guild 2009 Indian Fair and Market 38 ½ x 15 x 6 ¾ in. (97.8 x 38.1 x 17.1 cm.)

Provenance: Private Collection, New Mexico

Winner of the Best in Show award at the 2009 Heard Market, this tactile, exquisitely detailed cradle board weaves together elements of the artist’s personal and cultural histories to explore both formal and experiential concerns. Incorporating traditional methods of making with unique contemporary materials, the work is also interactive, allowing the viewer to both reveal and hide personal family photos which are held within the centers of the beaded flowers. In her artist’s statement, Adams comments, “I use the visual language of color and shape to articulate new observations on politics, history, and identity. Art is the means with which I engage with the weight of both my past and my potential, one stitch at a time.”

$12,000 — $18,000

119 Inuit

Pictorial Wall Hanging

embroidered felt

25 ¼ x 37 in. (64.1 x 94 cm.)

Provenance: Private Collection, Texas

In the 1960's, the Inuit were transitioning from a traditional subsistence lifestyle to the money economy. The women of Baker Lake invented the felt wall hanging, with embroidered images evoking Inuit legends and activities. This tapestry is unsigned which indicates that it is an early iteration, likely dating from the 1960's. As the art and ethnographic domains began collecting Inuit felt wall hangings, artists began signing their tapestries in syllabics. This tapestry is exquisitely detailed with animals, birds, fish, and humanoid figures, some two-headed signifying transformation. There are 10 faces with varying expressions and differently adorned shoulders in the centerpiece, with the circle denoting a gathering at a Blanket Toss.

$4,000 — $6,000

wool, calico, buttons, sequins, shell 40 ½ x 71 in. (102.9 x 180.3 cm.)

Provenance: Private Collection, New Mexico

Fashioned predominantly with wool blankets and trade buttons, Button Blankets became popular during the nineteenth century as new materials became available through crosscultural trade. First Nations and Northwest Coast communities developed a tradition of fashioning distinctive ceremonial robes and wearing blankets using these new materials, often adding buttons to embellish the crests and images and signify family ties and status.

$1,500 — $2,500

121 Inuit

Owl Spirit, ca. early 20th Century

carved

Provenance:

Peyton Wright, Santa Fe, New Mexico

Collection of Joel Goldfrank, Santa Fe, New Mexico

$4,000 — $6,000

122 Preston Singletary (Tlingit, b. 1963) Killer Whale Totem

bronze, edition 1 of 12

inscribed: Preston Singletary 1/12 16 ¾ x 4 ½ x 2 ¾ in. (42.5 x 11.4 x 7 cm.) with base: 18 ⅝ x 5 ⅞ x 3 ⅛ in. (47.3 x 14.9 x 7.9 cm.)

Provenance: Private Collection, New Mexico

$3,000 — $6,000

123 Norman Tait + Lucinda Turner (First Nations [Nisga’a] + Canadian, 1941–2016 + 1958–2022) Eagle Frontlet, 1998

bronze, edition 8 of 12 inscribed: 8/12 / Ntait / 98 / LTurner 12 x 8 ⅝ x 6 ⅝ in. (30.5 x 21.9 x 16.8 cm.)

Provenance: Private Collection, New Mexico

$3,000 — $5,000

124 Western Mono

willow, sedge, bracken fern root 4 ½ x 9 in. (11.4 x 22.9 cm.)

Provenance: Taylor Dale Gallery, Santa Fe, New Mexico, 2005 The Ralph T. Coe Center for the Arts Collection*

*This work is being sold to support the Center’s Rehoming Program Grants, which will be awarded to all program participants. More information available through the Coe Arts Center.

$1,200 — $1,800

125

wood, pigments, rawhide 25 ½ x 12 ¾ x 12 in. (64.8 x 32.4 x 30.5 cm.)

Provenance: Private Collection, New Mexico

$1,000 — $2,000

126

carved cottonwood, natural pigments, hide, natural fibers 7 x 2 ¾ x 1 ¾ in. (17.8 x 7 x 4.4 cm.)

Provenance:

The Max Ernst and Dorothea Tanning Ernst Collection

The Marcel Duchamp and Teeny Matisse Collection

The Rudi Blesh Private Collection, New Jersey

The Dennis and Janice Lyon Private Collection, Paradise Valley, Arizona

Morning Star Gallery, Santa Fe, New Mexico, 2007

The Ralph T. Coe Center for the Arts Collection*

*This work is being sold to support the Center’s Rehoming Program Grants, which will be awarded to all program participants. More information available through the Coe Arts Center.

$3,000 — $5,000

127 Hopi Katsina, ca. 1895

carved cottonwood, pigments, cloth 9 x 3 ½ x 3 in. (22.9 x 8.9 x 7.6 cm.)

Provenance:

The Clinton Dale Collection

The Eleanor Tulman-Hancock Collection, New York, New York

The Ralph T. Coe Center for the Arts Collection*

*This work is being sold to support the Center’s Rehoming Program Grants, which will be awarded to all program participants. More information available through the Coe Arts Center.

$5,000 — $8,000

128 Hopi Katsina, ca. 1925

carved cottonwood, pigments, feathers 9 ¾ x 4 ¼ x 3 ½ in. (24.8 x 10.8 x 8.9 cm.)

Provenance: Private Collection, New Mexico

$1,500 — $2,500

129 Eastern Sioux Pipe Bowl and Stem, ca. 1800–1820

geographic location: possibly Osage

stem inscribed: E.C. Hunter Saint Louis 1822 / Peace Pipe presented to Edward C Hunter by [illegible] Chief of the Village Wash[illegible] / to C.W. Garrano by EC Hunter

Pipe Bowl, ca. 1800

Eastern Sioux catlinite, lead inlay

From the Masco Collection of Native American Art

Pipe Stem, ca. 1820

carved wood, brass wrap

34 ¾ x 2 ½ x 1 ⅞ in. (88.3 x 6.4 x 4.8 cm.)

From Morning Star Gallery, Santa Fe, New Mexico

Provenance:

The Ralph T. Coe Center for the Arts Collection*

*This work is being sold to support the Center’s Rehoming Program Grants, which will be awarded to all program participants. More information available through the Coe Arts Center.

$5,000 — $7,000

130 Eastern Sioux / Western Great Lakes Pipe Bowl and Stem, ca. 1800 - 1820

catlinite and lead bowl, ash wood stem, porcupine quills, vegetal dyes, sinew

39 ¼ x 1 ½ x 3 ½ in. (99.7 x 3.8 x 8.9 cm.)

Provenance:

Morning Star Gallery, Santa Fe, New Mexico

Collection of Al Luckett, Santa Fe, New Mexico

New Hampshire Historical Society

The Ralph T. Coe Center for the Arts Collection*

*This work is being sold to support the Center’s Rehoming Program Grants, which will be awarded to all program participants. More information available through the Coe Arts Center.

$2,000 — $4,000

132 Modoc Bow, ca. 1860

carved wood, pigments

52 ¼ x 3 ¼ x ½ in. (132.7 x 8.3 x 1.3 cm.)

Provenance:

Taylor Dale Gallery, Santa Fe, New Mexico

The Ralph T. Coe Center for the Arts Collection*

*This work is being sold to support the Center’s Rehoming Program Grants, which will be awarded to all program participants. More information available through the Coe Arts Center.

$1,000 — $2,000

131 Pair of Early Figurative Pipes

Great Lakes Portrait Pipe, ca. 1860

carved stone, pigment 5 ¾ x 1 ¾ x 2 ½ in. (14.6 x 4.4 x 6.4 cm.)

Plateau / Great Basin Straight Pipe (mid-17th century)

carved bone

4 ¼ x 1 ½ x 1 ¾ in. (10.8 x 3.8 x 4.4 cm.)

Provenance:

Trotta-Bono American Indian Art, Shrub Oak, New York

The Ralph T. Coe Center for the Arts Collection*

*This work is being sold to support the Center’s Rehoming Program Grants, which will be awarded to all program participants. More information available through the Coe Arts Center.

$1,000 — $2,000

133 Oreland C. Joe, Sr. + Baje Whitethorne (Diné [Navajo] / Ute, b. 1958 + Diné [Navajo], b. 1950)

The Mystic One, 2002

bronze, edition 14 of 30

inscribed: O C JoE [Cowboy Artists of America insignia] © ‘02 Baje WHITETHORNE 14/30

21 ½ x 11 x 6 ¼ in. (54.6 x 27.9 x 15.9 cm.) with base: 23 x 11 x 6 ⅝ in. (58.4 x 27.9 x 16.8 cm.)

Provenance: Private Collection, Utah

$3,000 — $5,000

134 Craig Dan Goseyun (San Carlos White Mountain Apache, b. 1960) Mountain Spirit Dancer, 1995

bronze, edition 13 of 28

inscribed: Craig Dan Goseyun / 95 © 13/28

24 ½ x 20 ½ x 17 ½ in. (62.2 x 52.1 x 44.5 cm.) with base: 27 ½ x 24 x 21 in. (69.9 x 61 x 53.3 cm.)

Provenance:

Maya Gallery, Santa Fe, New Mexico Private Collection, Colorado

$1,000 — $2,000

135 Susan Kliewer (b. 1940) Southern Plains Dancer

bronze, edition 25 of 45

inscribed: Susan KlIEWER / [artist’s cipher] / 25/45

26 x 14 x 16 in. (66 x 35.6 x 40.6 cm.) with base: 26 ½ x 15 ¼ x 16 in. (67.3 x 38.7 x 40.6 cm.)

Provenance: Private Collection, Colorado

$1,500 — $2,500

136 Blair Buswell (b. 1956) How Many More

bronze, edition 13 of 32

inscribed: BLAIR BUSWELL / © / 13/32

17 ½ x 8 ½ x 10 in. (44.5 x 21.6 x 25.4 cm.)

with base: 19 ⅜ x 8 ¾ x 10 in. (49.2 x 22.2 x 25.4 cm.)

Provenance: Private Collection, Colorado

$2,000 — $3,000

137 Nicolai Ivanovich Fechin (1881–1955) Indian Head

bronze, edition 6 of 20

inscribed: N. FECHIN 6/20

11 ⅞ x 7 ⅝ x 7 ½ in. (30 x 18.5 x 19.1 cm.)

marble pedestal: 6 x 6 x 6 in. (15.2 x 15.2 x 15.2 cm.)

cast by Hammer Galleries at Roman Bronze Works from the original plaster model

Provenance: Private Collection, Colorado

Literature: Mary N. Balcomb, Nicolai Fechin, Northland Press, Flagstaff, Arizona, 1975, No. 104

$8,000 — $12,000

138 Dave McGary (1958–2013) Battle of Two

, 2001

bronze, edition 5 of 30

inscribed: [artist’s thumbprint] DAVE MCGARy / 01 / 5/30

43 x 27 ¾ x 11 ¼ in. (109.2 x 70.5 x 28.6 cm.) with base: 46 ¾ x 27 ¾ x 13 in. (118.7 x 70.5 x 33 cm.)

Provenance: Private Collection, California

$10,000 — $15,000

139 Dave McGary (1958–2013) Not Afraid of Pawnee, 1996

bronze, edition 70 of 75

inscribed: [artist’s thumbprint] / DAVE McGARy / 1996 / 70/75

25 x 22 ½ x 8 ½ in. (63.5 x 57.2 x 21.6 cm.) with base: 27 x 22 ½ x 9 ⅜ in. (68.6 x 57.2 x 23.8 cm.)

Provenance: Private Collection, California

$2,500 — $4,500

140 Dave McGary (1958–2013) Strikes with Honor, 1990

bronze, edition 39 of 50 inscribed: 39/50 [artist’s thumbprint] DAVE MCGARY / 1990

21 x 14 x 11 in. (53.3 x 35.6 x 27.9 cm.) with base: 26 ⅜ x 14 x 11 in. (67 x 35.6 x 27.9 cm.)

Provenance: Private Collection, Massachusetts

$5,000 — $7,000

141 Dave McGary (1958–2013)

Nest, 1994

bronze, edition 37 of 50

inscribed: DAVE McGARy / 1994 37/50

23 x 14 x 13 ½ in. (58.4 x 35.6 x 34.3 cm.) with base: 25 ¼ x 14 x 10 in. (64.1 x 35.6 x 25.4 cm.)

Provenance: Private Collection, Illinois

$8,000 — $12,000

142 Dave McGary (1958–2013)

, 1997

bronze, edition 12 of 50

inscribed: DAVE McGARy 12/50 [artist’s thumbprint]

27 ½ x 18 ¼ x 7 ½ in. (69.9 x 46.4 x 19.1 cm.) with base: 29 ½ x 18 ¼ x 9 ½ in. (74.9 x 46.4 x 24.1 cm.)

Provenance: Private Collection, Illinois

$10,000 — $15,000

143 Dave McGary (1958–2013)

of Grey Hawk, 1998

bronze, edition 39 of 50

inscribed: [artist’s thumbprint] DAVE McGARy / 1998 39/50

23 x 19 x 9 in. (58.4 x 48.3 x 22.9 cm.) with base: 24 ½ x 19 x 10 in. (62.2 x 48.3 x 25.4 cm.)

Provenance: Private Collection, Illinois

$10,000 — $15,000

144 Dave McGary (1958–2013)

The Founding of Santa Fe, ca. 1992

bronze, edition 2 of 30 inscribed: 2/30 / [artist’s thumbprint] DAVE MCGARy

22 x 12 x 24 ⅜ in. (55.9 x 30.5 x 61.9 cm.) with base: 24 x 13 ¼ x 24 ⅜ in. (61 x 33.7 x 61.9 cm.)

Provenance: Private Collection, Massachusetts

$7,000 — $10,000

145 Gib Singleton (1936–2014) Four Horsemen of the Apocalypse, 2001

bronze, edition 19 of 25

inscribed: For AlEXiS / 1975-2000 / SiNgletoN / © / 2001 / REV CH 10 / [indecipherable]

30 ¾ x 32 x 27 ¾ in. (78.1 x 81.3 x 70.5 cm.) with base: 32 ¾ x 32 x 27 ¾ in. (83.2 x 81.3 x 70.5 cm.)

Provenance: Private Collection, New Mexico

Singleton was an American sculptor best known for expressive bronze works drawn from two deep wells of subject matter: the Bible (especially a complete, editioned Stations of the Cross) and the American West. Born in Kennett, Missouri, he built his first foundry as a teenager, studied in college in the U.S., then won a Fulbright Fellowship to restore Renaissance art in Europe. He studied at the Accademia di Belle Arti in Florence, and was later recruited by the Vatican Workshop. He eventually settled for decades in Santa Fe, New Mexico. His bronzes often feature rough, tool-marked surfaces and compact, totemic forms— crucifixions, pietàs, prophets, cowboys—that read with the immediacy of folk relics and the gravity of liturgical objects. His work is represented in major museums from the Museum of Modern Art in New York to the Vatican Museum in Rome, as well as in the homes and offices of luminaries from actors to politicians to spiritual leaders.

$30,000 — $50,000

146 Gib Singleton (1936–2014)

bronze, edition 7 of 25

inscribed: The / WAR PARTY / 200 [indecipherable] / SiNgleToN / 7/25

20 ⅛ x 32 ¼ x 17 ¾ in. (51.1 x 81.9 x 45.1 cm.) with base: 22 ⅞ x 35 ½ x 17 ¾ in. (58.1 x 90.2 x 45.1 cm.)

Provenance: Private Collection, New Mexico

$10,000 — $15,000

147 Gib Singleton (1936–2014)

bronze, edition 19 of 99

inscribed: SiNgletoN / 19/99

15 ¾ x 16 ½ x 6 ½ in. (40 x 41.9 x 16.5 cm.) with base: 18 ½ x 16 ½ x 7 in. (47 x 41.9 x 17.8 cm.)

Provenance: Private Collection, New Mexico

$4,000 — $8,000

148 Edward S. Curtis (1868–1952)

An Oasis in the Badlands - Sioux, 1905

platinum

blind-stamp lower left: COPYRIGHTED 1905 BY E.S. CURTIS

11 ⅞ x 16 ¼ in. (30.2 x 41.3 cm.)

frame: 19 x 22 ¼ in. (48.3 x 56.5 cm.)

Provenance: Private Collection, California

Literature:

The North American Indian (1907-1930), Portfolio 3, pl. 80 Chiefs & Warriors, Bulfinch/Callaway Editions, 1996, p. 31

Edward S. Curtis: The Great Warriors, Bulfinch Press, 2004, pl.100, back jacket

Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster, 2000, p. 54

Edward S. Curtis One Hundred Masterworks, Delmonico Books/Prestel Publishing, 2015, p. 14

Captured in 1905, An Oasis in the Badlands depicts the Oglala Lakota leader Red Hawk in the South Dakota Badlands. It is one of Curtis’ more desirable images, balancing landscape, individual and water into an impactful composition.

Platinum prints are regarded as the highest form of photographic printing by many serious collectors. The process is both expensive and difficult, making platinum prints inherently rare. While relatively few photographers worked in platinum, Curtis did so frequently, leaving us with a wonderful body of work in this medium. Curtis may also be unique among fine-art photographers in that he created more platinum than silver prints for exhibition and sale.

This particular platinum print has been in private hands for almost 50 years, making it a unique opportunity for a collector.

$6,000 — $9,000

149 Edward S. Curtis (1868–1952)

The Vanishing Race - Navajo, 1904

orotone on glass (goldtone) signed in negative lower right: Curtis original Curtis studio label affixed verso 11 x 14 in. (27.9 x 35.6 cm.) frame: 16 x 19 x 1 ½ in. (40.6 x 48.3 x 3.8 cm.)

original batwing style frame with original backing partially intact

negative date: 1904 print date: ca. 1904 Navajo, Southwest

This is a fine example of this image in goldtone. The bright highlights and dark shadows offer a very pleasing balance of contrast, with the pattern of the traditional blanket worn by the closest figure just visible, which isn’t always the case with goldtones of this image. In addition, there isn’t any evidence of gold-backing loss along the margin edges in this example.

Provenance: Private Collection: Texas

Literature:

The North American Indian (1907-1930), Portfolio 1, pl. 1

Native Nations, Bulfinch Press publisher, 1993, p. 123

The Vanishing Race is one of Edward Curtis’ most iconic and poignant photographs. Curtis searched for an image to illustrate this idea for nearly four years before creating it in 1904. Depicting a group of Navajo riders on horseback fading into the distance, it creates a powerful sense of movement into an uncertain future, reflecting Curtis’ broader mission to document and preserve the traditions, lifestyles, and histories of Indigenous peoples before they were lost. Although modern perspectives recognize the resilience and survival of Indigenous cultures, The Vanishing Race remains a powerful artistic statement about the early 20th-century perception of Native American life.

A century ago, it was by far and away Curtis’ most popular single image. Today it still remains a highly sought after and classic. With few exceptions, Curis printed goldtones in four sizes, ranging from 8 x 10 to 18 x 22 inches, although those larger than 11 x 14 are extremely rare.

$4,000 — $6,000

Sacred Legacy: Edward S. Curtis and the North American Indian, Simon & Schuster publisher, 2000, p. 188

Edward S. Curtis: The Great Warriors, Bulfinch Press publisher, 2004, p. 7

The North American Indian Republication Custom Edition, Christopher Cardozo Fine Art, 2014, Portfolio Volume 1, pl. 1

Edward S. Curtis One Hundred Masterworks, Delmonico Books/Prestel Publishing, 2015, p. 91, 166

The North American Indian Republication Reference Edition, Christopher Cardozo Fine Art, 2017, Portfolio Volume 1, pl. 1

150 Edward S. Curtis (1868–1952)

Prayer to the Stars, ca. 1909

orotone on glass (goldtone)

copyright in the negative lower left: © signed in the negative lower right: Curtis original “4th at University” studio label and “Prayer to the Stars” label remnant on verso in original period frame

negative date: ca. 1909

print date: ca. 1909

17 x 14 in. (43.2 x 35.6 cm.)

frame: 21 x 18 ¼ x 2 in. (53.3 x 46.4 x 5.1 cm.)

Provenance:

Private Collection, New Mexico

Literature: Marah Ellis Ryan, The Flute of the Gods, Frederick A. Stokes, New York, 1909, Pg. 129

Bright, luminous, and exhibiting a full tonal range, the signature virtues of Curtis’s goldtones, this is a superb example of Prayer to the Stars in the orotone process. A hallmark of his studio practice, Curtis pioneered and popularized the rarely used goldtone photographic process shortly after 1900, creating fewer than approximately one print for every five hundred negatives owing to the process’s cost and difficulty. Nonetheless, it was clearly his favored medium; as he wrote in his studio brochure, the orthodox photographic print “lacks depth and transparency… but in the [goldtone] all the transparency is retained, and they are as full of life and sparkle as an opal.”

Unusually, this image does not appear in The North American Indian. Instead, it was published in Marah Ellis Ryan’s 1909 novel The Flute of the Gods, alongside other Curtis images. As such, Prayer to the Stars is relatively scarce, and especially so as an orotone in the large 17 × 14 in. format. Of the more than two hundred vintage Curtis orotones to reach auction in the past five years, only approximately six have been 14 × 17 inches in size. The combination of this uncommon size, its vivid, translucent glow, the original frame and studio labels presents an exceptionally rare opportunity for a connoisseur’s collection.

$15,000 — $25,000

151 Luis González Palma (Guatemalan, b. 1957) Jaula de Ternura (Cage of Tenderness), 1992

gelatin silver, sepia varnish, edition 6 of 25 inscribed on print verso: Jaula de Ternura / 1992 / 6/25 / Luis González Palma

19 ¼ x 19 ¼ in. (48.9 x 48.9 cm.)

frame: 28 ¾ x 28 ¾ x 1 ½ in. (73 x 73 x 3.8 cm.)

Provenance:

Private Collection, Texas

$2,000 — $4,000

152 Luis González Palma (Guatemalan, b. 1957) Solas...Calladamente (Alone... In Silence) #1, ca. 1990

assemblage with silver emulsion on watercolor paper, stamped tin, colored glass, wood 13 ½ x 13 ¾ in. (34.3 x 34.9 cm.)

wood panel: 17 ⅝ x 17 ⅝ in. (44.8 x 44.8 cm.)

Provenance: The Christopher G. Cardozo Collection

$2,000 — $4,000

Luis González Palma is a Guatemalan photographer whose work blends staged portraiture with hand-worked surfaces, sepia-toned gelatin silver prints and later hybrids with paint, collage, and gold leaf, to explore gaze, identity, Catholic iconography, and the legacy of colonialism in Latin America. Trained in architecture and cinematography, he is largely self-taught in photography. Career highlights include breakthrough showings in the late 1980s–90s, participation in the 49th and 51st Venice Biennales, and monographs such as Poems of Sorrow. His practice evolved from hand-toned silver prints to collage-rich works that interweave portraits with documents, thread, and metallic leaf. González Palma’s photographs are held widely in museum collections across the Americas and Europe. He’s received honors including PHotoEspaña recognition (1999) and, recently, the Pilar Citoler International Biennial Prize for Contemporary Photography with an accompanying exhibition and monograph.

153 Luis González Palma (Guatemalan, b. 1957) Nupcias de Soledad, 1993

gelatin silver, sepia varnish

featuring a custom cast iron frame

23 ¾ x 40 ½ in. (60.3 x 102.9 cm.)

frame: 33 ⅛ x 50 x 1 ½ in. (84.1 x 127 x 3.8 cm.)

Provenance: The Steven and Karen Berkowitz Collection

$2,000 — $5,000

154 William Frej (b. 1948) A Borrado (Erased One), Holy Thursday, 2019

archival pigment print, edition of 10 signed and dated lower right: William Frej, 2019 41 ½ x 27 ½ in. (105.4 x 69.9 cm.)

frame: 52 x 37 x 1 ½ in. (132.1 x 94 x 3.8 cm.)

Provenance: Collection of Joel Goldfrank, Santa Fe, New Mexico

Literature:

William Frej, Seasons of Ceremonies: Rites and Rituals in Guatemala and Mexico, New Mexico: Museum of New Mexico Press, 2021, p. 180

$3,500 — $4,500

155 Dan Budnik (1933–2020)

Georgia O’Keeffe at the Ghost Ranch with Pots by Juan Hamilton, 1975

gelatin silver

signed lower right: Dan Budnik

inscribed verso: Georgia O’Keeffe at the Ghost Ranch / with pots by Juan Hamilton / New Mexico - March 1975 / © Dan Budnik 1995

10 ½ x 15 ¾ in. (26.7 x 40 cm.)

frame: 18 x 22 ¾ x 0.75 in. (45.7 x 57.8 x 1.9 cm.)

Provenance: Private Collection, New York

$1,000 — $2,000

156 Ansel Adams (1902–1984)

Winter Sunrise, Sierra Nevada from Lone Pine, California , 1944

gelatin silver image captured in 1944, printed between 1973 and 1977 signed on mount lower right: Ansel Adams

Carmel studio stamp [BMFA stamp 11] on mount verso inscribed on mount verso: Winter Sunrise Sierra Nevada from Lone Pine, California 1944

14 ⅞ x 19 ⅛ in. (37.8 x 48.6 cm.)

mount: 21 ⅞ x 27 ⅞ in. (55.6 x 70.8 cm.)

frame: 24 ¼ x 30 ¼ x 1 ½ in. (61.6 x 76.8 x 3.8 cm.)

Provenance:

Andrew Smith Gallery, Santa Fe, New Mexico Private Collection, New Mexico

Literature:

Ansel Adams and Nancy Newhall, This Is the American Earth (San Francisco, 1960), p. ii-iii

Nancy Newhall, Ansel Adams: The Eloquent Light, Photographs 1923-1963 (San Francisco: M. H. de Young Memorial Museum and Washington, D.C.: Smithsonian Institution, 1963), unpaginated

Liliane de Cock, ed., Ansel Adams (Hastings-on-Hudson, 1972), pl. 77

Ansel Adams, Ansel Adams: Yosemite and the Range of Light (Boston, 1979), pl. 99

Ansel Adams, Examples: The Making of 40 Photographs (Boston, 1983), p. 162

Ansel Adams, Ansel Adams: An Autobiography (Boston, 1985), p. 262

James Alinder and John Szarkowski, Ansel Adams: Classic Images (Boston, 1985), pl. 38

Mary Street Alinder and Andrea Gray Stillman, Ansel Adams: Letters and Images 1916-1984 (Boston, 1988), p. 275

Andrea Gray Stillman, ed., Ansel Adams: The American Wilderness (Boston, 1990), pl. 25

John P. Schaefer, The Ansel Adams Guide Book 1: Basic Techniques of Photography (Boston, 1992), fig. 6.12

Michael Read, ed., Ansel Adams, New Light: Essays on His Legacy and Legend (San Francisco: The Friends of Photography, 1993), p. 66

John Szarkowski, Ansel Adams at 100 (San Francisco Museum of Modern Art, 2001), pl. 85

Andrea Gray Stillman, ed., Ansel Adams: 400 Photographs (Boston, 2007), p. 245

Barbara Buhler Lynes, Sandra S. Phillips, and Richard B. Woodward, Georgia

O’Keeffe and Ansel Adams: Natural Affinities (Boston, 2008), p. 115

Andrea Gray Stillman, Looking at Ansel Adams (Boston, 2012), p. 128

Jeff Putman & Genny Smith, eds., Deepest Valley: Guide to Owens Valley (Bakersfield, 2014), cover and frontispiece

Rebecca Senf, Making a Photographer: The Early Work of Ansel Adams (New Haven, 2020), fig. 6.4

Made from the Owens Valley after days of shifting weather, this spectacular image balances brilliant, sunlit snowfields against the shadowed Alabama Hills—a demanding Zone-System print that Adams long considered among his finest. In keeping with the artist’s intent, the large student-painted “LP” initials on the left hillside have been retouched out, eliminating what Adams called a “scar” on the landscape. This example presents the canonical large print size and period markings collectors expect for strong, later-lifetime impressions of this celebrated view.

‘While at Manzanar for a fortnight in the winter of 1944, Virginia and I arose very early in the mornings and drove to Lone Pine with hopes of a sunrise photograph of the Sierra. After four days of frustration when the mountains were blanketed with heavy cloud, I finally encountered a bright, glistening sunrise with light clouds streaming from the southeast and casting swift-moving shadows on the meadow and the dark rolling hills.” — Ansel Adams, Examples: The Making of 40 Photographs (Boston, 1983; p.164)

$25,000 — $35,000

158 Maria Martinez + Popovi Da (San Ildefonso, 1887–1980 + 1923–1971) Pair of Blackware Pottery Items with Gunmetal Finish

fired clay

inscribed: Maria / Poveka height: 9 ¼ x diameter: 7 in. (23.5 x 17.8 cm.)

Provenance:

Private Collection, California

$4,000 — $6,000

fired clay

Plate with Feather Designs, 1969 inscribed: Maria / Popovi / 769 height: 1 x diameter: 7 in. (2.5 x 17.8 cm.)

Vase with Feather Designs, 1963 inscribed: Maria / Popovi / 1163 height: 2 ¾ x diameter: 3 in. (7 x 7.6 cm.)

Provenance:

Private Collection, New Mexico

$3,000 — $4,500

159 Tammy Garcia (Santa Clara, b. 1969) Carved Blackware Vase, ca. 1985

fired clay

inscribed: Tammy Garcia / Santa Clara / Pueblo height: 4 ½ x diameter: 5 ½ in. (11.4 x 14 cm.)

Provenance: The Larry Martine Collection, Santa Fe, New Mexico

$10,000 — $15,000

160 Margaret Tafoya (Santa Clara, 1904–2001)

Carved Blackware Vessel, ca. 1965

fired clay

inscribed: Margaret height: 13 ¾ x diameter: 10 in. (34.9 x 25.4 cm.)

Provenance: The Larry Martine Collection, Santa Fe, New Mexico

$4,000 — $6,000

161 Lisa Holt + Harlan Reano (Cochiti + Kewa [Santo Domingo], b. 1980 + b. 1978) Wedding Vase, ca. 2005

fired clay, pigments

inscribed: LISA HOLT / Cochiti “20” / HARLAN REANO / SANtO DOMiNgO / NM

20 ¾ x 14 ¾ x 11 ½ in. (52.7 x 37.5 x 29.2 cm.)

Provenance: The Larry Martine Collection, Santa Fe, New Mexico

$4,000 — $6,000

162 Rondina Huma (Hopi-Tewa, b. 1947) Polychrome Pottery Vase with Fine Line Design, ca. 2010

fired clay

inscribed: RONDiNA HUMA / TEWA-HOPI / [artist’s cipher] height: 4 ⅝ in. x diameter: 6 ⅛ in. (11.7 cm. x 15.6 cm.)

Provenance: The Larry Martine Collection, Santa Fe, New Mexico

$5,000 — $7,000

163 Acoma

Polychrome Olla, ca. 1910

fired clay, natural pigments height: 12 ¾ x diameter: 13 ⅞ in. (32.4 x 35.2 cm.)

Provenance: Collection of Joel Goldfrank, Santa Fe, New Mexico

$7,000 — $9,000

164 Acoma

Polychrome Olla, ca. 1935

fired clay height: 12 ¾ x diameter: 13 ½ in. (32.4 x 34.3 cm.)

Provenance: Collection of Joel Goldfrank, Santa Fe, New Mexico

$5,000 — $7,000

165 Acoma Polychrome Pot with Geometric Design, ca. 1890

fired clay, natural pigments 11 ½ x 14 ½ x 11 ¼ in. (29.2 x 36.8 x 28.6 cm.)

Provenance: Private Collection, New Mexico

$4,000 — $6,000

166 Acoma Water Jar, ca. 1900

fired clay, natural pigments height: 10 x diameter: 11 ½ in. (25.4 x 29.2 cm.)

Provenance: Collection of Joel Goldfrank, Santa Fe, New Mexico

$3,000 — $6,000

167 Shipibo Polychrome Jar with Carved Face

fired clay, natural pigments

25 ½ x 30 in. (64.8 x 76.2 cm.)

Provenance: Collection of Joel Goldfrank, Santa Fe, New Mexico

$3,500 — $5,500

oil on canvas board

inscribed verso: “Z [ ] L” / 20”x16 OIL ON LINEN / ROSETA SANTIAgO / SANTA FE / ARTIFACT: ZIA BOWL BY / REYES PINO

20 x 16 in. (50.8 x 40.6 cm.)

frame: 26 x 22 x 1 ¾ in. (66 x 55.9 x 4.4 cm.)

Provenance:

Manitou Galleries, Santa Fe, New Mexico

Private Collection, New Mexico

$2,000 — $4,000

168 Roseta Santiago (b. 1946)

After the Harvest, 2004

oil on canvas signed left margin: SANTIAGO

inscribed verso: “AFTER THE HARVEST” / 30x40 OIL ON CANVAS / ROSETA SANTIAGO

29 x 39 in. (73.7 x 99.1 cm.)

frame: 36 ¼ x 46 ¼ x 1 ½ in. (92.1 x 117.5 x 3.8 cm.)

Provenance: Private Collection, New Mexico

$6,000 — $9,000

oil on canvas board

signed lower left: SANTIAGO

inscribed verso: “A VOICE FROM / THE PAST” / 16” x 16” OIL ON LINEN / ROSETA SANTIAGO / ARTIFACT: 1900’s ACOMA BOWL / WITH “PIECRUST” RIM

15 ¼ x 15 ¼ in. (38.7 x 38.7 cm.)

frame: 22 x 22 x 1 ¼ in. (55.9 x 55.9 x 3.2 cm.)

Provenance: Private Collection, New Mexico

$2,000 — $4,000

171 Rock Newcomb (b. 1945)

Connections

acrylic on panel

signed lower right: Rock Newcomb © inscribed verso

12 x 16 in. (30.5 x 40.6 cm.)

frame: 18 ¾ x 22 ¾ x 1 ½ in. (47.6 x 57.8 x 3.8 cm.)

Provenance: Private Collection, Colorado

$1,000 — $2,000

172 Helen [Tsa-Sah-Wee-Eh] Hardin (Santa Clara, 1943–1984)

Deer in the Sunset, 1978

oil on board

signed and dated lower left: TsA-sAh-wEE-Eh [artist’s cipher] / © 1978

inscribed verso: “Deer in the / Sunset” / a / contemporary Indian Painting / by / Helen Hardin / TsA-sAh-wEE-Eh [artist’s cipher]

5 ¾ x 5 ¾ in. (14.6 x 14.6 cm.)

frame: 13 ½ x 13 ½ x 1 ¼ in. (34.3 x 34.3 x 3.2 cm.)

Provenance: Private Collection, New Mexico

$1,500 — $3,000

173 Rory Wagner (1950–2010)

Untitled (Portrait with Turquoise Earrings), 1990

acrylic on paper

signed lower left: R W © 1990

initialed and dated lower left: R W © 1990

29 x 21 ½ in. (73.7 x 54.6 cm.)

frame: 32 x 39 ⅝ x 2 in. (81.3 x 100.6 x 5.1 cm.)

Provenance: Private Collection, Arizona

$2,000 — $4,000

174 Raphael Lillywhite (1891–1958)

Pair of Mural Studies: Plains Indians + Pueblo Cliff-Dwellers

oil on board

each: 9 ½ x 27 in. (24.1 x 68.6 cm.)

each frame: 17 ⅛ x 34 ½ x 2 in. (43.5 x 87.6 x 5.1 cm.)

Provenance: Private Collection, New Mexico

$3,000 — $5,000

175 Raphael Lillywhite (1891–1958) Untitled (Sheep Mountain)

oil on masonite

signed lower left: Raphael / LillywhiTe

25 ½ x 30 in. (64.8 x 76.2 cm.)

frame: 34 ¾ x 39 ¾ x 2 ¾ in. (88.3 x 101 x 7 cm.)

Provenance: Private Collection, New Mexico

$2,000 — $4,000

176 Raphael Lillywhite (1891–1958)

Untitled (Wading)

oil on board

signed lower right: Raphael / LillywhiTe 14 x 21 ¼ in. (35.6 x 54 cm.)

frame: 22 x 29 ½ in. (55.9 x 74.9 cm.)

Provenance: Private Collection, New Mexico

$2,000 — $4,000

177 Carleton Wiggins (1848–1932) A Yearling Bull

oil on panel

signed lower left: Carleton Wiggins, NA inscribed verso: A YEARLING BULL 11 ⅜ x 14 ¾ in. (28.9 x 37.5 cm.)

frame: 16 ⅜ x 19 ½ x 1 ¼ in. (41.6 x 49.5 x 3.2 cm.)

Provenance: Private Collection, Kentucky

$1,000 — $2,000

178 Carleton Wiggins (1848–1932) Study of Sheep in Cornwall, England, ca. 1910

oil on panel

signed lower left: Carleton Wiggins affixed verso: letter from Princeton president Woodrow Wilson, 1910 9 ¾ x 13 ⅜ in. (24.8 x 34 cm.)

frame: 13 ½ x 17 x 1 ¼ in. (34.3 x 43.2 x 3.2 cm.)

Provenance: Woodrow Wilson Fine Arts, Santa Fe, New Mexico Private Collection, Kentucky

$1,000 — $2,000

Carleton Wiggins was an American landscape painter closely tied to the Old Lyme Art Colony and best known for low-toned, Barbizon-influenced scenes with cattle set in broad, pastoral spaces. Born in Turners (now Harriman), New York, he studied drawing at the National Academy of Design, worked with Johann Hermann Carmiencke and later with George Inness, and also spent time studying in Paris. He exhibited from 1870, was elected a full Academician of the National Academy in 1906, and served as president of the Salmagundi Club from 1911–1913. Wiggins eventually settled in Old Lyme, Connecticut, where he painted alongside his son Guy Carleton Wiggins. His landscapes, rich in “low-key” color and anchored by solidly modeled cattle, are typical of American Barbizon taste at the turn of the century.

oil on canvas

inscribed lower right: To Mary from her Uncle / CARL 16 x 20 in. (40.6 x 50.8 cm.)

frame: 23 ½ x 27 ¼ x 1 ¾ in. (59.7 x 69.2 x 4.4 cm.)

Provenance:

Private Collection, Illinois

$1,000 — $2,000

oil on panel

signed lower left: F P Sauerwein inscribed verso: Pueblo Laguna N.M.

5 ¾ x 8 ¼ in. (14.6 x 21 cm.)

frame: 11 ⅜ x 13 ⅞ x 2 ¼ in. (28.9 x 35.2 x 5.7 cm.)

Provenance: Private Collection, Arizona

$1,500 — $2,500

181 Elbridge Ayer Burbank (1858–1949)

On the way from Gallup to Zuni, New Mexico, 1898

oil on canvas board

signed right of lower center: E. A. BURBANK

inscribed verso: ON-THE-WAY-FROM / GALLUP. N.M.-TO / ZUNI-NEW-MEXICO / IN 1898 / E.A.Burbank.

5 ⅝ x 11 ½ in. (14.3 x 29.2 cm.)

frame: 8 ⅝ x 14 ½ x 1 ⅜ in. (21.9 x 36.8 x 3.5 cm.)

Provenance:

The Walter Bimson Collection Private Collection, Arizona

$4,000 — $6,000

182 Bert Geer Phillips (1868–1956)

Taos Mountain and Wild Plum Blossoms

oil on panel signed lower right: PHillips.

inscribed verso: TAOS MT / WILD PLUM BLOSSOMS

18 x 24 in. (45.7 x 61 cm.)

frame: 23 ¼ x 29 ¼ x 2 in. (59.1 x 74.3 x 5.1 cm.)

Provenance:

Fenn Galleries, Santa Fe, New Mexico

Panhandle-Plains Historical Museum, Canyon, Texas

Nedra Matteucci Galleries, Santa Fe, New Mexico

Private Collection, Colorado

$7,000 — $10,000

183 Sheldon Parsons (1866–1943) Springtime, Santa Fe

oil on board

signed lower left: Sheldon PARSONS

inscribed verso: Springtime, Santa Fe / Sheldon PARsons 9 x 12 in. (22.9 x 30.5 cm.)

frame: 14 ⅞ x 17 ⅞ in. (37.8 x 45.4 cm.)

Provenance:

Peyton Wright, Santa Fe, New Mexico Private Collection, New Mexico

Sheldon (Orrin Sheldon) Parsons (1866–1943) was a New York–trained painter who became a key early figure in the Santa Fe art colony. Born in Rochester, NY, he studied at the National Academy of Design (with William Merritt Chase, Will Low, Edgar Ward), and from 1895–1912 was a successful Manhattan portraitist; sitters included President William McKinley and Susan B. Anthony. In 1913 he moved to Santa Fe and shifted focus to luminous Southwestern subjects—adobes, cottonwoods, pueblos, plazas—in a gentle Impressionist style, and quickly became a community leader. Parsons served at the newly opened New Mexico Museum of Art as an early curator/first art director (c. 1918–1921), helping shape Santa Fe’s exhibition scene. His house and studio on Cerro Gordo remain a local landmark.

$2,000 — $4,000

184 Joseph Amadeus Fleck (1892–1977) Untitled (Taos Pueblo)

oil on canvas

signed lower right: Jos FLecK in original Newcomb Macklin frame

22 x 28 in. (55.9 x 71.1 cm.)

frame: 29 ½ x 35 ½ x 2 ¼ in. (74.9 x 90.2 x 5.7 cm.)

Provenance: Private Collection, California

$6,000 — $9,000

185 Carl Von Hassler (1887–1969)

Sunset in the Foothills, 1940 oil on canvas

signed and dated lower left: Von Hassler · 40 inscribed verso: (Region Sangre de Christo Mountain) / “Sunset on the Foothills” / by Von Hassler - 42. / N.M.A.L. - 3 First Pr. / S.W.A.G. - 2 “ “ / A.A.P.L. - 1 “ “ / I.I.A. Recog. / A.A.E.S. Honorary Memb.

27 ¼ x 32 ¼ in. (69.2 x 81.9 cm.)

frame: 32 ½ x 37 ¼ x 1 ½ in. (82.6 x 94.6 x 3.8 cm.)

Provenance:

Private Collection, Minnesota

$9,000 — $12,000

Carl Von Hassler was born in Bremen, Germany, and attended the Dusseldorf Art Academy.

After a sojourn in New York as a member of the Greenwich Ashcan Group of painters, he moved to Albuquerque, New Mexico in the early 1920s, where he became popularly known as the “Dean of the Albuquerque Art Colony.”

Much of his renowned ability to capture the moods of New Mexico as it changed through the seasons was based in his extraordinary knowledge of the natural world. He was said to have been able to name almost any plant that grew in the state.

In Albuquerque he completed major commissions for such notable Albuquerque buildings as the 1939 Albuquerque Airport, Fred Harvey's Alvorado Hotel, the Franciscan Hotel, Bank of New Mexico, and First National Bank.

186 Carl Von Hassler (1887–1969) Untitled (Northern New Mexico Scene) oil on panel

signed lower right: Von Hassler

inscribed verso: Von Hassler / ProperTy of Fred Fulton 14 ⅝ x 21 ⅜ in. (37.1 x 54.3 cm.)

frame: 25 x 32 ¼ x 1 ⅞ in. (63.5 x 81.9 x 4.8 cm.)

Provenance: Private Collection, New Mexico

$3,000 — $5,000

187 Raymond Jonson (1891–1982)

Mountains with Snow - Santa Fe, 1914

oil on canvas

signed and dated lower left: Raymond Jonson 1914

18 x 22 ⅛ in. (45.7 x 56.2 cm.)

frame: 28 ¼ x 32 ¼ x 2 in. (71.8 x 81.9 x 5.1 cm.)

Provenance: Private Collection, Arizona

$6,000 — $9,000

188 Lloyd Moylan (1893–1963) Untitled (New Mexico Landscape)

oil on canvas

signed lower right: L. Moylan

21 ¼ x 27 in. (54 x 68.6 cm.)

frame: 32 ½ x 38 ½ x 2 in. (82.6 x 97.8 x 5.1 cm.)

Provenance: Private Collection, New Mexico

$4,000 — $6,000

189 Joseph Adam Imhof (1871–1955) Untitled (Ristras and Poplars)

oil on board

signed lower right: - ImHof -

23 ½ x 17 ¾ in. (59.7 x 45.1 cm.)

frame: 28 ½ x 22 ¾ x 1 ¼ in. (72.4 x 57.8 x 3.2 cm.)

Provenance: Nedra Matteucci Galleries, Santa Fe, New Mexico Private Collection, New Mexico

$2,500 — $4,500

190 Bill Hughes (1932–1992) Church at Algodones, 1973

oil on canvas

signed lower right: W Hughes.

18 x 24 in. (45.7 x 61 cm.)

frame: 28 ½ x 34 x 1 ¾ in. (72.4 x 86.4 x 4.4 cm.)

Provenance:

Blair Galleries, Santa Fe, New Mexico

Private Collection, New Mexico

$1,500 — $2,500

192 Alfred Gwynne Morang (1901–1958) Untitled (Figure with Barn and Trees), 1955

oil on canvas

signed and dated lower right: Alfred Morang 55

11 ¾ x 15 ½ in. (29.8 x 39.4 cm.)

frame: 16 x 20 x 1 ½ in. (40.6 x 50.8 x 3.8 cm.)

Provenance:

Private Collection, California

$3,000 — $5,000

191 Alfred Gwynne Morang (1901–1958) Untitled (Adobe Street Scene), 1949

oil on canvas

dated and signed lower right: 49 / ALFRED MORANG

15 ½ x 19 ½ in. (39.4 x 49.5 cm.)

frame: 19 ½ x 24 x 1 ½ in. (49.5 x 61 x 3.8 cm.)

Provenance: Private Collection, California

$4,000 — $6,000

oil on canvas board

signed lower right: R. Daughters.

9 ¾ x 7 ⅝ in. (24.8 x 19.4 cm.)

frame: 12 ¾ x 10 ¾ x 1 ⅛ in. (32.4 x 27.3 x 2.9 cm.)

Provenance: The Tyrone Campbell Collection

Exhibited: Beaux Arts, Art-A-Fair, Scottsdale Artists’ School, April 29, 2006

$3,000 — $5,000

egg tempera on panel signed and dated lower right: M. RIPPEL © 1989 / NAWA inscribed verso: “COTTONWOODS AT SWAN LAKE” / (EGG TEMPERA ON WOOD PANEL) / 16” x 26 - #853 / M. RIPPEL ©1989 / (ALL RIGHTS RESERVED)

16 x 26 in. (40.6 x 66 cm.)

frame: 26 x 36 x 2 in. (66 x 91.4 x 5.1 cm.)

Provenance: Nedra Matteucci Galleries, Santa Fe, New Mexico Private Collection, New Mexico

$2,000 — $4,000

195 Ben Turner (1912–1966)

Untitled (New Mexico Autumn)

oil on linen

signed right of lower center: B TURNER

21 ½ x 29 ¾ in. (54.6 x 75.6 cm.)

frame: 30 x 38 x 2 in. (76.2 x 96.5 x 5.1 cm.)

Provenance: Private Collection, New Mexico

$2,000 — $4,000

196 William Cather Hook (b. 1948) Past the Shadows

acrylic on canvas signed lower left: W. C. Hook. 18 x 24 in. (45.7 x 61 cm.)

frame: 27 ⅛ x 33 ⅛ x 2 ¼ in. (68.9 x 84.1 x 5.7 cm.)

Provenance: Private Collection, Texas

$2,500 — $3,500

197 Russell Chatham (1939–2019) Afternoon View from Marconi, 1963

oil on canvas

inscribed verso: VIEW FROM SECOND COTTAGE TO LEFT OF HOTEL / RUSSELL D. CHATHAM / MARCONI, MARSHALL 1963 / VIEW FROM MARCONI, AFTERNOON / [indecipherable]

24 x 20 in. (61 x 50.8 cm.)

frame: 24 ¾ x 20 ⅝ x 1 ½ in. (62.9 x 52.4 x 3.8 cm.)

Provenance: Private Collection, California

$3,000 — $5,000

198 Curt Walters (b. 1950) Sunset at the Middens

oil on canvas signed lower left: -CuRt WAltERS16 x 24 in. (40.6 x 61 cm.)

frame: 20 ⅛ x 28 ⅛ x 1 ¾ in. (51.1 x 71.4 x 4.4 cm.)

Provenance: Altermann Galleries, Santa Fe, New Mexico Private Collection, New Mexico

$3,000 — $6,000

199 Gordon Brown (b. 1962) Untitled (Canyon River), 1983

oil on canvas

signed and dated lower right: Gordon Brown / 1·9·8·3

48 x 60 in. (121.9 x 152.4 cm.)

frame: 55 ¼ x 67 ¼ x 2 ⅛ in. (140.3 x 170.8 x 5.4 cm.)

Provenance: Private Collection, Colorado

$3,000 — $6,000

201 Rod Goebel (1946–1993) Looking Toward Los Cordovas

oil on linen

signed lower right: Rod Goebel / TAOS

inscribed verso: “LOOKING TOWARD LOS CORDOVAS” / ORIGINAL OIL BY ROD GOEBEL

stamped verso: REPRODUCTION RIGHTS RESERVED 16 x 23 ¼ in. (40.6 x 59.1 cm.)

frame: 24 ½ x 31 ½ x 2 ½ in. (62.2 x 80 x 6.4 cm.)

Provenance: Private Collection, Kentucky

$1,500 — $2,500

200 Robert Hagen (b. 1947) Untitled (Buffalo Crossing River)

oil on canvas

signed lower left: RHagan

38 ½ x 46 ½ x 2 ¼ in. (97.8 x 118.1 x 5.7 cm.)

frame: 44 x 52 ⅛ in. (111.8 x 132.4 cm.)

Provenance: Private Collection, New Mexico

$3,000 — $5,000

202 Matt Smith (b. 1960) Young Saguaro, 2005

oil on panel

signed lower left: Matt Smith

inscribed verso: Matt Smith 2005 © / OIL · 11” x 14” / “YouNG SAGUARO” 11 x 14 in. (27.9 x 35.6 cm.)

frame: 15 ⅜ x 18 ⅜ x 1 ½ in. (39.1 x 46.7 x 3.8 cm.)

Provenance: Private Collection, Georgia

Exhibited: Prix de West Invitational, National Cowboy & Western Heritage Museum, Oklahoma City, Oklahoma

$1,000 — $1,500

203 Jean Parrish (1911–2004)

Rocks, 1980

oil on board

signed lower right: JEAN PARRISH ©1980 label verso: “RED ROCKS” / By JEAN PARRISH / 9” x 12” / OIL

9 x 12 in. (22.9 x 30.5 cm.)

frame: 16 ⅝ x 19 ½ x 1 ¾ in. (42.2 x 49.5 x 4.4 cm.)

Provenance:

Private Collection, Kentucky

Jean Parrish was a Southwest landscape painter and the only child of Maxfield Parrish to become a professional artist. Born at The Oaks, the Parrish family home in Plainfield, New Hampshire, she later lived for many years in Albuquerque, New Mexico, developing a personal style independent of her father: luminous skies, snow-bright mesas, adobe villages, and high-desert light rendered in crisp, atmospheric color. She learned primarily within her father’s studio orbit and pursued portraiture and occasional sculpture, but repeatedly returned to New Mexico’s terrain as her core subject.

$1,500 — $2,500

acrylic on masonite

signed lower left: G V Mitchell

23 ¼ x 30 in. (59.1 x 76.2 cm.)

frame: 27 ¾ x 34 x 1 ¾ in. (70.5 x 86.4 x 4.4 cm.)

Provenance: Private Collection, New Mexico

$1,000 — $2,000

205 Agnes Tait (1894–1981) Canyon Corral, 1944

oil on linen

signed lower left: Agnes Tait 20 x 24 ¼ in. (50.8 x 61.6 cm.) frame: 24 ¾ x 29 x 2 in. (62.9 x 73.7 x 5.1 cm.)

Provenance: McNay Art Museum, The Tobin Foundation for Theatre Art, San Antonio, Texas Private Collection, New Mexico

Literature:

Art News Vol. XVI, March 1-15, 1945, p. 26

Lydia M. Peña, The Life and Times of Agnes Tait: 18941981, Arvada Center for the Arts and Humanities, 1983, p. 40, No. 36

Michael R. Grauer, Women Artists in Santa Fe, American Art Review Vol. XVI, September - October, 2004, p. 164

Exhibited:

Solo Show, Feragil Gallery, New York, New York, 1945

Women Artists in Santa Fe, Panhandle Plains Museum, Canyon, Texas, November 6, 2004 – February 20, 2005

Women Artists in Santa Fe, St. George Art Museum, St. George, Utah, April 8 – June 30, 2005

$3,000 — $6,000

206 Louisa McElwain (1953–2013)

Pastoral

oil on canvas

signed lower right: III McELWAIN

inscribed verso: “PASTORAL” LouISA McELWAIN P04001 (15X30”)

15 x 30 in. (38.1 x 76.2 cm.)

frame: 24 ½ x 39 ½ x 1 ⅜ in. (62.2 x 100.3 x 3.5 cm.)

Provenance:

Patio Gallery, Studio Estevané, Albuquerque, New Mexico

Collection of Janet Green, Albuquerque, New Mexico

$7,000 — $10,000

207 Roseta Santiago (b. 1946)

Meeting at the Clearing, 2023

oil on canvas

signed lower right: SANTIAGO

inscribed verso: MEETING AT THE CLEARING 30X40 OIL R. SANTIAGO 2023

30 ⅛ x 40 in. (76.5 x 101.6 cm.)

frame: 35 ½ x 45 ½ x 1 ¼ in. (90.2 x 115.6 x 3.2 cm.)

Provenance:

Blue Rain Gallery, Santa Fe, New Mexico

Private Collection, Arizona

$5,000 — $8,000

oil on board

signed lower left: Blanche / C. / Grant / Taos

inscribed verso: HIS WAR BONNET / By Blanche C. Grant / of Taos New Mexico - 1936 / The Indian is Joe Romero of the / Taos Pueblo. His Indian name is / Toh-A-P(or R)ELA (SuN LighTening)

15 ½ x 11 ½ in. (39.4 x 29.2 cm.)

frame: 18 ¾ x 13 ¾ x ¾ in. (47.6 x 34.9 x 1.9 cm.)

Provenance:

Private Collection, Pennsylvania

$4,000 — $6,000

210

oil on canvas

signed lower right: McELWAIN

inscribed verso: “MATHER, LAST LIGHT” P12115 9X12 / MCELWAIN

9 x 12 in. (22.9 x 30.5 cm.)

frame: 18 ⅝ x 21 ⅝ x 1 ⅜ in. (47.3 x 54.9 x 3.5 cm.)

Provenance:

K Newby Gallery & Sculpture Garden, Tubac, Arizona

Private Collection, New Mexico

$2,000 — $4,000

oil on board

signed lower left: Ila McAfee

inscribed verso: “Exuberance” by Ila McAfee of Taos - / N. Mex

12 x 16 in. (30.5 x 40.6 cm.)

frame: 20 x 24 x 2 ½ in. (50.8 x 61 x 6.4 cm.)

Provenance:

Private Collection, Virginia

$3,000 — $5,000

(1866–1939)

Untitled (Cowboy and Bathers)

oil on board

signed lower left: Elanor Colburn

12 ⅛ x 16 in. (30.8 x 40.6 cm.)

frame: 18 ¼ x 22 ¼ x 1 ⅛ in. (46.4 x 56.5 x 2.9 cm.)

Provenance: The Gregory Warren Nelson Collection, New Mexico

$1,000 — $2,000

212 Veryl Goodnight (b. 1947)

Back from the Brink, 2001

bronze, edition 3 of 7

inscribed: VERyl Goodnight 2001 © 3/7 / S 78 x 65 x 60 in. (198.1 x 165.1 x 152.4 cm.)

Provenance:

Private Collection, New Mexico

Veryl Goodnight is a Colorado-based sculptor and painter best known for powerful equine bronzes and Western subjects. She began as a wildlife painter in the early 1970s, then turned to sculpture to study anatomy. Back from the Brink was famously inspired by the emotional familiarity of watching her husband feed a beloved calf on their ranch. Her signature work is the monument The Day the Wall Came Down showing five horses leaping the rubble of the Berlin Wall and was installed in two monumental castings: 1996 at the George H. W. Bush Presidential Library and 1998 in Berlin near the Allied Museum; a quarter-scale version is at CIA Headquarters. A 40-year retrospective was held at the Gilcrease Museum in 2011 and she was inducted into the National Cowgirl Museum & Hall of Fame in 2016.

$40,000 — $50,000

bronze, edition 12 of 21

inscribed: G. Goodacre 12/21

31 x 16 ¾ x 8 ½ in. (78.7 x 42.5 x 21.6 cm.) with base: 33 x 17 x 10 in. (83.8 x 43.2 x 25.4 cm.)

Provenance: Private Collection, Colorado

$4,000 — $6,000

bronze, edition 22 of 25

inscribed: ROX 22 / 25

13 ½ x 9 ⅞ x 15 ¼ in. (34.3 x 25.1 x 38.7 cm.)

Provenance: Private Collection, New Mexico

$3,000 — $5,000

216

bronze, artist’s proof

inscribed: Shirley T. Smith / NAWA / © 1989 A.P.

24 x 15 ¾ x 11 in. (61 x 40 x 27.9 cm.)

with base: 26 ½ x 17 ¼ x 13 ½ in. (67.3 x 43.8 x 34.3 cm.)

Provenance: Private Collection, Colorado

$1,500 — $2,500

bronze, edition 27 of 30

inscribed: M BARBERA 27/30 / HOPI POTTERS

21 ½ x 12 x 12 ½ in. (54.6 x 30.5 x 31.8 cm.)

Provenance: Private Collection, Colorado

$1,200 — $1,800

bronze, edition 2 of 25

inscribed: MARTHA PETTIGREW / © 1997 2/25

15 ½ x 14 x 11 in. (39.4 x 35.6 x 27.9 cm.) with base: 17 x 14 x 11 in. (43.2 x 35.6 x 27.9 cm.)

Provenance: Private Collection, Colorado

$1,000 — $2,000

218 Dan Ostermiller (b. 1956) Requiescence, 1993

bronze, edition 6 of 30

inscribed: Dan Ostermiller / 93 / 6/30

6 ½ x 9 ½ x 8 ½ in. (16.5 x 24.1 x 21.6 cm.)

Provenance: Private Collection, New Mexico

$2,000 — $4,000

219 Tim Shinabarger (b. 1966) Songs of September

bronze, edition 3 of 35

inscribed: © Shinabarger / 3/35

21 ⅝ x 25 ¾ x 13 in. (54.9 x 65.4 x 33 cm.)

Provenance: Private Collection, New Mexico

$4,000 — $6,000

oil on panel

signed lower right: MICHAEL COLEMAN / ©

15 ⅜ x 10 in. (39.1 x 25.4 cm.)

frame: 27 ½ x 21 ¾ x 2 ⅜ in. (69.9 x 55.2 x 6 cm.)

Provenance:

Altermann Galleries, Santa Fe, New Mexico Private Collection, Texas

$1,000 — $2,000

oil on panel

signed lower left: © MICHAEL COLEMAN

15 ½ x 10 in. (39.4 x 25.4 cm.)

frame: 27 ¼ x 21 ¾ x 2 ¼ in. (69.2 x 55.2 x 5.7 cm.)

Provenance: Altermann Galleries, Santa Fe, New Mexico Private Collection, Texas

$1,000 — $2,000

George Hallmark (b. 1949)

oil on linen over panel

signed lower left: © Hallmarkinscribed verso: © COPYRIGHT / GEORGE HALLMARK / George Hallmark

16 x 12 in. (40.6 x 30.5 cm.)

frame: 23 ¾ x 19 ¾ x 2 ¼ in. (60.3 x 50.2 x 5.7 cm.)

Provenance: Private Collection, Georgia

Exhibited: Prix de West Invitational, National Cowboy & Western Heritage Museum, Oklahoma City, Oklahoma

$2,000 — $3,000

223 Daniel Sprick (b. 1953)

Untitled (Squash Still Life), 1989

oil on canvas

signed lower left: Daniel Sprick 89. 9. 16 x 30 in. (40.6 x 76.2 cm.)

frame: 20 ⅝ x 34 ½ x 1 in. (52.4 x 87.6 x 2.5 cm.)

Provenance:

The Carol Siple Gallery, Denver, Colorado Private Collection, Montana

$1,500 — $2,500

224 Daniel Sprick (b. 1953)

Untitled (Still Life with Monstera), 1990

oil on panel

signed and dated lower center: Daniel Sprick 0890 18 ¼ x 19 ⅞ in. (46.4 x 50.5 cm.)

frame: 23 ½ x 25 ⅜ x 1 ½ in. (59.7 x 64.5 x 3.8 cm.)

Provenance:

The Carol Siple Gallery, Denver, Colorado Private Collection, Montana

$2,000 — $4,000

225 Elias J. Rivera (1937–2019)

Untitled (Portrait of a Woman)

oil on panel

signed upper left: RIVERA

inscribed verso: Elias Rivera

11 ½ x 9 ½ in. (29.2 x 24.1 cm.)

frame: 15 x 13 ⅛ x 1 ⅜ in. (38.1 x 33.3 x 3.5 cm.)

Provenance: The Gayle Maxon-Edgerton Collection, 2022 Private Collection, New Mexico

$1,000 — $2,000

226 Joseph Henry Sharp (1859–1953) California Waves and Splashes

oil on canvas

signed lower right: JH SHARP

14 x 18 ½ in. (35.6 x 47 cm.)

frame: 19 x 23 ½ x 1 in. (48.3 x 59.7 x 2.5 cm.)

Provenance: The Artist’s Estate

The Forrest Fenn Collection

Private Collection, Santa Fe, New Mexico

$3,000 — $6,000

227 Kathryn Stedham (b. 1969)

Echo Sky Drama, 2021

oil on canvas

signed lower right: Stedham

inscribed verso: Echo Sky Drama / c.) 2021, Kathryn Stedham / All rights reserved / Stedham

29 ¾ x 39 ¾ in. (75.6 x 101 cm.)

frame: 31 ¼ x 41 x 2 in. (79.4 x 104.1 x 5.1 cm.)

Provenance: Private Collection, New Mexico

$2,000 — $4,000

228 Kathryn Stedham (b. 1969) Desert Rio Grande, 2021

oil on canvas

signed lower right: Stedham

inscribed verso: Desert Rio Grande / (c) 2021, Kathryn Stedham / All rights reserved / Stedham

35 ¾ x 48 in. (90.8 x 121.9 cm.)

frame: 39 ¼ x 51 ⅛ x 1 ¾ in. (99.7 x 129.9 x 4.4 cm.)

Provenance: Private Collection, New Mexico

$2,000 — $4,000

229 Valoy Eaton (b. 1938) River Bottom-Study, 1987

oil on panel

signed and dated lower right: VALOY / EATON / 87 inscribed verso: “RIVER BOTTOM - STUDY” / © 1987 / PRELIMINARY STUDY / VALOY EATON / MIDWAY UTAH

12 x 12 in. (30.5 x 30.5 cm.)

frame: 17 ⅝ x 17 ⅝ x 1 ¾ in. (44.8 x 44.8 x 4.4 cm.)

Provenance:

Colorado Historical Society, Denver, Colorado Private Collection, Montana

$1,000 — $2,000

oil on canvas

signed left of lower center: HAVERstick

inscribed verso: MotheR BeaR aNd Cubs / 96

27 x 22 in. (68.6 x 55.9 cm.)

frame: 33 ¼ x 28 ¼ x 1 in. (84.5 x 71.8 x 2.5 cm.)

Provenance: Private Collection, New Mexico

$1,000 — $2,000

acrylic on canvas

signed lower right: TerBush inscribed verso: “The Deserts Jewels” / By / Dale Terbush

40 x 30 in. (101.6 x 76.2 cm.)

frame: 56 ⅝ x 46 ⅝ x 4 ⅝ in. (143.8 x 118.4 x 11.7 cm.)

Provenance: Private Collection, New Mexico

$2,000 — $4,000

LOTS 232 – 354

Saturday, November 8 1:00pm MST

THE COOLIDGE COST COLLECTION

Santa Fe Art Auction has been privileged throughout 2025 to present a remarkable selection of works from the Coolidge Cost Collection, featuring items from the personal collection of John P. Coolidge, professor and director of the Fogg Art Museum at Harvard University from 1948 to 1971. One of the most influential figures in American museum history, Professor Coolidge was instrumental in reshaping the role of the museum of postwar America.

The Coolidge Cost Collection comprised an exceptional assemblage of modern masterworks, classical sculpture, American pottery, Native American textiles, and Japanese ceramics. One of the earliest advocates of the avant-garde, Professor Coolidge championed the idea that museums are not just repositories of the past but institutions for the discovery of art and safeguarding of ideas, particularly during times of global upheaval. Under his directorship in the aftermath of World War II, The Fogg moved beyond a strict focus on Ancient and Renaissance art, toward a bold embrace of European modernism. Coolidge purchased works such as that of Yves Tanguy at the artist’s first U.S. exhibition, and maintained close correspondence with key figures like Alberto Burri and Alexander Calder. Many works from his collection were on long-term loan to the Fogg during his tenure, reflecting Coolidge’s deeply personal vision for integrating modern and classical aesthetics. Lots by Yves Tanguy, Alberto Burri, and Kurt Schwitters, presented here are among this illustrious collection.

Coolidge passed his collection on to his daughter, Mary Cost Coolidge, a Santa Fe-based weaver and poet, and her husband David Cost Sr., a poet and printmaker. Together they expanded the collection, adding significant holdings of American and Japanese pottery, as well as Native American weavings, baskets, and rugs.

Our Signature Sale offers collectors a rare opportunity to acquire works that not only defined Coolidge’s personal taste but also shaped the trajectory of modern art scholarship and curation in the United States. With direct provenance to one of the most significant museum directors of the 20th century and a legacy enriched by two Santa Fe artists, these artworks offer collectors an unparalleled opportunity to acquire highlights that contributed to that story.

232 Kurt Schwitters (German, 1887–1948)

N.A.V., 1947

collage, found paper on paperboard inscribed verso: “nav” 10×8 1947

9 ⅞ x 8 in. (25.1 x 20.3 cm.)

frame: 15 ⅞ x 13 ⅞ x 1 in. (40.3 x 35.2 x 2.5 cm.)

Provenance:

The G. David Thompson Collection

The John P. Coolidge Collection (former director of the Fogg Art Museum at Harvard University, 1948 - 1971)

The Coolidge Cost Collection (by descent)

Exhibited:

Fogg Art Museum, Harvard University, Cambridge, Massachusetts

Kurt Schwitters (1887–1948) was a German avant-garde artist, poet, and designer known for his pioneering work in the field of collage, turning the detritus of everyday life—tram tickets, newspaper scraps, bus timetables,

wire, wood—into rigorous, lyrical art. Trained in painting, he broke from tradition around 1918 and coined “Merz,” his personal brand of art-making that fused collage, assemblage, poetry, typography, design, and performance. Schwitters’ embrace of humble materials and crossdisciplinary play made him a keystone for assemblage, Fluxus, Pop, and later installation art—proof that modernism could be both exacting and made from the stuff underfoot. Today, Schwitters’s works are held in the collections of The Museum of Modern Art in New York, the Tate Gallery in London, and the National Gallery of Art in Washington, D.C., among others.

“The language of Merz now finds common acceptance and today there is scarcely an artist working with materials other than paint who does not refer to Schwitters in some way. In his bold and wide-ranging experiments he can be seen as the grandfather of Pop Art, Happenings, Concept Art, Fluxus, multimedia art and post-modernism.”

(Gwendolyn Webster, 1998 for Artchive)

$50,000 — $70,000

THE COOLIDGE COST COLLECTION

233 Yves Tanguy (French, 1900–1955)

Untitled, 1939

gouache on paper signed and dated lower right: YVES TANGUY 39 inscribed mount verso: Tanguy

4 x 10 ½ in. (10.2 x 26.7 cm.)

frame: 12 ½ x 18 ½ x ¾ in. (31.8 x 47 x 1.9 cm.)

Provenance:

The Pierre Matisse Gallery, New York, New York, 1940

The John P. Coolidge Collection (former director of the Fogg Art Museum at Harvard University, 1948 - 1971)

The Coolidge Cost Collection (by descent)

Exhibited:

Fogg Art Museum, Harvard University, Cambridge, Massachusetts

Yves Tanguy was a French-born Surrealist painter famed for dreamlike, horizonless landscapes populated by biomorphic, bone-smooth forms that feel both mineral and alive. Self-taught after a brief stint in the merchant marine, he joined the Paris Surrealists in the late 1920s , and in 1928 he participated with Jean Arp, Max Ernst, André Masson, Joan Miró, Pablo Picasso, and others in the famous Surrealist exhibition at the Galerie au Sacre du Printemps, Paris. Tanguy developed a meticulous, enamel-like technique—thin, even layers and tiny, crisp highlights—to stage mute objects casting long, surgical shadows across limitless plains under low skies. Though never figurative, his world hints at geology, fossils, and subconscious diagrams— key to Surrealism’s exploration of the mind. Tanguy exhibited widely on both sides of the Atlantic, and his vocabulary influenced later abstractionists and fantastical realists alike. His paintings are held by major museums globally including the Museum of Modern Art in New York, the Guggenheim Museum, the Menil Collection in Houston, Tate, London, the Smithsonian American Art Museum, the Whitney Museum, Art Institute of Chicago , the Metropolitan Museum of Art and Philadelphia Art Museum.

$100,000 — $150,000

THE COOLIDGE COST COLLECTION

234 Alberto Burri (1915–1995) No. 9 Combustione

acrylic, combustion, vinavil, paper on celotex inscribed verso: no 9 combustione T. Burri 14 x 10 ½ in. (35.6 x 26.7 cm.)

cellotex: 18 ⅞ x 15 ½ in. (47.9 x 39.4 cm.)

Provenance:

The John P. Coolidge Collection (former director of the Fogg Art Museum at Harvard University, 1948 - 1971) The Coolidge Cost Collection (by descent)

Exhibited:

Fogg Art Museum, Harvard University, Cambridge, Massachusetts

Burri used industrial materials the way other painters use brushes: on Celotex fiberboard he collaged paper with Vinavil (PVA glue), then scorched the surface (combustion) and added spare acrylic passages. The Celotex gives a dense, workable ground; Vinavil forms a skin that can craze; burning chars and perforates the collage to create crisp edges and relief; acrylic unifies or counters the scorched geometry. These mixed-media “Combustioni” and Cellotex works sit alongside Burri’s other material families (the Sacchi burlap sacks; Legni burnt woods; Plastiche melted plastics; Ferr corroded metals; and the Cretti cracked fields). Burri first exhibited his Combustioni at the Galleria dell’Obelisco in Rome in 1963. His work would later be introduced to American audiences in an exhibition that travelled to the Carnegie Institute in Pittsburgh, the Arts Club of Chicago, the Albright Knox Art Gallery in Buffalo, and the San Francisco Museum of Modern Art. A large-scale reconsideration of his work as an artist over fifty years was presented at the Guggenheim Museum in New York in the fall of 2015.

$80,000 — $120,000

235 Leonor Fini (1907–1996) Untitled (Dancer)

watercolor, ink on paper signed lower right: Leonor Fini 12 x 9 in. (30.5 x 22.9 cm.) frame: 19 ⅝ x 15 ¾ x ¾ in. (49.8 x 40 x 1.9 cm.)

Provenance:

The John P. Coolidge Collection (former director of the Fogg Art Museum at Harvard University, 1948 - 1971)

The Coolidge Cost Collection (by descent)

$3,000 — $5,000

236 Pablo Picasso (Spanish, 1881–1973)

Les déjeuners IV (d’après Manet), 1961

graphite on paper dated, inscribed and signed lower right: 1.7.61 / IV / Picasso inscribed verso: 010102/61093 / NO 2848 12 7/8 x 19 3/4 in. (32.7 x 50.2 cm.) frame: 18 ½ x 25 ½ in. (47 x 64.8 cm.)

Provenance: Private Collection, New Mexico

Literature:

Douglas Cooper, Pablo Picasso: Les Déjeuners. Paris: Cercle d’Art, 1962, p. 74

Enrique Mallen, Online Picasso Project Catalogue Raisonné (OPP), Sam Houston State University, 61:184

Alan Wofsy, Picasso’s Paintings, Watercolors, Drawings & Sculpture: A Comprehensive Illustrated Catalogue, 1885-1973, 28 Volumes, San Francisco: Alan Wofsy Fine Arts, 1995 – 2016, 61:119

Christian Zervos, Pablo Picasso: Catalogue de l’oeuvre, 33 Volumes, Paris: Cahiers d’Arts, 1932 – 1978, XX:55

Picasso’s Les déjeuners IV (d’après Manet) is a late-career drawing from his 1961 series reimagining Manet’s Le Déjeuner Sur l’Herbe. Executed in bold black contour with soft graphite shading on wove paper, it compresses Manet’s picnic ensemble into two monumental nudes, emphasizing elastic line, sculptural volume, and erotic play. The inscription “1.7.61 IV” is Picasso’s day-by-day notation—1 July 1961, the fourth work completed that day—and the small graphite signature at lower right is typical for the period. As part of the sustained Déjeuners campaign Picasso pursued at Mougins, the sheet exemplifies his practice of treating Old Master icons as open themes for serial variation, merging homage with restless invention.

$70,000 — $100,000

Born in London in 1933, Peter Rogers studied at St. Martin’s School of Art and was a member of the prominent Royal Society of British Artists. In 1962, after years of exhibitions and positions with the Royal Society, Rogers cut ties with the group and moved to Spain. There he met Carol Hurd, daughter of beloved American artists Peter Hurd and Henriette Wyeth and granddaughter of famed illustrator N.C. Wyeth. The two would marry and return to the States where they settled in San Patricio, New Mexico.

Following in the footsteps of his in-laws, Rogers made a living painting commissions and portraits. The most recognized of these is Rogers’s 1964 mural “Texas Moves Toward Statehood” which adorns the lobby of the Lorenzo de Zavala State Archives and Library in Austin, and for which Rogers earned the title of Honorary Citizen of Texas.

However, the great driving force of Rogers’s life was his deeply felt sense of spirituality. Likened to the work and writings of William Blake, Rogers sought enlightenment through his art. For fifty years, Rogers pursued his quest developing his largest and most important body of work. Allegorical in nature, Rogers’s paintings from his series, aptly named “Artist’s Quest”, reflect the artist’s exploration of the connection between the spiritual and material worlds.

237 Peter Rogers (1933 - 2018) Untitled (Landscape with Two Figures), 1975

oil on panel

initialed and dated lower right: P. R. 75

22 x 30 ¾ in. (55.9 x 78.1 cm.)

frame: 30 x 38 ½ x 1 ¼ in. (76.2 x 97.8 x 3.2 cm.)

Provenance: Private Collection, New Mexico

$2,000 — $4,000

238 Howard Behling Schleeter (1903–1976) Commuters, 1957

oil, silver leaf, oil glaze on board signed and dated lower left: H SCHLEETER 57

11 x 14 in. (27.9 x 35.6 cm.)

frame: 17 ½ x 20 ½ x 1 ¾ in. (44.5 x 52.1 x 4.4 cm.)

Provenance: Private Collection, New Mexico

$2,000 — $4,000

239 Fernand Léger (French, 1881–1955) Composition, ca. 1925

gouache on paper initialed and dated lower left: F.L. 36 13 ¾ x 7 ⅞ in. (34.9 x 20 cm.) sheet: 19 ⅞ x 12 in. (50.5 x 30.5 cm.) frame: 26 ⅜ x 18.4 x 1 ½ in. (67 x 46.8 x 3.8 cm.)

According to the Comité Léger, this work was executed circa 1925, and then dated “36” around the time that Léger finally sold or gifted the artwork.

This work is accompanied by a certificate of authenticity issued by the Comité Léger on December 30, 2024, and will be included in the forthcoming catalogue raisonné in preparation by the Comité Léger.

Provenance:

Galerie Simon, Paris, France

The Waddington Galleries, England Private Collection, New Mexico

Léger studied at the École des Beaux-Arts and Académie Julian in Paris but the initial influence of Impressionism soon gave way to the significant impact on his work of the early Cubism of Pablo Picasso and Georges Braque. From 1911 to 1914 Léger’s work became increasingly abstract, and he started to limit his color to the primaries and black and white.  His most recognizable “mechanical” period, in which figures and objects are characterized by tubular, machinelike forms, began in 1917. The Fernand Léger National Museum was established in 1960, and Léger’s artwork is included in multiple museum collections globally, including here in the United States, The Museum of Modern Art, NY, the Guggenheim, the Metropolitan Museum of Art, and the Philadelphia Museum of Art.

$15,000 — $20,000

240 Tom Joyce (b. 1956)

charred drawing on wood fiber inscribed verso: PENUMBRA X, 2005 / [artist’s signature] accompanied by book, Tom Joyce: Works 2002 - 2017, published by Radius Books

48 x 47 ¾ in. (121.9 x 121.3 cm.) frame: 50 ½ x 50 x 3 in. (128.3 x 127 x 7.6 cm.)

Provenance: The Steven and Karen Berkowitz Collection

$10,000 — $15,000

Provenance: The Steven and Karen Berkowitz Collection

$8,000 — $12,000

242 Donald Moffett (b. 1955) The Alliance (Triptych)

extruded oil on canvas blue + red panels 10 ¼ x 8 x 2 ¾ in. (26 x 20.3 x 7 cm.) white panel: 12 x 9 ½ x 2 ½ in. (30.5 x 24.1 x 6.4 cm.)

Provenance:

The Steven and Karen Berkowitz Collection

Donald Moffett is an American artist whose work stretches what a painting can be. He perforates and sutures canvases, projects video onto them, and builds bristling, 3-D surfaces by extruding thousands of strands of oil paint. He emerged in late-1980s New York as a founding member of Gran Fury, the art collective aligned with ACT UP, and he’s kept one foot in activism and one in rigorous formal experimentation ever since. He studied art and biology at Trinity University and works between Texas, Maine, and New York. Recent bodies of work include the Nature Cult series, which extends his biomorphic, high-gloss objects into wall works and site-responsive installations. His pieces are in the permanent collections of many major mseums, including MoMA, the Whitney, The Menil Collection, Houston, Metropolitan Museum of Art, New York, Museum of Contemporary Art, Los Angeles, and Museum of Fine Art, Boston.

Moffett’s “extruded” paintings are built by methodically extending individual tendrils of oil paint so they stand perpendicular to the canvas/ panel, creating a dense, bristling surface. He adopted the tactic after looking at cake-decorating techniques in the 1990s.

$20,000 — $30,000

243 Esteban Vicente (1903–2001)

Untitled (#P56-06), 1956

oil on canvas

inscribed verso: #P56-06 / Esteban Vicente / oil on canvas / 27” x 26” / 1956

27 x 26 in. (68.6 x 66 cm.)

frame: 28 ¼ x 27 ¼ x 1 ⅞ in. (71.8 x 69.2 x 4.8 cm.)

Provenance: Riva Yares Gallery, Scottsdale, Arizona The Coolidge Cost Collection

Esteban Vicente was a Spanish-born, New York–based Abstract Expressionist best known for luminous, lyrical color fields and exquisitely balanced collages. Born in Turegano (Segovia), he studied at Madrid’s Real Academia de Bellas Artes de San Fernando, then settled in New York in 1936, becoming part of the first-generation New York School circle. His paintings, quiet, atmospheric rectangles and veils, pursue harmony over gesture. His work is held by major museums including MoMA, the Metropolitan Museum of Art, the Whitney, and the Guggenheim.

$25,000 — $35,000

244 Emil James Bisttram (1895–1976) Marine Patterns, 1950

oil on linen

signed and dated lower right: BISTTRAM / 50

45 x 40 in. (114.3 x 101.6 cm.)

frame: 46 x 41 x 2 ¼ in. (116.8 x 104.1 x 5.7 cm.)

Provenance: Private Collection, California

Emil James Bisttram was a Hungarian-born American modernist who made his career in New Mexico and cofounded the Transcendental Painting Group in 1938 with Raymond Jonson. Trained in New York, he moved to Taos in 1930, where he opened the Bisttram School of Art and became a pivotal teacher. A 1931 Guggenheim Fellowship took him to Mexico to study mural technique with Diego Rivera, and he later executed several New Deal/postoffice murals. In the mid-to-late 1930s his work turned decisively non-objective: luminous, geometrically structured paintings guided by dynamic symmetry, theosophical ideas, and a search for the “spiritual in art.” With TPG peers (including Agnes Pelton, Lawren Harris, William Lumpkins, and others), Bisttram pursued radiant, architectonic abstractions meant to evoke inner states rather than depict the visible world. Over a long Taos career he also painted Southwestern subjects and taught generations of artists. Today he’s recognized as a key bridge between Southwest regional art and American spiritual abstraction.

$20,000 — $30,000

245 William Thomas Lumpkins (1909–2000)

acrylic on canvas

inscribed verso: S·9·9·3 / Lumpkins WL / 3/6 - 87 / Santa Fe

60 x 60 x 1 ½ in. (152.4 x 152.4 x 3.8 cm.)

Provenance: The Artist’s Estate

$4,000 — $8,000

246 William Thomas Lumpkins (1909–2000)

(Santa Fe), 1986

acrylic on canvas

inscribed verso: Lumpkins / 86 / 12-11-86 / Santa FE

36 x 48 x 1 in. (91.4 x 121.9 x 2.5 cm.)

Provenance: The Artist’s Estate

$3,000 — $6,000

247 Beatrice Mandelman (1912–1998)

Untitled (Still Life with Skull), ca. 1950

oil on canvas

signed lower right: B. Mandelman

18 ⅛ x 32 ⅛ in. (46 x 81.6 cm.)

frame: 24 ¾ x 38 ⅝ x 2 in. (62.9 x 98.1 x 5.1 cm.)

Provenance: Private Collection, British Columbia

$3,000 — $5,000

248 Beatrice Mandelman (1912–1998)

Untitled (Still Life with Guitar and Fruit)

oil on canvas board

signed lower left: MANDELMAN

19 ¼ x 15 ⅛ in. (48.9 x 38.4 cm.)

frame: 27 x 22 ¾ x 1 ¾ in. (68.6 x 57.8 x 4.4 cm.)

Provenance: Garden City Galleries, Garden City, New York

Private Collection, Texas

$2,000 — $4,000

249 Tamarind Institute, Various Artists Suite Fifteen, 1975–77

lithograph, edition 16 of 70

original Tamarind Suite Fifteen booklet included print documentation for each print included

title page editioned verso: 16/70 colophon: Tamarind chop and editioned lower left: 16/70

Clinton Adams (1918—2002)

Birth of Venus II, 1976

five-color lithograph on White Arches Cover editioned lower left: 16/70 signed lower right: Clinton Adams inscribed verso: 76-118a / white Arches collaborating printer: Joy Baker

Garo Antreasian (1922—2018)

Untitled, 1976

nineteen-color lithograph on Arjomari Arches

editioned lower left: 16/70 signed lower right: g. Antreasian ’77 inscribed verso: 76-128 / arjomari arches collaborating printers: Glenn Brill and Joy Baker

David Hare (1917—1992)

Untitled, 1975

five-color lithograph on Rolled white Arches signed and editioned in image lower right: Hare 16/70 inscribed verso: 75-164 / Roll Arches collaborating printers: Ben Adams and Lynn Baker

Matsumi Kanemitsu (1922—1992)

Za Zen (The Meditation), 1975 five-color lithograph on Arjomari Arches signed and editioned in image upper right: Kanemitsu 1975 inscribed verso: 16/70 75-103 / arjomari arches collaborating printer: Stephen Britko

Elaine de Kooning (1918—1989)

Jardin de Luxembourg, 1977

eight-color lithograph on German etching paper editioned, signed, and dated lower left: 16/70 / Elaine de Kooning 1977 inscribed verso: 77-101 / German etching paper collaborating printer: John Sommers

Nicholas Krushenick (1929—1999)

Smokey the Bear, 1975

five-color lithograph on Arjomari Arches editioned, signed, and dated in the image lower right: 16/70 N Krushenick 1976 inscribed verso: 75-195 / arjomari arches collaborating printers: Glenn Brill and David Salgado

James McGarrell (1930—2020)

Quotation with Twister, 1975

four-color lithograph on buff Arches Cover editioned in image lower left: 16/70 signed in image lower right: James McGarrell inscribed verso: 76-130 collaborating printer: Stephen Britko

George McNeil (1908—1995) Philadelphia Woman, 1976

four-color lithograph on Copperplate Deluxe editioned, signed and dated lower right: 16/70 George McNeil 8/25/76 inscribed verso: 76-167 / Copperplate Deluxe collaborating printer: William Masi

Nathan Oliveira (1928—2010)

Acoma Hawk II, 1975

five-color lithograph on buff Arches Cover titled in image lower left: Acoma Hawk II editioned in image lower center: 16/70 signed and dated in image lower right: Oliveira ’75 inscribed verso: 75-157 / buff Arches collaborating printer: Stephen Britko

Kenneth Price (1935—2012)

Untitled, 1977

35-color lithograph on Arjomari Arches editioned, signed and dated lower right: 16/70 PRICE ’77 inscribed verso: 77-103 / arjomari arches

collaborating printer: William Masi

Deborah Remington (1930—2010) Davos, 1975

fourteen-color lithograph on calendered Rives BFK editioned in image lower left: 16/70 signed and dated in image lower right: ©Remington 1975 inscribed verso: 75-147 / canendered Rives BFK collaborating printer: John Sommers

Ed Ruscha (b. 1937)

Excuse Me I Didn’t Mean to Interrupt, 1977 lithograph on Arjomari Arches

inscribed verso: 16/70 E. Ruscha 1977 / 75-172 / arjomari arches

collaborating printer: Stephen Britko

Fritz Scholder (1937—2005)

Indian with Beaded Sash, 1975

five-color lithograph on buff Arches Cover editioned in image lower left: 16/70 signed in image lower right: Scholder inscribed verso: 76-189 / buff Arches

collaborating printer: Glenn Brill

June Wayne (1918—2011)

Visa Monday, 1976

seven-color lithograph on White Arches Cover editioned, signed and titled in image lower right: 16/70 June Wayne Visa / Monday inscribed verso: 240 / 76-132 collaborating printer: Edward Hamilton

Emerson Woelffer (1914—2003)

Untitled, 1976

three-color lithograph on White Arches editioned lower left: 16/70 signed and dated lower right: Woeffler 77 inscribed verso: 76-119 / Whte Arches collaborating printer: Robert Blanchard each sheet: 30 x 22 in. (76.2 x 55.9 cm.)

Provenance: Private Collection, New Mexico

This incredibly rare portfolio, one of which is held by The National Gallery of Art, was conceived to mark Tamarind’s 15th anniversary. “Suite Fifteen”, was created between 1975 and 1977 by artists who had worked with Tamarind across its first decade and a half—among them Clinton Adams, Garo Antreasian, Elaine de Kooning, David Hare, Matsumi Kanemitsu, Nicholas Krushenick, James McGarrell, Nathan Oliveira, Kenneth Price, Deborah Remington, Ed Ruscha, Fritz Scholder, June Wayne, George McNeil, and Emerson Woelffer. Issued as a portfolio of 15 prints in an edition of 70, the project exemplifies Tamarind’s core mission: rigorous artist–printer collaborations, underscoring how the printers’ craft shaped each image’s character, and technical innovation in color lithography.

$20,000 — $40,000

250 Jasper Johns (b. 1930) Flag (Moratorium), 1969

offset lithograph on wove paper, edition 5 of 300 editioned lower left: 5/300 signed lower right: J Johns printed lower right margin: ©Jasper Johns, 1969 inscribed verso: 18266

published by the Committee Against the War in Vietnam printed by Universal Limited Art Editions

17 ⅛ x 25 ⅞ in. (43.5 x 65.7 cm.)

sheet: 20 ½ x 28 ⅝ in. (52.1 x 72.7 cm.), frame: 26 ½ x 34 ¼ in. (67.3 x 87 cm.)

Provenance: Private Collection, Washington

Jasper Johns’ Flag (Moratorium), created in 1969, reflects both his ongoing fascination with the American flag as a subject and the political tensions of the Vietnam War era. Unlike his earlier, more neutral flag paintings, this work carries an explicitly political dimension: it was made in response to the 1969 Moratorium to End the War in Vietnam, a massive nationwide protest. Johns renders the flag in dark, muted tones—subdued greens, oranges, and blacks—rather than the familiar red, white, and blue, transforming a patriotic emblem into a symbol of mourning and dissent. The altered palette suggests violence, grief, and disillusionment, turning a national icon into a vehicle for protest. In doing so, Johns bridges personal artistic exploration with collective political expression, showing how even a familiar symbol can be recharged with new, urgent meaning in times of crisis.

$20,000 — $30,000

251 Deborah Kay Butterfield (b. 1949)

Horse, ca. 1985

steel sheet metal

76 x 105 x 40 in. (193 x 266.7 x 101.6 cm.)

Provenance: Private Collection, New Mexico

Deborah Kay Butterfield is an American sculptor celebrated for life-size horses built from humble, natural materials. Since the early 1970s she’s explored the horse as a stand-in for the human figure, favoring mares rather than heroic stallions. Circa 1985, this horse falls squarely within Butterfield’s early scrap-metal period, before the driftwood-to-bronze works. In these years she built life-size mares from welded steel armatures, “drawing” musculature with baling wire and articulating planes with tin/sheet steel, favoring quiet poses and open, latticed bodies over heroic equestrian drama. The raw welds, heat discoloration, and handtwisted wire are hallmarks of this important phase, when Butterfield transformed ranch detritus into poised, empathetic figures—works that established her voice and laid the conceptual groundwork for the later cast-wood bronzes.

$200,000 — $300,000

252 Steve Currie (b. 1954) Probe, 1989

poplar, wax, copper

51 x 48 x 16 in. (129.5 x 121.9 x 40.6 cm.)

Provenance: The Steven and Karen Berkowitz Collection

$4,000 — $8,000

253 Jun Kaneko (Japanese, b. 1942) 4’ Triangle Dango, 2003

fired clay, glazes

40 x 38 x 15 in. (101.6 x 96.5 x 38.1 cm.)

Provenance: Private Collection, Ohio

$30,000 — $50,000

254 Enrique Martínez Celaya (b. 1964)

The Far End of the Field, 2007

bronze, five concrete slabs without base: 78 x 22 ½ x 19 in. (198.1 x 57.2 x 48.3 cm.)

concrete base: 28 ⅝ x 28 ½ x 26 ¾ in. (72.7 x 72.4 x 67.9 cm.)

Provenance:

The Artist

The Steven and Karen Berkowitz Collection

Enrique Martínez Celaya’s The Far End of the Field is a haunting sculpture that merges the human form with elements of nature and earth. A solitary figure, encased in layers of stone, rises upward while a stark, leafless branch emerges from behind its head. The piece evokes themes of endurance, memory, and transformation—suggesting the weight of existence as well as the persistence of growth even in harsh or barren conditions. With its poetic blend of fragility and resilience, Martínez Celaya’s work invites contemplation on humanity’s deep connection to nature and the cycles of life.

$20,000 — $40,000

255 John Henry Waddell (1921–2019)

Pensive (Sally), 1985

bronze, edition 2 of 2

inscribed: Waddell 2/2

61 x 19 ¼ x 17 in. (154.9 x 48.9 x 43.2 cm.)

Provenance: Private Collection, New Mexico

$3,000 — $5,000

carved marble inscribed: F. CASTAÑEDA / 1986

26 x 14 x 13 in. (66 x 35.6 x 33 cm.)

Provenance: Private Collection, Colorado

$3,000 — $5,000

257 Felipe Castañeda (Mexican, b. 1933)

Seated Nude, 1984

bronze, edition 5 of 7

inscribed: F. CASTAÑEDA / 1984 V/VII

27 ¼ x 20 ⅝ x 15 ¼ in. (69.2 x 52.4 x 38.7 cm.)

Provenance: Private Collection, Colorado

$2,000 — $3,000

258 Felipe Castañeda (Mexican, b. 1933)

Untitled (Mother and Child), 1976

bronze, edition 3 of 7

inscribed: F. CASTAÑEDA / 76 III/VII

19 ¼ x 16 ½ x 11 in. (48.9 x 41.9 x 27.9 cm.)

with base: 21 ¾ x 17 ½ x 11 ½ in. (55.2 x 44.5 x 29.2 cm.)

Provenance: Private Collection, New York

Felipe Castañeda’s Mother and Child is a tender bronze sculpture that embodies the intimate bond between parent and child. With his characteristic elegance and fluid lines, Castañeda captures both the strength and gentleness of maternal love. The simplified, timeless forms emphasize emotion over detail, creating a universal image of nurturing and protection. Through this work, the artist honors one of humanity’s most enduring relationships with warmth and quiet dignity.

$2,000 — $4,000

259 Victor Hugo Castañeda (Mexican, b. 1947)

Untitled (Seated Figure), 1981

carved black marble, wooden base inscribed: [artist’s cipher] / 1981 14 x 14 x 10 in. (35.6 x 35.6 x 25.4 cm.) with base: 16 x 12 ¾ x 12 ¾ in. (40.6 x 32.4 x 32.4 cm.)

Provenance: Private Collection, New York

Victor Hugo Castañeda’s marble sculpture showcases his refined approach to the human form, blending classical craftsmanship with a contemporary sensitivity. Known for his graceful, stylized figures, Castañeda uses the purity and permanence of marble to evoke serenity, sensuality, and balance. His sculptures often highlight the natural beauty of the material while celebrating timeless themes of humanity, intimacy, and the quiet power of stillness.

$800 — $1,200

260 Gustavo Victor Goler (b. 1963) Santa Gertrudis, 2020

carved and painted wood inscribed underside base: Santa Gertrudis / Gustavo Victor Goler / Talpa 2020 ©

20 ⅛ x 8 ½ x 6 ¾ in. (51.1 x 21.6 x 17.1 cm.)

Provenance:

The Larry Martine Collection, Santa Fe, New Mexico

$2,000 — $4,000

262 Félix López (b. 1942) San Miguel Arcángel, 2004

carved and painted wood, twine inscribed underside base: FÉLiX A. LÓpEZ ESPAÑOLA, N.M. / USA / 4-19-04 / FOR / M/M RALPH J.

20 ½ x 15 ½ x 12 in. (52.1 x 39.4 x 30.5 cm.)

Provenance:

The Larry Martine Collection, Santa Fe, New Mexico

$5,000 — $7,000

261 Andrew Montoya (20th/21st Century) Bulto of San Isidro Labrador, 2021

carved, painted, and assembled wood inscribed underside base: San Isidro Labrador / Dios tE Bendiga / Andrew Montoya / © 2021

17 ½ x 12 x 6 in. (44.5 x 30.5 x 15.2 cm.)

Provenance:

The Larry Martine Collection, Santa Fe, New Mexico

$1,500 — $3,000

263 Horacio Valdez (1929–1992) San Francisco de Asís, 1987

carved and painted wood inscribed underside base: SAN FRANCISCO / HV MAR / 87 / DE ASíS

19 ¾ x 6 ¾ x 7 in. (50.2 x 17.1 x 17.8 cm.)

Provenance:

The Larry Martine Collection, Santa Fe, New Mexico

$3,000 — $5,000

264 Gustavo Victor Goler (b. 1963) Santo Niño de Atocha, 1991

carved and painted wood

inscribed: SAnto / Niño de / AtochA / Victor Goler / TAOS 91

12 ¼ x 5 x 5 ½ in. (31.1 x 12.7 x 14 cm.)

Provenance: Private Collection, New Mexico

$3,000 — $5,000

266 Horacio Valdez (1929–1992) Nuestra Senora La Immaculada Concepción, 1983

carved and painted wood

inscribed underside base: N. SRA. LA IMMACULADA / HV 83 / CONCEPCIÓN

27 x 17 x 5 ½ in. (68.6 x 43.2 x 14 cm.)

Provenance: Private Collection, New Mexico

Literature: New Mexico Magazine, Santa Fe, New Mexico, July 1986 (cover)

$8,000 — $12,000

265 Félix López (b. 1942) San Rafael Arcángel, 1980

carved and painted wood inscribed underside base: Felix A. Lopez- / 1980 20 ½ x 7 ¾ x 7 ½ in. (52.1 x 19.7 x 19.1 cm.)

Provenance: Private Collection, New Mexico

$5,000 — $7,000

267 Rick Bartow (Wiyot, 1946–2016) St. Anthony’s Temptation (Little Narrative II), 2006

acrylic on panel

signed and dated upper right: Bartow / 06

inscribed verso: St. Anthony’s / Temptation / (little narrative II) 14 x 11 in. (35.6 x 27.9 cm.)

frame: 16 x 13 x 1 ½ in. (40.6 x 33 x 3.8 cm.)

Provenance: Froelick Gallery, Portland, Oregon, 2006

Private Collection, New Mexico

$2,000 — $4,000

268 Leon Shulman Gaspard (Russian, 1882–1964) Rooftops

oil on canvas

signed lower left: Leon Gaspard

6 ½ x 8 in. (16.5 x 20.3 cm.)

frame: 12 ¼ x 13 ¾ x 1 ¾ in. (31.1 x 34.9 x 4.4 cm.)

Provenance:

Private Collection, New Mexico

$5,000 — $10,000

269 Thomas Hart Benton (1889–1975) Buffalo River, 1965

tempera on board titled, signed, and dated lower right: Narrows. / Buffalo River / Benton 65

10 ½ x 14 ½ in. (26.7 x 36.8 cm.)

frame: 19 ½ x 24 x 2 in. (49.5 x 61 x 5.1 cm.)

Provenance: Private Collection, New Mexico

$30,000 — $40,000

270 Ralph Albert Blakelock (1847–1919) Untitled (Western Sunset with Teepees)

oil on canvas

signed lower left: R A Blakelock

12 x 22 in. (30.5 x 55.9 cm.)

frame: 20 ⅝ x 30 ½ x 2 ½ in. (52.4 x 77.5 x 6.4 cm.)

Provenance: Zaplin Lampert Gallery, Santa Fe, New Mexico

Private Collection, New Mexico

University of Nebraska Blakelock Inventory No. 1431

$8,000 — $12,000

271 Albert Bierstadt (1830–1902)

Study for the Great Trees (Mariposa California), ca. 1875

oil on paper over board initialed lower left: AB

27 ½ x 18 ½ in. (69.9 x 47 cm.)

frame: 36 x 27 x 3 in. (91.4 x 68.6 x 7.6 cm.)

Provenance:

James Cox Gallery, Woodstock, New York Private Collection, New Mexico

Albert Bierstadt was a German-born American landscape painter of the Hudson River School, celebrated for panoramic, theatrically lit visions of the American West. Trained in Düsseldorf, he sketched on western expeditions (notably the 1859 Lander survey) and turned those studies into landmark paintings such as The Rocky Mountains, Lander’s Peak (1863) and Among the Sierra Nevada, California (1868).

A distinctive strand of his oeuvre is the sequoia/redwood artworks of the 1870s. After traveling in California, Bierstadt painted both giant sequoias and coastal redwoods, ranging from cabinet-size studies to exhibition canvases. The sequoia works often use a tall, vertical format with a sun-raked cinnamon trunk soaring from a shadowed understory, while the redwood scenes emphasize towering height and coastal atmosphere. Produced mainly circa 1872–1876, these paintings answered collectors’ demand for more intimate subjects and helped popularize the trees as national emblems—arriving just after the 1864 Yosemite Grant that first protected Mariposa Grove—so they sit at the intersection of art, tourism, and early conservation.

$30,000 — $50,000

272 Albert Bierstadt (1830–1902)

Sunset on Western Landscape (Lake Tahoe)

oil on paper over canvas initialed lower left: AB 10 x 14 in. (25.4 x 35.6 cm.)

frame: 18 ⅞ x 22 ⅞ x 3 ½ in. (47.9 x 58.1 x 8.9 cm.)

Provenance:

Zaplin-Lampert Gallery, Santa Fe, New Mexico Private Collection, New Mexico

Born in Germany and raised in Massachusetts, Albert Bierstadt trained in Düsseldorf in the 1850s, absorbing tight draftsmanship and theatrical light from the German school. Back in the U.S., he joined exploratory trips west— first the 1859 Lander Expedition and, in 1863, a monthslong trek with writer Fitz Hugh Ludlow—amassing oil sketches and photographs that became source material for the grand studio panoramas he unveiled in New York and London. He was elected to the National Academy of Design (NA) and, for a time in the 1860s, was among the most celebrated and highly paid artists in America.

$25,000 — $35,000

273 William Robinson Leigh (1866–1955)

Keams Cañon, Arizona, 1915

oil on board

signed lower right: W.R. LEiGH. inscribed verso: 10×13 ⅜ / 15186 / Keams Cañon, Arizona. / Aug, 1915. / W. R. Leigh

9 ¾ x 13 in. (24.8 x 33 cm.)

frame: 15 ⅝ x 18 ⅞ x 1 ¼ in. (39.7 x 47.9 x 3.2 cm.)

Provenance:

Private Collection, New Mexico

$6,000 — $9,000

274 Samuel Colman (1832–1920) Colorado Cañon, 1858

gouache on paper signed, dated, and titled lower right: Sam Colman 1858 / Colorado Cañon 13 x 14 ½ in. (33 x 36.8 cm.)

frame: 20 ½ x 22 ⅛ in. (52.1 x 56.2 cm.)

Provenance:

The John F. Eulich Collection of American Western Art Altermann & Morris Galleries

Private Collection, New Mexico

$20,000 — $30,000

275 Harvey T. Dunn (1884–1952)

Strong Medicine, 1935

oil on canvas

initialed and dated lower left: HD / 35

29 ½ x 39 ½ in. (74.9 x 100.3 cm.)

frame: 40 ½ x 50 ¼ x 0 ¾ in. (102.9 x 127.6 x 1.9 cm.)

Provenance:

Collection of Dr. & Mrs. William A. Morton, Jr.

Private Collection, New Mexico

Exhibited:

Harvey Dunn Exhibition, Brandywine River Museum, Chadds Ford, Pennsylvania, September 6 - November 24, 1974

Collectors of the West Celebrate 50 Years, Desert Caballeros Western Museum, Wickenburg, Arizona, January 23 - March 14, 2010

$100,000 — $150,000

276 Maynard Dixon (1875–1946)

Gold Rush, 1936

gouache on paper

signed and dated lower left: MAYNARD DiXON / 1936

22 ½ x 18 ¼ in. (57.2 x 46.4 cm.)

frame: 31 ⅛ x 26 ¾ x 1 ⅛ in. (79.1 x 67.9 x 2.9 cm.)

Provenance: Medicine Man Gallery, Tucson, Arizona Private Collection, California

Maynard Dixon was a California-born painter who became one of the defining artists of the American West. Inspired by his repeated trips through the Southwest and Great Basin, he is known for his vast, distilled compositions of glowing landscapes, as well as scenes of American workers such as Gold Rush, 1936. His social realist work, largely produced during his marriage to photographer Dorothea Lange, is among the rarest and most desirable of his oeuvre.

$25,000 — $45,000

277 Olaf Carl Wieghorst (Danish, 1899–1988)

Cowboy on a Pony

oil on board

signed right of lower center: O-Wieghorst 23 ⅜ x 23 ¼ in. (59.4 x 59.1 cm.)

frame: 31 ¾ x 31 ¾ x ⅝ in. (80.6 x 80.6 x 1.6 cm.)

Provenance: Altermann Galleries, Santa Fe, New Mexico Private Collection, New Mexico

$8,000 — $12,000

278 John Sloan (1871–1951) Tree

oil on canvas

signed lower right: John Sloan inscribed verso: TREE [ ] Sloan

20 x 24 in. (50.8 x 61 cm.)

frame: 26 ¼ x 30 x 2 ¼ in. (66.7 x 76.2 x 5.7 cm.)

Provenance:

Somerville Manning Gallery, Greenville, Delaware Private Collection, New Mexico

$20,000 — $30,000

279 Joseph Henry Sharp (1859–1953) Taos Mountain and Rabbit Brush

oil on board

signed lower right: JH SHARP

inscribed verso: TAOS MOUNTAIN / AND RABBIT BRUSH - / BY J.H. SHARP.

15 x 18 ½ in. (38.1 x 47 cm.)

frame: 21 ¾ x 25 ½ x 1 ¼ in. (55.2 x 64.8 x 3.2 cm.)

Provenance:

Zaplin Lampert Gallery, Santa Fe, New Mexico Private Collection, California

Joseph Henry Sharp was an American painter, often called the “spiritual father” of the Taos Society of Artists, renowned for intimate portraits of Native peoples and atmospheric scenes of Pueblo life. Born in Bridgeport, Ohio, he trained at the Cincinnati Art Academy, the Royal Academy of Fine Arts in Antwerp, and the Académie Julian in Paris. After first visiting Taos in 1893, he split his working life between New Mexico and the Northern Plains (especially the Crow Agency in Montana), producing hundreds of portraits and camp interiors that combine careful ethnographic attention with a warm, luminous palette. A founding member of the Taos Society (1915), Sharp maintained studios at what is now the Couse–Sharp Historic Site in Taos. His paintings—Pueblo dancers, landscapes, interior night scenes lit by fire or lamplight, and finely observed likenesses of Crow, Blackfeet, and Pueblo sitters—are held by major museums and helped define the early 20th-century image of the Southwest.

$20,000 — $30,000

280 Oscar Edmund Berninghaus (1874–1952)

Untitled (Adobe House in Taos), ca. 1925

oil on board

signed lower right: O. E. BERNINGHAUS

9 ⅝ x 11 ⅝ in. (24.4 x 29.5 cm.)

frame: 14 ½ x 16 ½ x 2 ¼ in. (36.8 x 41.9 x 5.7 cm.)

Provenance:

The Collection of Elizabeth Long (1927 - 2022), Staten Island, New York

From a Private Collection (by descent)

$12,000 — $18,000

281 Bert Geer Phillips (1868–1956)

oil on board

signed lower left: PHiLLIPs.

13 ¾ x 14 ⅜ in. (34.9 x 36.5 cm.)

frame: 20 ⅜ x 21 ¼ x 1 ¼ in. (51.8 x 54 x 3.2 cm.)

Provenance:

Lineberry Private Collection

Private Collection, California

$7,000 — $10,000

282 Catharine Carter Critcher (1868–1964)

oil on linen

signed upper left: CriTcher 18 x 14 in. (45.7 x 35.6 cm.)

frame: 24 ¾ x 20 ⅞ in. (62.9 x 53 cm.)

Provenance: Private Collection, New Mexico

$20,000 — $30,000

283 Willard Ayer Nash (1898–1943) Still Life with Geraniums

oil on canvas

inscribed verso: Still Life - Willard Nash / Santa Fe NM

16 x 20 in. (40.6 x 50.8 cm.)

frame: 21 ½ x 25 ¼ x .75 in. (54.6 x 64.1 x 1.9 cm.)

Provenance: Owings-Dewey Fine Art, Santa Fe, New Mexico Private Collection, New Mexico

Willard Nash (1898–1943) was an American modernist painter and a member of the Santa Fe art colony. Known for his portraits, landscapes, and still lifes, he blended bold structure with lyrical color. His work reflects both modernist experimentation and the cultural vitality of the Southwest.

$12,000 — $18,000

284 Gerald Ira Diamond Cassidy (1869–1934) Pair of Works: Untitled (Mexican Woman and Man) oil on board

Mexican Woman

signed lower right: Gerald Cassidy 26 ⅜ x 18.9 in. (67 x 48.1 cm.)

Mexican Man

signed lower left: Gerald Cassidy

25.3 x 19 ⅛ in. (64.3 x 48.6 cm.) each frame: 30 x 22 ¾ in. (76.2 x 57.8 cm.)

Provenance: Private Collection, Colorado

$8,000 — $12,000

285 Dorothy Eugenie Brett (1883–1977) Untitled (Two Riders), 1946 oil on board

signed and dated right of lower center: DEBREtt / 1946 9 ½ x 9 ½ in. (24.1 x 24.1 cm.) frame: 11 ¼ x 11 ¼ x 1 ½ in. (28.6 x 28.6 x 3.8 cm.)

Provenance: Private Collection, New Mexico

Dorothy Eugenie Brett (1883–1977) was a British-born painter who became an important figure in the Taos art colony. Trained at the Slade School of Fine Art in London, she moved to New Mexico in the 1920s, where her vivid, symbolic paintings often depicted Native ceremonial life, the landscape, and community. Known for her bold use of color and simplified forms, Brett helped shape the modernist vision of the Southwest.

$6,000 — $9,000

286 John Ford Clymer (1907–1989)

Application of Pigments in Early Hopi Pottery Making oil on canvas

signed lower left: J. Clymer

26 ¼ x 38 in. (66.7 x 96.5 cm.)

frame: 32 x 44 x 2 in. (81.3 x 111.8 x 5.1 cm.)

Provenance: Private Collection, Texas

$50,000 — $70,000

287 Forrest Moses (1934–2021) Desert Water at Abiquiu #1 oil on linen

inscribed verso: #7801 40×48 “DESERT WATER AT ABIQUIU #1” ForrEST MOSES MOSES

40 x 48 x 1 ⅛ in. (101.6 x 121.9 x 2.9 cm.)

Provenance: Private Collection, Texas

$8,000 — $12,000

288 Robert A. Daughters (1929–2013)

oil on linen

signed lower right: R. Daughters. inscribed verso: VIEW OF VALDEZ

30 ¼ x 40 ⅛ in. (76.8 x 101.9 cm.)

frame: 37 ½ x 47 ½ x 2 ¾ in. (95.3 x 120.7 x 7 cm.)

Provenance:

Private Collection, California

Robert A. Daughters distilled the Northern New Mexico landscape into crisp, color-charged mosaics of light and form. Trained at the Kansas City Art Institute and a founding member of the Taos Six, he left commercial art in the early 1970s to paint full-time, developing a distinctive language of short, tessellated brushstrokes bounded by dark contours and set in high-chroma harmonies. Adobe villages, cottonwoods, orchards, and mission churches become rhythmic arrangements—at once modern in design and deeply rooted in place—making Daughters one of the most recognizable interpreters of the contemporary Southwest.

$15,000 — $25,000

289 Robert A. Daughters (1929–2013)

Untitled (Winter Chamisa)

oil on canvas

signed lower right: R. Daughters.

40 ⅛ x 34 in. (101.9 x 86.4 cm.)

frame: 50 x 44 x 2 ½ in. (127 x 111.8 x 6.4 cm.)

Provenance: Private Collection, California

$15,000 — $25,000

290 Howard Post (b. 1948)

Untitled (Horses Grazing)

oil on canvas signed lower left: H E POST 36 x 44 in. (91.4 x 111.8 cm.)

frame: 43 ⅝ x 51 ½ x 2 ¼ in. (110.8 x 130.8 x 5.7 cm.)

Provenance: Private Collection, New Mexico

Howard Post is a third-generation Arizonan and former rodeo champion who paints the contemporary West—cowboys, cattle, corrals, arenas—with sun-drenched color and strong shadow patterns. Trained at the University of Arizona (BFA, MFA), he taught there briefly (and at ASU) and worked as a commercial illustrator before committing to painting full-time around 1980. His biography and interviews emphasize a life on ranches and in rodeo—Arizona high-school all-around champion, UA rodeo team, later PRCA competitor—which grounds his subject matter. Critics and museums describe his style as a modern, impressionist take on Western themes: simplified geometry of pens and fences, rhythmic silhouettes of riders and stock, and big, late-day light.

$15,000 — $25,000

291 Wolf Kahn (1927–2020)

Below Round Mountain, ca. 1975

oil on canvas

signed lower right: W Kahn

20 ⅛ x 32 in. (51.1 x 81.3 cm.)

frame: 21 x 33 x 1 ½ in. (53.3 x 83.8 x 3.8 cm.)

Provenance:

Private Collection, New Mexico

$8,000 — $12,000

293 Howard Behling Schleeter (1903–1976)

Migratory Bird, 1967

oil on panel

signed lower right: 67 / HB SCHLEETER.

inscribed verso: 419 / oil series / “MIGRATORY BIRD” / Howard B Schleeter. / Santa Fe, New Mexico. / January 30 1967 / 24” - 32 / oil / 67/1

23 ⅝ x 31 ⅝ in. (60 x 80.3 cm.)

frame: 30 ¾ x 38 ¾ x 1 in. (78.1 x 98.4 x 2.5 cm.)

Provenance: Private Collection, New Mexico

$3,000 — $5,000

292 Albert Ernest Bean Backus (1906–1990)

Point

oil on board

signed lower right: [artist’s signature]

19 ½ x 15 ¾ in. (49.5 x 40 cm.)

frame: 23 ¼ x 19 ¼ x 1 ¼ in. (59.1 x 48.9 x 3.2 cm.)

Provenance: Private Collection, Toronto

$6,000 — $8,000

294 Gary Ernest Smith (b. 1942) Water Mill, 1982

oil on linen

signed and dated lower right: GARY E SMITH / 1982 ©

47 ¾ x 60 in. (121.3 x 152.4 cm.)

frame: 55 ½ x 67 ½ x 2 ½ in. (141 x 171.5 x 6.4 cm.)

Provenance: Private Collection, California

$5,000 — $10,000

296 Scott Hanson (20th/21st Century)

bronze, edition 11 of 100

inscribed on wall mount: HANSON / © / 11/100

37 ¾ x 26 ½ x 10 in. (95.9 x 67.3 x 25.4 cm.)

Provenance: Private Collection, New Mexico

$4,000 — $6,000

295 Gary Ernest Smith (b. 1942) Butch Cassidy and the Sundance Kids, 1982

oil on linen signed and dated lower right: GARY E SMITH / © 1982

40 ¼ x 48 in. (102.2 x 121.9 cm.) frame: 47 ¾ x 55 ¾ x 3 ¼ in. (121.3 x 141.6 x 8.3 cm.)

Provenance: Private Collection, California

$5,000 — $10,000

297 Gib Singleton (1936–2014) Easy Rider, 1999

bronze, edition 5 of 25 inscribed: Singleton © 1999 5/25

11 ¼ x 19 ¾ x 8 ⅛ in. (28.6 x 50.2 x 20.6 cm.) with base: 14 ⅛ x 23 x 8 in. (35.9 x 58.4 x 20.3 cm.)

Provenance: Private Collection, New Mexico

$3,000 — $6,000

298 Jimmy Lee Sudduth (1910–2007)

Fat Bottom Bicycle Girls

sweet mud (mud, sugar), paint on plywood signed lower left: Jim Suddth

24 x 46 in. (61 x 116.8 cm.)

frame: 28 x 52 in. (71.1 x 132.1 cm.)

Provenance: Private Collection, Colorado

Jimmy Lee “Jimmie” Sudduth painted with what he called “sweet mud”—local mud/clay mixed with syrup, sugar water, molasses, or even cola as a binder—then punched in color from whatever he had at hand (berries, weeds, soot, sand, house paint, later some acrylics), almost always finger-painting on scrap plywood and found boards. The results are earthy, tactile images of city skylines, animals, self-portraits and musicians built from rhythmic strokes and bold silhouettes that feel both raw and remarkably assured. In later years he often set forms against a dark or black ground for extra pop. His work is widely collected by major institutions, including the Smithsonian American Art Museum, High Museum of Art (Atlanta), Birmingham Museum of Art (AL), Ogden Museum of Southern Art (New Orleans), and the American Folk Art Museum (New York), among others.

$1,500 — $2,500

299 Jimmy Lee Sudduth (1910–2007)

Mississippi Sunday Drive

sweet mud (mud, sugar), paint on plywood signed upper right: Jim Suddth

35 x 49 ¾ x 2 in. (88.9 x 126.4 x 5.1 cm.)

Provenance: Private Collection, Colorado

$1,500 — $2,500

300 Jimmy Lee Sudduth (1910–2007)

Four Favorite Women (Polyptych)

sweet mud (mud, sugar), paint on plywood

two left panels signed upper margin: Jim Suddth

two right panels signed lower margin: Jim Suddth each panel: 48 x 7 in. (121.9 x 17.8 cm.)

overall: 50 x 32 in. (127 x 81.3 cm.)

Provenance: Private Collection, Colorado

$1,000 — $2,000

301 Jimmy Lee Sudduth (1910–2007) Dolly

sweet mud (mud, sugar), paint on plywood signed lower left: Jim Suddth companion piece to “Tribal Man”

47 x 23 ½ in. (119.4 x 59.7 cm.)

frame: 50 ½ x 26 ¾ in. (128.3 x 67.9 cm.)

Provenance: Private Collection, Colorado

$1,500 — $2,500

302 Jimmy Lee Sudduth (1910–2007) Tribal Man

sweet mud (mud, sugar), paint on plywood signed in image: Jim Suddth companion piece to “Dolly”

47 x 23 ½ in. (119.4 x 59.7 cm.)

frame: 50 ½ x 26 ¾ in. (128.3 x 67.9 cm.)

Provenance: Private Collection, Colorado

$1,500 — $2,500

303 Eli Levin (b. 1938) Dirty Joke, 1975

oil on canvas

signed in image lower right: 1975 ELI LEVIN

24 x 36 in. (61 x 91.4 cm.)

frame: 27 ½ x 39 x 1 ½ in. (69.9 x 99.1 x 3.8 cm.)

Provenance: Private Collection, New Mexico

$2,500 — $4,500

304 William Thomas Lumpkins (1909–2000) First Date, 1975 / 1987

oil on canvas initialed lower center: WL inscribed verso: WL / first date / 1975 / RepAinted / In 1987 / Jan 14 / William Lump[ ] / SFIFA

47 ⅞ x 47 ⅞ in. (121.6 x 121.6 cm.)

frame: 48 ¼ x 48 ¼ x 1 in. (122.6 x 122.6 x 2.5 cm.)

Provenance: Peyton Wright, Santa Fe, New Mexico Private Collection, New Mexico

$4,000 — $6,000

305 Kim Douglas Wiggins (b. 1960) Eden Reborn (Study), 1999

oil on board

signed and dated lower left: KD WiggiNs 99 16 ⅛ x 11 ⅝ in. (41 x 29.5 cm.)

frame: 20 ½ x 16 x 1 ¾ in. (52.1 x 40.6 x 4.4 cm.)

Provenance: Private Collection, Texas

$8,000 — $12,000

307 Kim Douglas Wiggins (b. 1960) Dawn of a New Day, 2001

oil on board

dated and signed lower right: 01 KiM WiggiNs inscribed verso: “DAWN of A NEW DAy” / oil, 12 x 16 / KiM Douglas WiggiNs / SANtA FE, N.M. 12 x 16 in. (30.5 x 40.6 cm.)

frame: 15 ½ x 19 ½ x 0 ¾ in. (39.4 x 49.5 x 1.9 cm.)

Provenance:

Weems Gallery, Albuquerque, New Mexico Collection of Janet Green, Albuquerque, New Mexico

$8,000 — $12,000

306 Kim Douglas Wiggins (b. 1960) The Ristra Man, 2001

oil on canvas

signed and dated lower left: KiM WiggiNs 01 inscribed verso: The Ristra Man / oil 2001 / Kim Douglas Wiggins / Santa Fe, N.M. 12 x 16 in. (30.5 x 40.6 cm.)

frame: 15 ½ x 19 ½ x 0 ¾ in. (39.4 x 49.5 x 1.9 cm.)

Provenance:

Weems Gallery, Albuquerque, New Mexico Collection of Janet Green, Albuquerque, New Mexico

$8,000 — $12,000

308 Alyce Frank (1932–2024)

Valdez From the Rim #11

oil on canvas

signed lower right: Alyce Frank

inscribed verso: #211 / Valdez From / the Rim #11 / by Alyce Frank

47 ¾ x 41 ¾ in. (121.3 x 106 cm.)

frame: 52 ½ x 46 ½ x 1 ⅞ in. (133.4 x 118.1 x 4.8 cm.)

Provenance: Private Collection, New Mexico

$9,000 — $12,000

309 Alyce Frank (1932–2024)

The Meadow and Half Dome (Yosemite #4)

oil on canvas

signed lower right: Alyce Frank

inscribed verso: #790 / the Meadow and HalF / DoMe / Alyce Frank / Yosemite #4

36 x 47 ¾ in. (91.4 x 121.3 cm.)

frame: 40 x 52 x 2 in. (101.6 x 132.1 x 5.1 cm.)

Provenance: Private Collection, New Mexico

Alyce Frank’s “The Meadow and Half Dome” bursts with vibrant color and bold brushwork, capturing the iconic Yosemite landscape in her signature expressionistic style. Infused with energy and emotion, the painting transforms the natural scene into a dynamic play of color and form, emphasizing the grandeur of Half Dome while celebrating the vitality of the surrounding meadow.

$6,000 — $9,000

acrylic on canvas

signed lower right: [artist’s signature]

43 ¾ x 54 in. (111.1 x 137.2 cm.)

frame: 44 ¾ x 54 ¾ x 1 ¾ in. (113.7 x 139.1 x 4.4 cm.)

Provenance:

The Collection of Bernard Pomerance (1940 - 2017) Private Collection, New York (by descent)

Darren Vigil Gray is a Jicarilla Apache painter whose gestural, abstract-expressionist canvases braid Northern New Mexico landscape, personal/tribal mythology, and improvisational mark-making. He often likens his process to music. He studied at the Institute of American Indian Arts (IAIA) high-school program in the mid-1970s, then at the College of Santa Fe and UNM, before committing to painting full-time by the mid-1980s. His work appears in public collections that include the Denver Art Museum, Heard Museum, Wheelwright Museum, and others. He received the City of Santa Fe Mayor’s Award for Excellence in the Arts (2010).

$5,000 — $7,000

oil on canvas

signed lower right: Darren Vigil Gray

inscribed verso: * 36 x 36 in. (91.4 x 91.4 cm.)

frame: 37 ⅞ x 37 ⅞ x 2 ¼ in. (96.2 x 96.2 x 5.7 cm.)

Provenance:

The Collection of Bernard Pomerance (1940 - 2017) Private Collection, New York (by descent)

$3,000 — $5,000

oil on board

signed lower right: Tony Abeyta

20 x 23 in. (50.8 x 58.4 cm.)

frame: 27 ⅝ x 30 ⅝ x 1 ½ in. (70.2 x 77.8 x 3.8 cm.)

Provenance:

The Owings Gallery, Santa Fe, New Mexico Private Collection, Georgia

Tony Abeyta is a Diné (Navajo) contemporary artist known for vibrant mixed-media and oil landscapes of the Southwest that fuse Navajo iconography with modernist design. He studied at the Institute of American Indian Arts (AFA, 1986; later awarded an honorary doctorate) and earned a degree from New York University; further study included time in France and Italy. He splits time between Santa Fe and Berkeley. Honors include the New Mexico Governor’s Award for Excellence in the Arts (2012) and designation as a “Native Treasure”by the Museum of Indian Arts & Culture. Abeyta also designs jewelry and works across charcoal, acrylic, and collage.

$15,000 — $25,000

oil on canvas

signed lower right: Tony Abeyta

inscribed verso: “a Solitary Walk” / Tony Abeyta

13 ⅜ x 17 ⅜ in. (34 x 44.1 cm.)

frame: 24 ¼ x 28 ¼ x 1 ⅜ in. (61.6 x 71.8 x 3.5 cm.)

Provenance:

Case Trading Post, Wheelwright Museum of the American Indian, Santa Fe, New Mexico, 2008 Private Collection, California

$5,000 — $10,000

314 Gary Ernest Smith (b. 1942)

Untitled (Chiefs with Flying Horses), 1982

oil on linen

signed and dated lower right: GARY E SMITH / 82 ©

48 x 48 in. (121.9 x 121.9 cm.)

frame: 49 ¾ x 49 ⅝ x 2 ¾ in. (126.4 x 126 x 7 cm.)

Provenance: Private Collection, California

$5,000 — $10,000

315 Earl Biss (Apsáalooke [Crow], 1947–1998) Rain at Mid-Day, 1981

oil on canvas

signed upper right: Biss inscribed verso: “Rain at Mid Day” / oil on canvas / Biss 81

30 x 40 in. (76.2 x 101.6 cm.)

frame: 36 ½ x 46 ¼ x 1 ¾ in. (92.7 x 117.5 x 4.4 cm.)

Provenance: Private Collection, New Mexico

Earl Biss was an Apsáalooke (Crow) painter whose high-chroma, storm-charged oils fuse Abstract Expressionist energy with Plains imagery, mounted riders, roiling skies, and rivered light. Raised between the Crow Reservation in Montana and Washington state, he studied at the Institute of American Indian Arts (placed in Fritz Scholder’s advanced painting class) and later at the San Francisco Art Institute. He emerged as a key voice of IAIA’s 1960s “miracle generation.” Biss worked and exhibited widely (with museum holdings including the New Mexico Museum of Art, Missoula Art Museum, and Gilcrease), and he remained a prolific colorist and printmaker through the 1990s. Recent books and a documentary (Earl Biss: The Spirit Who Walks Among His People) have helped cement his legacy.

$15,000 — $25,000

316 Earl Biss (Apsáalooke [Crow], 1947–1998) War Party

oil on canvas

signed upper right: Biss

inscribed verso: Biss / “WAR / PARty” / oil on canvas

33 ½ x 35 ½ in. (85.1 x 90.2 cm.)

frame: 35 x 37 x 2 ¼ in. (88.9 x 94 x 5.7 cm.)

Provenance:

The Elaine Horwitch Gallery, Scottsdale, Arizona, ca. 1975 Private Collection, New Mexico

$15,000 — $25,000

317 Gib Singleton (1936–2014)

Tribute to Earl Biss, 1999

bronze, edition 8 of 25

inscribed: 8/25 / SingletoN TW / © / 1999

24 x 20 ¼ x 9 in. (61 x 51.4 x 22.9 cm.) with base: 26 ¼ x 22 x 10 in. (66.7 x 55.9 x 25.4 cm.)

Provenance: Private Collection, New Mexico

$3,000 — $6,000

318 Bill Worrell (1936–2021)

Untitled (Shaman with Arms Outstretched)

bronze, stone, edition 2 of 50 inscribed: Worrell / in Memory oF / EliZAbeth Worrell and / John Maye Worrell / 2/50 44 ¾ x 21 ½ x 11 in. (113.7 x 54.6 x 27.9 cm.)

Provenance: Private Collection, Colorado

$2,000 — $4,000

319

bronze, edition 13 of 30 inscribed: Allan Houser © 74 13/30 [artist’s cipher] / “HAOZOUS” 18 x 3 ½ x 11 in. (45.7 x 8.9 x 27.9 cm.)

stone base: 3 x 3 ½ x 11 in. (7.6 x 8.9 x 27.9 cm.)

Provenance: Private Collection, New Mexico

$3,000 — $5,000

321 J. D. Challenger (1951–2023) Shaman’s Power, 1992

acrylic on linen

signed lower left: Challenger / © 92 inscribed verso: SHAMAN’S POWER 60×54 3C-106 / CHALLENGER © 93

54 x 60 x 1 ⅜ in. (137.2 x 152.4 x 3.5 cm.)

Provenance: Thomas Morley Gallery Private Collection, Colorado

$10,000 — $15,000

320 Dolona Roberts (b. 1936)

Day

acrylic on linen signed lower left: ROBERTS inscribed verso: #3647 / Feast Day / Acrylic / 58×50

60 x 58 x 1 ½ in. (152.4 x 147.3 x 3.8 cm.)

Provenance: Private Collection, New Mexico

$2,000 — $4,000

322 J. D. Challenger (1951–2023)

the Hawk, 1991

acrylic on linen signed and dated lower right: ChallEngeR / © 91

60 x 60 x 1 ½ in. (152.4 x 152.4 x 3.8 cm.)

Provenance: Private Collection, Colorado

$8,000 — $12,000

323 J. D. Challenger (1951–2023) Star, 1989

acrylic on canvas

signed and dated lower left: Challenger / © 89

44 x 59 in. (111.8 x 149.9 cm.)

frame: 52 x 68 x 2 in. (132.1 x 172.7 x 5.1 cm.)

Provenance: Private Collection, Pennsylvania

$6,000 — $9,000

324

acrylic on canvas

signed lower right: SCHIVELY

inscribed verso: “....WALKING CLOSE TO THUNDER....” / 48X72 / A/C / (SP-42)

48 ⅜ x 72 x 1 ½ in. (122.9 x 182.9 x 3.8 cm.)

Provenance: Private Collection, California

$4,000 — $8,000

325 Frank Schively (20th Century) Change of Season

acrylic on canvas

signed left of lower center: SCHIVELY inscribed verso: “... CHANGE OF SEASON....” / 48 x 72 / A/C / (SP-42)

48 ¼ x 72 x 1 ½ in. (122.6 x 182.9 x 3.8 cm.)

Provenance: Private Collection, California

$4,000 — $8,000

326 Robert Lee Taylor (Cherokee/Blackfoot, b. 1951) Legends of the Fall

acrylic on canvas

signed in image lower right: TAYLOR

24 x 30 in. (61 x 76.2 cm.)

frame: 30 x 35 ¼ x 1 ½ in. (76.2 x 89.5 x 3.8 cm.)

Provenance: Private Collection, Pennsylvania

$2,000 — $4,000

327 Robert Lee Taylor (Cherokee/Blackfoot, b. 1951) Give Flight to Your Dreams, 1994

acrylic on canvas

signed lower right: TAYLOR

inscribed verso: “Give Flight To Your Dreams”

23 ¾ x 30 in. (60.3 x 76.2 cm.)

frame: 34 ½ x 40 ½ x 2 in. (87.6 x 102.9 x 5.1 cm.)

Provenance: Oklahoma Indian Art Gallery, Oklahoma Private Collection, Pennsylvania

$1,500 — $2,500

oil on canvas

signed in image upper right: [artist’s signature]

84 ⅜ x 59 ⅜ in. (214.3 x 150.8 cm.)

frame: 92 ⅞ x 68 x 1 ¼ in. (235.9 x 172.7 x 3.2 cm.)

Provenance:

The Larry Martine Collection, Santa Fe, New Mexico

$10,000 — $15,000

acrylic, hand-colored serigraph on canvas

signed lower left: Wells

78 x 48 x 1 ½ in. (198.1 x 121.9 x 3.8 cm.)

Provenance: The Larry Martine Collection, Santa Fe, New Mexico

$8,000 — $12,000

330 Louis de Mayo (1926–2016)

Untitled (Figure with Blanket)

oil on canvas

signed upper right: de mayo

47 ½ x 35 ¾ in. (120.7 x 90.8 cm.)

frame: 49 ½ x 37 ⅝ x 1 ⅜ in. (125.7 x 95.6 x 3.5 cm.)

Provenance:

Private Collection, California

$2,000 — $4,000

332 Shonto Begay (Diné [Navajo], b. 1954) Answering the Evening Dust

acrylic on canvas accompanied with Certificate of Authenticity

12 x 36 in. (30.5 x 91.4 cm.)

frame: 13 ½ x 37 ½ x 2 in. (34.3 x 95.3 x 5.1 cm.)

Provenance:

Private Collection, North Carolina

acrylic on canvas

signed and dated lower left: Frank Howell 1994 inscribed verso: Frank Howell, acrylic, “Dream Transition” / 1994

16 ⅛ x 14 ⅛ in. (41 x 35.9 cm.)

frame: 23 ⅝ x 21 ⅝ x 2 in. (60 x 54.9 x 5.1 cm.)

Provenance:

Private Collection, California

Frank Howell was a Santa Fe based painter, printmaker, and gallerist whose refined, “etching-like” realism and wind-swept, iconic portraits, often of Native elders, became emblematic of late-20th-century Southwestern art. Born in Sioux City, Iowa, he worked in Colorado and Taos before settling in Santa Fe, where he opened the Frank Howell Gallery. He produced paintings, drawings, sculpture, and lithographs and monotypes, and exhibited widely across the U.S. His imagery links the physical and spiritual, using close-cropped faces, flowing hair, and spare grounds to create totemic, contemplative figures.

$1,500 — $2,500

Shonto Begay (b. 1954) is a Diné (Navajo) artist and educator known for his vibrant watercolor and mixed-media paintings that capture contemporary Navajo life and the landscapes of the American Southwest. Born in Shonto, Arizona, Begay draws inspiration from his childhood experiences on the reservation, blending personal memory, cultural stories, and social commentary. His work often portrays everyday life, traditional ceremonies, and the natural beauty of the desert with expressive color and movement. In addition to his artistic career, Begay is dedicated to teaching art to Native youth, fostering cultural pride and creative expression.

$2,000 — $4,000

333

oil on canvas

signed lower right: BC. Nowlin inscribed verso: [artist’s handprint] / 60-61-10-H-48×60-16 / [artist’s cipher] / BC / Nowlin / [artist’s cipher] / autumn / Corrales, NM / 2016

48 x 60 x 1 ½ in. (121.9 x 152.4 x 3.8 cm.)

Provenance: Private Collection, Arizona

$7,000 — $10,000

334

acrylic on canvas signed lower left: [artist’s signature] inscribed verso: “Rocky Boy Cree” / Nocona Burgess

48 x 30 x 1 ½ in. (121.9 x 76.2 x 3.8 cm.)

Provenance: Private Collection, New Mexico

$2,000 — $4,000

acrylic on canvas

signed lower right: FuRlow

inscribed verso: #1434 / “AMeRicAN / BikeR” / © Furlow / 40×50

40 x 50 ⅛ x 1 ½ in. (101.6 x 127.3 x 3.8 cm.)

Provenance:

Private Collection, Florida

$10,000 — $15,000

336 Malcolm Furlow (Choctaw, 1946–2023)

Arapaho

acrylic on canvas

signed upper right: FuRLOW

inscribed verso: #1003 / 50×50 / “ARAPAHO” / © Furlow

48 x 48 x 1 ½ in. (121.9 x 121.9 x 3.8 cm.)

Provenance:

Private Collection, Florida

$8,000 — $12,000

337 John Nieto (1936–2018) Oklahoma Fancy Dancer

acrylic on canvas signed lower left: nieto

inscribed verso: “OKLAHOMA FANCY DANCER” © nieto

39 ½ x 29 ½ in. (100.3 x 74.9 cm.)

frame: 41 ⅝ x 31 ¾ x 1 ½ in. (105.7 x 80.6 x 3.8 cm.)

Provenance: Private Collection, California

$15,000 — $25,000

338 Luis Jiménez (1940–2006) Honky Tonk (study), 1981

colored pencil, graphite, oil pastel on paper artist’s notes on hues and values inscribed in right and lower margins

27 ⅝ x 39 ½ in. (70.2 x 100.3 cm.)

frame: 32 x 43 ½ x 2 in. (81.3 x 110.5 x 5.1 cm.)

Provenance:

The Artist

LewAllen Galleries, Santa Fe, New Mexico, 1994 Private Collection, Louisiana

This large, worked-up sheet is the key color study for Jiménez’s landmark dance-hall scene, Honky Tonk. The drawing lays out the final composition, couples in motion across a bar interior, and, crucially, carries the artist’s production notations for inks and tonal values at the margins, the kind of instructions a printer would use to translate Jiménez’s high-chroma palette (later heightened with glitter in the editioned print). As a process document from 1981, it records the decisions that shaped the celebrated Landfall Press lithograph and shows Jiménez’s characteristic blend of bold contour, muscular modeling, and neon-nightlife color thinking at the moment of conception.

$10,000 — $20,000

340 Luis Jiménez (1940–2006)

Rattlesnake, 1979

fiberglass, paint, metallic flake, edition 7 of 10

inscribed: [artist’s signature] 7/10 79

4 x 14 ½ x 13 ½ in. (10.2 x 36.8 x 34.3 cm.)

Provenance: Private Collection, California

339 Luis Jiménez (1940–2006) Mustang (maquette), 1992

lacquered acrylic and resin over cast fiberglass, wood, edition 6 of 10 inscribed: L. Jimenez ‘92 6/10

30 x 6 ½ x 18 in. (76.2 x 16.5 x 45.7 cm.) with base: 31 ½ x 10 x 20 in. (80 x 25.4 x 50.8 cm.)

Provenance: The Artist

LewAllen Galleries, Santa Fe, New Mexico, 1994 Private Collection, Louisiana

Literature:

Man of Fire: Luis Jiménez, The Albuquerque Museum exhibition catalog, p. 160, pl. 117

This is a limited edition maquette for Jiménez’s landmark Denver International Airport scupture named Mustang. Jimenez began work on the commission in 1992, the date of this maquette, with installation of the final work completed in 2008. Tragically, Jimenez was fatally injured in 2006 when a section of the sculpture fell in his New Mexico studio. At roughly 1:12 the height of the 32-ft monument, the work encapsulates the artist’s signature high-gloss, electric-blue finish, dynamic rearing pose, and red-eye motif rooted in his family’s neon/sign tradition. Being in very good condition, this is an extremely rare, studio-level example that directly relates to one of the most recognizable public sculptures in the American West.

$20,000 — $40,000

The snake is a recurring emblem that fuses Southwestern natural life with Chicano/Mexican iconography and the charged energies of borderlands culture. He uses it across media—prints (e.g., Ball Rattlesnake, Sidewinder in the 1970s-80s), painted studies, and small fiberglass sculptures (notably this 1979 coiled snake in an edition of 10)—as a vehicle for motion, danger, and vivid spectacle.

$8,000 — $12,000

341 Fritz Scholder (Luiseño, 1937–2005)

Butterfly for Gina, 1979

acrylic on canvas

signed lower right: Scholder inscribed verso: -A BUTTERFLY FOR GINA- 1979 -ACRYLIC- 7-4-79 two dollar bills affixed verso

16 x 19 ⅞ in. (40.6 x 50.5 cm.)

frame: 17 ¼ x 21 ¼ x 1 ⅞ in. (43.8 x 54 x 4.8 cm.)

Provenance:

Zaplin Lampert Gallery, Santa Fe, New Mexico, 2005 Private Collection, California.

$6,000 — $9,000

342 Tony Abeyta (Diné [Navajo], b. 1965)

Untitled (Dimensional Abstract Triptych) ca, 2005

oil on canvas

signed lower right: Tony Abeyta

40 ¼ x 60 ⅛ x 3 ⅞ in. (102.2 x 152.7 x 9.8 cm.)

Provenance: Private Collection, New Mexico

This is a wonderful and important transitional work between Abeyta’s powerful, geometric landscapes and his later abstractons of cultural iconography, climatic conditions, and botanical symbols.

$8,000 — $12,000

343 Dan Namingha (Hopi, b. 1950)

Landscape Series II, 1998

acrylic on canvas

signed lower left: - Namingha

inscribed verso: Landscape Series II / © 1998 Dan Namingha

38 x 34 ⅛ x 1 ⅜ in. (96.5 x 86.7 x 3.5 cm.)

Provenance:

Niman Fine Art, Santa Fe, New Mexico

Private Collection, New Mexico

$7,000 — $10,000

344 Dan Namingha (Hopi, b. 1950)

Landscape Series III, 1998

acrylic on canvas

signed lower right: Namingha inscribed verso: Landscape Series III / © 1998 Dan Namingha

38 x 34 x 1 ⅜ in. (96.5 x 86.4 x 3.5 cm.)

Provenance:

Niman Fine Art, Santa Fe, New Mexico

Private Collection, New Mexico

$7,000 — $10,000

345 Dan Namingha (Hopi, b. 1950) Black Desert, 1984

acrylic on canvas

signed and dated lower left: Namingha / 1984

inscribed verso: Black Desert 60” x 46” / Dan Namingha / 1984

60 x 46 x 1 ½ in. (152.4 x 116.8 x 3.8 cm.)

Provenance: Private Collection, California

$6,000 — $9,000

346 Fritz Scholder (Luiseño, 1937–2005)

Quake Fault, ca. 1970

oil on canvas

signed lower left: Scholder

68 x 68 x 1 ¼ in. (172.7 x 172.7 x 3.2 cm.)

Provenance:

The Mrs. Edward Aldworth Collection Private Collection, California

Fritz Scholder is known for his powerful, expressive paintings, emotive use of color and form, and critique of cliches and stereotypes that often defined how Native Americans were depicted in art and culture. Scholder was a professor at Santa Fe’s Institute of American Indian Arts (IAIA) and a true pioneer in 20th century painting who created a vast body of work that was both complex and at times controversial. He incorporated elements of both abstraction and figuration in fresh and unexpected ways. Quake Fault, ca. 1970 is a deeply moving composition that combines energetic, painterly, almost tectonic areas of abstraction with vast, contemplative color fields, creating a profound juxtaposition between presence and absence. The painting likely references California where Scholder, being of the Southern California Luiseño tribe, had a connection throughout his life.

$70,000 — $100,000

347 Fritz Scholder (Luiseño, 1937–2005)

Taos Canyon Gorge in Winter

acrylic on canvas

signed lower center: Scholder

30 x 40 in. (76.2 x 101.6 cm.)

frame: 35 ¼ x 45 ⅛ x 1 ⅞ in. (89.5 x 114.6 x 4.8 cm.)

Provenance:

Tally Richards Gallery of Contemporary Art, Taos, New Mexico Private Collection, California

Exhibited:

Scholder at Taos, Part Two: Paintings/Lithographs/Monotypes, Tally Richards Gallery of Contemporary Art, Taos, New Mexico, June 17 - July 14, 1979

Literature:

Scholder at Taos, Part Two, Tally Richards Gallery of Contemporary Art, Taos, New Mexico, 1979, p. 3

Fritz Scholder, Rizzoli International Publications, Inc., New York, New York, 1982, p. 133

$30,000 — $50,000

348 Emmi Whitehorse (Diné [Navajo], b. 1957)

Untitled (Yellow), 2017

oil, chalk, graphite, pastel on paper over canvas inscribed verso: -untitled- / 9.2017 / [artist’s signature] sheet: 11 ¼ x 11 in. (28.6 x 27.9 cm.)

canvas: 12 ¼ x 12 in. (31.1 x 30.5 cm.)

Provenance: The Steven and Karen Berkowitz Collection

Emmi Whitehorse is a Diné (Navajo) painter and printmaker whose lyrical abstractions are built from layers of marks, glyphs, and atmospheric color that she describes as a personal language rooted in land and light. She earned a BA in painting (1980) and an MA in printmaking (1982) at the University of New Mexico, and early on worked alongside peers in the Grey Canyon Group. Today she lives and works near Santa Fe, NM. Materials vary—oil or mixed media on paper mounted to canvas, as well as large mixed-media canvases—but the constant is a quiet mapping of place rather than overt narrative. Throughout her career, Whitehorse’s longstanding commitment to beauty and peace has its origins in the Navajo philosophy Hózhó, which seeks to achieve a harmonious balance of life, mind, and body with nature. Recent attention includes inclusion in the National Gallery of Art’s exhibition The Land Carries Our Ancestors and acquisition of her work Fog Bank (2020). She also appeared in the 2024 Venice Biennale and continues to show internationally.

$15,000 — $30,000

349 Jaune Quick-to-See Smith (French-Cree/Shoshone/Salish, 1940–2025)

Untitled (from the Kalispell Series), ca. 1978–1980

pastel on paper

signed lower right: Jqts Smith

35 ⅞ x 28 x 1 ⅜ in. (91.1 x 71.1 x 3.5 cm.)

frame: 29 ½ x 22 in. (74.9 x 55.9 cm.)

Provenance: Private Collection, California

This work belongs to Smith’s late-1970s Kalispell series, a pivotal body of drawings that map memories of her Salish-Kootenai homelands in northwestern Montana. Using loose fields of pastel punctuated by linear markers, stacked registers, and emblematic forms, the composition reads like an Indigenous “memory map”, evoking paths, shelter, and landforms rather than a Western, surveyor’s landscape.

$25,000 — $35,000

350 Jaune Quick-to-See Smith (French-Cree/Shoshone/Salish, 1940–2025) Untitled (from the Kalispell Series), ca. 1978–80

pastel on paper signed lower left: Jqts Smith inscribed verso: 0001058

29 ¾ x 21 ¾ in. (75.6 x 55.2 cm.)

frame: 39 ¼ x 31 ¼ x 1 ¼ in. (99.7 x 79.4 x 3.2 cm.)

Provenance: Private Collection, New Mexico

This work belongs to Smith’s late-1970s Kalispell series, a pivotal body of drawings that map memories of her Salish-Kootenai homelands in northwestern Montana. Using loose fields of pastel punctuated by linear markers, stacked registers, and emblematic forms, the composition reads like an Indigenous “memory map”, evoking paths, shelter, and landforms rather than a Western, surveyor’s landscape.

$10,000 — $20,000

351 Fritz Scholder (Luiseño, 1937–2005) Laughing Dog after Traube, 1977

oil on canvas

signed lower left: Scholder inscribed on verso: LAUGHING DOG AFTER TRAUBE 1977- OIL ON CANVAS / A7360 / 11·13·77

30 x 40 x 1 ¼ in. (76.2 x 101.6 x 3.2 cm.)

Provenance:

Altermann Galleries, Santa Fe, New Mexico, 2017 Private Collection, New Mexico

$30,000 — $50,000

352 Rick Bartow (Wiyot, 1946–2016)

Dog Running, 2012

acrylic on canvas signed and dated lower left: Bartow 012

inscribed verso: Dog ruNNiNg

47 ⅞ x 36 in. (121.6 x 91.4 cm.)

frame: 49 x 37 ⅛ x 2 ¼ in. (124.5 x 94.3 x 5.7 cm.)

Provenance:

Chiaroscuro Contemporary Art, Santa Fe, New Mexico

Froelick Gallery, Portland, Oregon

Private Collection, New Mexico

Exhibited:

Rick Bartow: Things You Know But Cannot Explain

Jordan Schnitzer Museum of Art, Eugene, Oregon, April 18 - August 9, 2015

IAIA Museum of Contemporary Native Arts, Santa Fe, New Mexico, August 14 - December 31, 2016

The Heard Museum, Phoenix, Arizona, April 8 - July 9, 2017

Literature:

Jill Hartz + Danielle M. Knapp (editors), Rick Bartow: Things You Know But Cannot Explain, Jordan Schnitzer Museum of Art, University of Oregon, Eugene, p. 24

Oregon Quarterly: The Magazine of the University of Oregon, Summer 2015 (cover)

$10,000 — $15,000

353 William Penhallow Henderson (1877–1943) Teufel with Doll Betty, ca. 1908

oil on canvas

signed lower right: Henderson

18 ¼ x 24 ⅛ in. (46.4 x 61.3 cm.)

frame: 24 ⅝ x 30 ⅝ x 2 in. (62.5 x 77.8 x 5.1 cm.)

Provenance:

Hirschl & Adler Galleries, New York, New York Montgomery Gallery, San Francisco, California Altermann Galleries, Santa Fe, New Mexico, 2018 Private Collection, New Mexico

$10,000 — $15,000

354 Rufino Tamayo (Mexican, 1899–1991) Dog Barking at the Moon, ca. 1942

lithograph on handmade paper, edition 22 of 50 editioned lower left: 22/50 signed lower right: R Tamayo. artist’s chop lower left: TAMAYO 31 ½ x 24 in. (80 x 61 cm.)

frame: 36 ¾ x 29 x 2 in. (93.3 x 73.7 x 5.1 cm.)

Provenance:

The Elaine Horowitz Estate Private Collection, New Mexico

This lithograph is based on a painting by the artist created in 1942, and depicts a dog howling against a cobalt sky. “Perro Aullando a la Luna” typifies a stage in Tamayo’s production related to the strife of World War II. During this time, the serenity of the artist’s previous paintings was supplanted by a chromatic intensity and formal tension.

The artist studied Picasso’s monumental anti-war painting Guernica (1937), and the anxiety of Tamayo’s dog recalls Picasso’s screaming horse. However, Tamayo merges modern European influences with Indigenous inspiration; his tormented dog’s form also relates to the funerary canine statuettes of pre-Columbian Colima. The work not only expresses a sense of social consciousness during a time of war, it also declares the artist’s investment in applying the tenets of European modernism to an exploration of Mexico’s visual heritage.

$4,000 — $6,000

WELCOMING FINE CONSIGNMENTS FOR 2026

Consignments of individual items to large single owner collections invited year round. Contact us for your courtesy evaluation.

Abeyta, Tony Acoma

Adakai, Jack

Adams, Ansel

Adams, Clinton

Adams, Molly Murphy

Antreasian, Garo

Apachito, Geneva

Applegate, Frank G.

Backus, Albert Ernest Bean

Ballard, Steve

Bama, James

Barbera, Marie

Bartow, Rick

Baumann, Gustave

Begay, Alvin

Begay, Darryl

Begay, Shonto

Benton, Thomas Hart

Berninghaus, Oscar Edmund

Bierstadt, Albert

Biss, Earl

Bisttram, Emil James

Blakelock, Ralph Albert

Blumenschein, Helen Greene

Brett, Dorothy Eugenie

Brown, Gordon

Budnik, Dan

Burbank, Elbridge Ayer

Burgess, Nocona

Burri, Alberto

Buswell, Blair

Butterfield, Deborah Kay

Cannon, T. C.

Cassidy, Gerald Ira Diamond

Castañeda, Felipe

Castañeda, Victor Hugo

Cave, Nick

Celaya, Enrique MartÌnez

Challenger, J. D.

Chatham, Russell

Clark, Willard

Clymer, John Ford

Colburn, Elanor Ruth Gump

Coleman, Michael

Colman, Samuel

Cook, Howard Norton

Critcher, Catharine Carter

Currie, Steve

Curtis, Edward S.

Da, Tony

Dasburg, Andrew

Daughters, Robert A.

De Kooning, Elaine

de Mayo, Louis

Delano, Gerard Curtis

Dewa, Andrew

Diné (Navajo)

Diné (Navajo) + Zuni

Dixon, Maynard

312–313, 342 163–166 75 156 249 118 249 93 29 292 79 47 215 267, 352 20–24 92 93 332 269 280 271–272 315–316 35–36, 244 270 8 285 199 155 181 334 234 136 251 56–57 42, 284 256–258 259 241 254 321–323 197 9 286 211 220–221 274 10–12 282 252 148–150 104 38–41 193, 288–289 249 330 45–46 88 71, 73, 77, 97, 99, 105–109, 112, 114–116 90 276

Dunn, Harvey T. Dunton, William Herbert Eastern Sioux Early Figurative Pipes Eaton, Valoy Epperson, Lee Eriacho, Daniel + Christine Fechin, Nicolai Ivanovich Fini, Leonor Fleck, Joseph Amadeus Frank, Alyce Frej, William Furlow, Malcolm Garcia, Tammy

Gaspar, Annie Quam Gaspard, Leon Shulman Goebel, Rod Goler, Gustavo Victor Goodacre, Glenna Maxey Goodnight, Veryl Goseyun, Craig Dan Grant, Blanche Chloe Gray, Darren Vigil Haddock, Arthur Earl Hagen, Robert Hall, Norma Bassett Hallmark, George Hanson, Scott Hardin, Helen [Tsa-Sah-Wee-Eh] Hare, David Haverstick, Jake (Ralph E.) Henderson, William Penhallow Hennings, Ernest Martin Hensel, Joann Hook, William Cather Hopi

Houser (Haouzous), Allan Capron Howell, Frank Hughes, Bill Huma, Rondina Imhof, Joseph Adam Inuit

Jake, Albert Jimenez, Federico Jiménez, Luis Joe, Sr., Oreland C. + Baje Whitethorne Johns, Jasper Jonson, Raymond Joyce, Tom Kahn, Wolf Kaneko, Jun Kanemitsu, Matsumi Katz, Alex Kliewer, Susan Kloss, Gene Krushenick, Nicholas Léger, Fernand Leigh, William Robinson Levin, Eli Lillywhite, Raphael

López, Félix

Lumpkins, William Thomas

Mahaffey, Merrill Dean

Mandelman, Beatrice Marble, Linda Martinez, Maria Martinez, Maria + Popovi Da Matthews, William McAfee, Ila Mae

McElwain, Louisa McGary, Dave McGarrell, James McNeil, George Mell, Ed

Mitchell, Gladys Vinson Modoc

Moffett, Donald Montoya, Andrew Moon, Carl Everton

Morang, Dorothy Alden Morang, Alfred Gwynne Morgan, Harry Moses, Forrest Moylan, Lloyd

Namingha, Dan Nanaimo, Mrs. Little of Nash, Willard Ayer

Newcomb, Rock

New Mexico

Nez, Grace Nieto, John Nowlin, Bruce Carlton Oliveira, Nathan

Ostermiller, Dan

Pajarito, Joel Palma, Luis González Parrish, Jean Parsons, Sheldon Peña, Tonita Vigil [Quah Ah] Pettigrew, Martha Phillips, Bert Geer Picasso, Pablo Platero, Alice Pletka, Paul Post, Howard Price, Kenneth Pueblo Quam, Wayne + Virginia Quam, Alice

Reano, Lisa Holt + Harlan Reeves, Daniel [Sunshine]

Remington, Deborah Rippel, Morris Rivera, Elias J. Roberts, Dolona Rogers, Peter Ross, Sadie

Roybal, Alfonso [Awa Tsireh]

Ruscha, Ed Santiago, Roseta

Wiggins, Kim Douglas Woelffer, Emerson Wood, Esther Woodman, Betty Worrell, Bill 262, 265 28, 34, 245–246, 304 70 247–248 98 157 158 68 209 206, 210 138–144 249 249 66 204 132 242 261 179 31–32 191–192 72, 100 287 188 343–345 120 283 171 113 110–111 337 333 249 218 93 151–153 203 183 52 217 182, 281 236 74 54–55 290 249 125 78, 83 89 161 93 249 69, 194 225 320 237 117 48 249 168–170, 207

Sauerwein, Frank Paul Schively, Frank Schleeter, Howard Behling

Scholder, Fritz Schwitters, Kurt Sharp, Joseph Henry Shinabarger, Tim Shipibo

Singletary, Preston Singleton, Gib Skeets, Anthony Sloan, John Smith, Jaune Quick-to-See Smith, Matt Smith, Gary Ernest Sprick, Daniel Stedham, Kathryn Strahalm, Franz

Sudduth, Jimmy Lee Swentzell, Roxanne Tafoya, Margaret Tahoma, Quincy Tait, Agnes

Tait, Norman +, Turner, Lucinda Tamayo, Rufino Tanguy, Yves

Taylor, Robert Lee

Terbush, Dale

Thomson-Smith, Shirley Toadlena, Aaron Turner, Ben Valdez, Horacio Vandever, Herman Various Artists Various Artists (Tamarind Institute) Vasquez, Larry Velarde, Pablita [Tse Tsan] Vicente, Esteban Von Hassler, Carl Waddell, Theodore Waddell, John Henry Wagner, Rory Wallace, Denise Walters, Curt Wayne, June Webothee, Mary + Lee Wells, C. J. Western Mono Whitehorse, Emmi Wieghorst, Olaf Carl Wiggins, Carleton

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 catalogue. The lots will be offered by the Santa Fe Art Auction as agent for the consignors, unless the catalogue indicates otherwise.

1. The Santa Fe Art Auction operates as an agent of the seller only. It is not responsible in the event any buyer or seller at the auction fails to live up to their respective agreements, including failure of the seller to deliver any property to buyers. The Santa Fe Art Auction assumes no risk, liability, or responsibility beyond the limited warranty contained herein.

(a) All property is sold “AS IS.” There are no representations or warranties that extend beyond these Terms and Conditions of Sale. All works 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 catalogue or description, including, but not limited to, the authenticity, the physical condition, size, quality, rarity, importance, medium, provenance, dates, exhibitions, literary or historical relevance of any property, and, no statement anywhere, whether oral or written, whether made in the catalogue, an advertisement, a bill of sale, a salesroom posting or announcement, or elsewhere shall be deemed such a warranty, representation or assumption of liability. Nor are there any representations and warranties, express or implied, as to whether the purchaser acquires any copyrights, including, but not limited to, any reproduction rights in any property. Contents of this catalogue are subject to change or supplementation before or during the sale, including the sale of any lot.

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 purchaser as part of the total purchase price. If paying by cash or check, the purchase price will be the sum of the final bid price plus a buyer’s premium of 23% of the final bid price of each lot up to and including $1,000,000 and 18% of the excess of the final bid price above $1,000,000, plus any applicable sales tax, shipping and handling charges.

• Successful Online bidders on third party platforms (Invaluable + Live Auctioneers) will be subject to a surcharge by those platforms, currently 5%.

• The buyer’s premium is calculated separately for each lot.

• Credit cards are subject to a 4% processing fee.

• Wire + ACH instructions are available on request

Note: All artwork is soft-wrapped and a $10 fee for will be added to your invoice.

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.

• Why Santa Fe Art Auction 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.

• Since the 2018 South Dakota v. Wayfair, Inc. ruling, most US states have implemented legislation requiring remote sellers to collect sales tax when the total dollar value of purchases sent to that state exceeds a set threshold, known as an economic nexus. Each state sets its own threshold or nexus. Like all other remote sellers, Santa Fe Art Auction is now required to collect Sales/Use Tax from buyers in any state when the total dollar value of purchases sent to that state creates a nexus. When this occurs, you will see sales tax included on your invoice. The sales tax rate is determined by the state, county, and city where purchases are shipped. As of October 1, 2025 SFAA has met the nexus in the following states: Arizona, Colorado, Florida, Illinois, Kansas, Michigan, New Mexico, New York, Texas, and Wisconsin. However, any purchases made in person and/or picked up in person, are subject to applicable New Mexico sales tax instead.

• The following states do not currently have sales tax and/or applicable economic nexus laws, and as a result the Santa Fe Art Auction is not required to collect sales tax from Alaska, Delaware, Montana, New Hampshire, or Oregon.

• 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 catalogue.

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 exchanges 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.

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 is pleased to present to art purchasers shipping options which are explained in the shipping form enclosed in this catalogue. If you misplace this form, call or send an email and another form will be provided.

15. Results are posted on the Santa Fe Art Auction web site and, upon request, may be sent to Buyers, catalogue 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 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 which authorizes the Santa Fe Art Auction to place bids on your behalf. To place bids, please use the Bidding Form provided on our website at www.santafeartauction.com/buy. Please complete and submit to Santa Fe Art Auction one day prior to sale. Be sure the lot number and the descriptions are accurate and note the top price you are willing to pay for each lot.

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 telephone bid form which authorizes the Santa Fe Art Auction to place bids on your behalf. To place bids, please use the Bidding Form provided on our website at www.santafeartauction.com/buy. Please complete and submit to Santa Fe Art Auction one day prior to sale. Telephone bidders are encouraged to leave back up bids in case of technical difficulties. A Top Limit bid need not be specified.

BUYER’S PREMIUM

The top limit you indicate on your bid form is the hammer 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.

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

$100,000 – $300,000 $10,000 OVER $300,000 $20,000

SANTA FE ART AUCTION STAFF

Peter Bernardy Specialist, Photography + Works On Paper

Marisa De La Peña Auction Coordinator

Robert Gallegos Head Of Native American + New Mexican Arts

Marie Meyer Staff Accountant

Shane Mieske Marketing + Design Director

Harvey Morgan Senior Art Handler

Marshall Palacios Art Handler

Jonah Payne Specialist, Western Art + Sculpture

Dianna Robinson Production Manager

Olivia Sherman Research Associate

Jesse Thompson Registrar

Molly Wagoner Photography Director

Janda Wetherington Specialist, Contemporary + Modern

Nina Wright Photography Associate

Gillian A. Blitch President + CEO

© 2025 Santa Fe Art Auction, LLC

Auctioneer: Jason Brooks

Photography: Molly Wagoner

Catalog Design: Shane Mieske

Printing: O’Neil Printing, Phoenix, AZ