Art of the American West — August 26, 2025 | John Moran Auctioneers
Art of the American West
Tuesday, August 26, 2025
SINCE 1969
Tuesday, August 26 , 2025 | 10am PDT
Featuring selections from The Estate of Robert Day
This is an interactive catalogue. Click on any item description or hyperlink for more information.
Previews:
Friday, August 22nd: 12-4pm Saturday, August 23rd: 12-4pm Monday, August 25th: 12-4pm Tuesday, August 26th: Doors open 9am
Meet the Team
Maranda Moran Head of Sale Vice President, Specialist m.moran@johnmoran.com
Sally Andrew Cataloguer, Silver Jewelry & Decorative Arts s.andrew@johnmoran.com
Sale 317 145 East Walnut Avenue, Monrovia CA 91016 Client Services
Grant Stevens Cataloguer, Decorative Arts g.stevens@johnmoran.com
Madison Ari Cataloguer, Fine Art m.ari@johnmoran.com
Mario Esquivel Office Manager m.esquivel@johnmoran.com Ella Fountain Client Services e.fountain@johnmoran.com
1
Reycita Cosen (1927-2012, Santa Clara Pueblo)
A blackware pottery wedding vase, 1989
Signed and dated to underside: Reycita Cosen / Santa Clara / 6-20-89
The stone-polished black vase featuring flared spouts joined by a twisted arched handle, with a deeply carved Avanyu water serpent motif to body 8.25” H x 5.625” Dia.
Maria & Santana Martinez (1887-1980 & 1909-2002, San Ildefonso Pueblo)
A small blackware dish, mid-20th century Incised to underside: Marie + Santana The tray with black on black geometric motifs 1” H x 6.125” Dia.
$300-500
Margaret Tafoya (1904-2001, Santa Clara Pueblo)
A blackware pottery jar, mid/late 20th century With incised signature to underside: Margaret Tafoya / Santa Clara Pue. The stone-polished shouldered jar with a deeply incised curvilinear motif to shoulder 4” H x 9” Dia.
Crucita “Blue Corn” Calabaza (1921-1999, San Ildefonso Pueblo)
Two blackware pottery vessels, mid-20th century
Incised to underside: Blue Corn / San Ildefonso Pueblo
The black on black vessels, comprising a wide jar with banded step motif to shoulder, and a small vessel with banded cloud motif to shoulder and inset cigarette lighter 2 pieces
Larger: 2.875” H x 5.5” Dia.; Smaller: 2.125” H x 2.625” Dia.
$500-700
Provenance:
Ex Hart collection, Arizona; originally purchased in the mid-1950s by David C. White of Los Alamos, New Mexico
Medicine Man Gallery, Tucsun, AZ
Purchased from the above by the present owner
Crucita “Blue Corn” Calabaza (1921-1999, San Ildefonso Pueblo)
A polychrome pottery jar, mid-20th century
Incised to underside: Blue Corn / San Ildefonso Pueblo
The four-colored jar with banded eagle feather motifs in green, red, and brown on a cream slip ground
Desideria Montoya Sanchez (1889-1982, San Ildefonso Pueblo)
Two blackware pottery vessels, early/mid-20th century
Each with incised signature to underside: Desideria; one further inscribed: San Ildefonso
Each with black on black decorations, comprising a low jar with banded stacked arrow motifs to shoulder, and a jar with flared rim and banded kiva step motifs
2 pieces
Lower: 4.375” H x 6.625” Dia.; Taller: 6.875” H x 5.5” Dia.
$200-400
15
Jason Ebelacker (b. 1980, Santa Clara Pueblo)
A Santa Clara blackware lidded pottery jar, late 20th/21st century
With incised signature to underside: J L Ebelacker / Santa Clara Pueblo
A tall jar with deeply carved Avanyu water serpent banded motif, and with rectangular lid
Incised to underside: Mela Youngblood / Santa Clara Pue.
The vessel with deeply incised banded stepped motifs to base of shoulder 12.125” H x 8.25” Dia.
$800-1,200
Provenance:
Property from the Collection of Barbara and Gabe Alovis, Scottsdale, Arizona
Private collection, Judsonia, Arkansas
18
Rose Gonzales (1900-1989, San Ildefonso Pueblo)
A small redware bowl, mid/late 20th century
Etched signature to underside: Rose
The bowl with deeply incised zig-zag motif to shoulder 2.5” H x 3.75” Dia.
$200-400
Dora Tse Pe (b. 1939, Zia Pueblo/San Ildefonso Pueblo)
A San Ildefonso micaceous buff pottery jar, 1983
Signed and dated to underside: Dora Tse Pe / San Ildefonso Pueblo / 1983
The small micaceous rounded vase with a ring of inset turquoise heshi to the neck, and a single turquoise cabochon 5.375” H x 4.25” Dia.
$500-700
Provenance:
Private collection, Judsonia, Arkansas
Effie & Orville Garcia (b. 1954, Santa Clara Pueblo & b. 20th century, Acoma Pueblo)
A group of blackware pottery, late 20th/21st century
Each with incised signature to underside: Effie Orville Garcia / SCP
Comprising three tapered wide jars, the largest with deeply incised curvilinear Avanyu “water serpent” motif to shoulder (2.5” H x 5” Dia.), as well as a smaller jar with incised geometric-style stepped Avanyu motif (2.125” H x 4” Dia.), and a smooth tapered small jar with an incised “heartline” bear motif to one side, and scattered small etched sgraffito “bear paw” motifs overall (2.125” H x 4” Dia.)
3 pieces
$1,000-1,500
21
Denny Gutierrez (1942-2013, Santa Clara Pueblo)
Two Santa Clara blackware pottery items, late 20th century
Each inscribed to underside: Denny Gutierrez / Santa Clara Pueblo
Comprising a blackware melon jar with swirling ridges and a lid, and a small blackware melon jar
2 pieces
Larger overall: 4.5” H x 4.5” Dia.; Smaller: 2” H x 3” Dia.
$500-700
A group of Southwest Pueblo blackware pottery
Three works:
Gabriel Gonzales (b. 20th century, Walatowa/Jemez Pueblo)
A large blackware jar with slip painted motifs, late 20th century
With incised signature to underside: Gabriel Gonzales / Walatowa / Jemez
A globular form jar with two bands of alternating geometric and curvilinear motifs 5.75” H x 8” Dia.
Lupita Martinez (1919-2006), San Ildefonso Pueblo)
A blackware jar with geometric band, mid/late 20th century
With incised signature to underside: Lupita Martinez / San Ildefonso Pueblo
The tapered shouldered jar with contrast motifs to shoulder 4” H x 6.25” Dia.
A blackware jar, mid/late 20th century
Unmarked
A tall vase with a wide band of etched feather motifs 5.125” H x 4.75” Dia.
3 pieces
$400-600
Provenance:
Private collection, Judsonia, Arkansas
A group of Southwest Pueblo blackware pottery
Three works:
Anita L. Suazo (b. 1937, Santa Clara Pueblo)
A blackware melon bowl, late 20th century
Signed to base: Anita L. Suazo / Santa Clara Pueblo / [artist’s cipher]
The low wide bowl with rounded ridges
3” H x 6.25” Dia.
Cavan Gonzales Tse-whang “Eagle Tail” (b.1970, San Ildefonso Pueblo)
A blackware jar with pictorial band, late 20th/21st century
Signed to base: Cavan Gonzales / “Eagle Tail”
The tapered jar with a band of slip-painted motifs including feathers, with scattered diminutive motifs to bodym and an inset coral bead
3.25” H x 4.5” Dia.
Lupita Martinez (1919-2006), San Ildefonso Pueblo)
A blackware jar with geometric band, mid/late 20th century
Signed (faintly) to base: Lupita Martinez
The tapered jar with slip-painted motifs to shoulder 3.25” H x 4.375” Dia.
3 pieces
$400-600
24
Awa Tsireh
(1898-1955, San Ildefonso Pueblo) Bear Watercolor and ink on paper
Signed in ink lower right: Awa Tsireh Sheet: 10.5” H x 13.25” W
$3,000-5,000
Harrison (Haskay Yahne Yah) Begay (1917-2012, Navajo/Diné)
Three riders on horseback Gouache on paper
Signed lower left and right: Haskay Yahne Yah / Harrison Begay Sight: 9.375” H x 13” W
$500-700
Notes:
Photographs of the artist holding this work are housed in a pocket affixed to the frame’s backing paper.
26
Allan Houser (1914-1994, Chiricahua Apache) “Gan Dancer”
With the printed signature along the lower edge: Crumbo
Sight: 11.5” H x 8.5” W
$200-400
28
Ted DeGrazia (1909-1982)
Figure on horseback Watercolor and ink on paper
Signed, and inscribed in ink along the lower edge: DeGrazia / “Arizona” / “A Midnight Sketch 1AM” Sight: 6” H x 6.75” W
$800-1,200
Ted DeGrazia (1909-1982)
A man holding rattles, 1973
Watercolor and ink on paper
Signed, dated, and inscribed in ink along the lower edge: DeGrazia / 1973 / “Arizona” / “A Midnight Sketch 4AM”
Sight: 6” H x 6.75” W
$800-1,200
30
Ted DeGrazia (1909-1982)
Child with doll, 1973
Watercolor and ink on paper
Signed, dated, and inscribed in ink along the lower edge: Ted DeGrazia / 1973 / “A Midnight Sketch 4AM”
Sight: 6” H x 6.75” W
$800-1,200
Ted DeGrazia (1909-1982)
Drummer boy, 1973
Watercolor and ink on paper
Signed, dated, and inscribed in ink along the lower edge: DeGrazia / 1973 / “Arizona” / “A Midnight Sketch 1AM”
Sight: 6” H x 6.75” W
$800-1,200
32
John Nieto (1936-2018)
“Ponca Chief”
Screenprint in colors on wove paper
Edition: PP. 26/50 (presumably one of 50 presentation proofs; the total edition was 195)
Signed and numbered in the right and left image corners, respectively: Nieto
Image: 25” H x 32” W; Sight: 25.75” H x 33” W
$500-700
Dan Namingha
(b. 1950, Hopi-Tewa)
“Hopi Eagle Dance”
Lithograph in colors on paper Edition: 84/150
Signed, titled, and numbered in pencil in the lower margin: Dan Namingha; JK Fine Art Editions Co., New York, NY, pub., and with their blindstamp in the lower left margin corner
Image: 29” H x 23.25” W; Sight: 33” H x 26” W
$200-400
34
Dan Namingha (b. 1950, Hopi-Tewa)
“Ancient Images,” 1980
Lithograph in colors on paper
Edition: A “bon a tirer” [good to pull/print] impression aside from the numbered edition of 100
Signed, titled, and inscribed “B.A.T.,” all in pencil along the lower sheet edge; dated by repute; Stephen Britko of Naravisa Press, Santa Fe, NM, prntr./pub., with his blindstamp in the lower left corner
Image/Sheet: 15.25” H x 22.25” W
$100-200
35
Pablo Antonio Milan (1961-2017)
“Four Riders”
Screenprint in colors on wove paper
Edition: An artist’s proof, aside from the edition of 135
Signed and inscribed in white pencil along the lower edge: Pablo Antonio Milan / “AP”
Image/Sheet: 22” H x 30” W
$200-400
36
Raymond Nordwall
(b. 1965, Pawnee and Ojibwe)
“Returning of the Blackfeet Chiefs” Mixed media on paper
Signed and titled along the lower edge: Nordwall Image: 33” H x 22.5” W; Sight: 33.75” H x 23” W
The artist is also sometimes known (as signed here) as Bagshaw-Tindel, Tindel being the last name of Margarete Bagshaw’s first husband. They divorced in 2006. Margarete Bagshaw came from a line of pueblo Indian motif-women painters. Her mother was Helen Hardin (1943-1984), and her grandmother was Pablita Velarde (1918-2006).
38
Tammy Garcia
(b. 1969, Santa Clara Pueblo) “Birdhaus”
Patinated bronze on a rotating base Edition: 6/30
Etched signature and edition: Tammy Garcia
Overall: 24” H x 14.25” W x 11.25” D
$2,000-4,000
Provenance: Sold: Ripley Auctions, Indianapolis, IN, “Great Estate Art and Antiques Auction,” January 28, 2023, Lot 71 Private collection, Judsonia, Arkansas
Hubert Candelario (b. 1965, San Felipe Pueblo)
A large micaceous redware pottery vessel, late 20th century Signed indistinctly to underside
A tall tapered ovoid narrow neck vase-form jar with sparkling micaceous finish
A polychrome pottery sculptural vase, early 21st century Signed and inscribed to underside with artist’s corn cipher: Charmae Shields Natseway / Acoma, N. M.
The cylindrical vase with small stopper/lid, decorated in brown and red Mimbres-style zoomorphic and anthropomorphic figures on a white slip ground With stopper: 11.875” H x 4.125” Dia.
A small polychrome lidded seed pot, late 20th/21st century
Signed to base: Charmae Shields Natseway
The tapered square pot with black on white Mimbres-style pictorial motifs including a deer and two fish, with overall triangular patterned sides and top. with plain finial lid 4” H x 3” W x 3” D (with lid)
$500-700
42
A Roanhorse Navajo sterling silver and turquoise cuff bracelet
Late 20th/21st century, Diné
Stamped: Roanhorse / Sterling / 925 [likely for Henry Roanhorse or Calinda Roanhorse-Bowling]
A sterling three-wire cuff with a large cluster-set plaque featuring sawtooth bezel-set turquoise
7” total inner C x 3” H, with a 1.375” gap
103.0 grams gross
$400-600
43
A Southwest sterling silver and turquoise cuff bracelet Mid-20th century
Unmarked
A chunky sterling silver cuff set with seven nugget turquoise stones with color gradation, applied silver accents, and with stamped terminals
7.25” total inner C x 1.5” H, with a 1.5” gap 127.7 grams gross
$400-600
44
Frank Howell (1937-1997)
“Dream Walker,” 1989
Lithograph in colors on wove paper
A presentation proof, aside from the edition of 140
Signed, titled, dated, and inscribed in pencil along the lower edge of the image: Frank Howell / 1989 / “Presentation Proof to Dan”; an unidentified blindstamp in the lower left image corner
Image: 9.125” H x 24.125” W; Sheet: 9.5” H x 24.5” W
$700-900
45
Frank Howell (1937-1997)
“Plains Wind,” 1985
Lithograph in colors on paper
Edition: 15/140
Signed, titled, dated, and numbered in pencil in the lower margin: Frank Howell 1985; with an unidentified blindstamp in the lower left margin corner
Image: 9.75” H x 6.5” W; Sight: 10.75” H x 7.5” W
$100-200
46
William Willmarth (1898-1984)
“New Mexico and Arizona Rockies,” 1934
Lithograph in colors on paper laid to linen
Signed in the stone at lower left: W. Willmarth Image: 38.75” H x 26” W; Sheet: 41” H x 27” W; Linen: 41.5” H x 27.25” W
$2,500-3,500
Provenance: Private collection, Studio City, CA
Notes:
In 1934, President Franklin D. Roosevelt launched a campaign to boost the importance and public interest in visiting National Parks, naming the year “National Parks Year.” As part of the promotional effort, the government utilized both posters and commemorative postage stamps. Around this time, in 1930, Willmarth and his brother Kenneth began their collaboration with the Union Pacific Railroad, creating joint and individual works. During a speech at Glacier National Park on August 5, 1934, Roosevelt expressed his satisfaction with the initiative’s success, noting a significant rise in park visitation.
47
Paul Surber (b. 1942)
Two Native American figures Oil on canvas
Signed lower right: Paul Surber
60” H x 48” W
$1,000-1,500
Provenance: Private collection, Westlake Village, CA
48 Ira Yeager (1938-2022)
Portrait of a Native American man with a black bird Oil on canvas
Signed lower right: Ira Yeager
48” H x 48” W
$8,000-12,000
Albert H. Qöyawayma (b.1938, Hopi-Tewa)
A large pottery centerpiece bowl, 1977
With incised signature and date to underside: Qöyawayma / ‘77; further numbered: 24
The buffed micaceous bowl with two figures in relief 11.25” H x 15.5” Dia.
$2,000-4,000
Provenance:
Sold: South Bay Auctions, East Moriches, NY, “Fine Art, Antiques, Estate Jewelry, Silver & Sporting Auction,” January 28, 2023, Lot 223
With Sotheby’s tag, Lot 252, sale offered unknown Private collection, Judsonia, Arkansas
50
Mary Archuleta (b. 1942, Santa Clara Pueblo)
A large redware cylindrical vase, late 20th century
Incised signature to underside: Mary Archuleta
The tall deeply carved jar with a wide band of stylized figural and abstract motifs
11.5” H x 10” Dia.
$800-1,200
Provenance:
Property from a Chestnut Hill, MA Estate
Sold: Litchfield Auctions, Litchfield, CT, “20th Century Modern Art, Design & Craft,” Sep 29, 2021, Lot 412.
Private collection, Judsonia, Arkansas
Jason Ebelacker (b. 1980, Santa Clara Pueblo)
A Santa Clara redware pottery vase, late 20th/21st century
With incised signature to underside: J L Ebelacker / Santa Clara Pueblo
A tall ovoid form jar with a band of deeply carved curvilinear and stepped motifs 10.75” H x 9.5” Dia.
Grace Medicine Flower (b. 1938, Santa Clara Pueblo) & Camilio “Sunflower” Tafoya (1902-1995, Santa Clara Pueblo)
A polychrome sgraffito blackware and redware jar, late 20th century With etched signatures to base: Grace Medicine Flower [flower cipher] / and / Camilio Tafoya
A shaped rounded jar or possibly seed pot with curvilinear etched serpent/ wolf motif and redware etched medallions with mask motifs
3” H x 5” Dia.
$300-500
Provenance:
Private collection, Judsonia, Arkansas
Hubert Candelario (b. 1965, San Felipe Pueblo)
A large micaceous redware pottery seed jar, 2002
Signed and dated to underside: Hubert Candelario / San Felipe NM / 4.11.2002
The nearly spherical jar with an all-over single carved meander in black, with the opening just off-center
A Southwest sterling silver squash blossom necklace
Early/mid-20th century
Unmarked
Comprising a silver three-wire naja with fourteen blossoms, all suspended from a double strand of silver ball beads
29.5” L x 3” H
251.7 grams
$1,000-1,500
55
A Nez Perce twined corn husk bag
Late 19th/early 20th century, Nimiipuu; Northwest Plateau
The double-sided flat twined bag with polychrome wool yarn imbricated motifs to each side, featuring three columns of serrated diamonds to one side, and six rows of alternating red and black parallelograms verso, with rawhide lacing to top edge and knotted rawhide straps attached to one side 19” H x 15” W
$1,000-1,500
Provenance:
Sold: Sotheby’s, New York, NY, The Andy Warhol Collection, “American Indian Art,” April 28, 1988, lot 2564 [3 pieces]
Private collection, Studio City, CA
Notes:
Andy Warhol’s personal collection of Native American material, auctioned by Sotheby’s after his death in 1987, revealed his deep fascination with 19th century Indigenous art—from the carved forms of the Northwest Coast Tlingit to the vibrant textiles of the Southwest. Among the most striking works were several late 19th century Nez Perce corn husk bags—handwoven objects whose bold geometry and rhythmic design echoed Warhol’s own graphic sensibilities.
These “flat bags,” traditionally made by women of the Nez Perce and neighboring Plateau tribes, were used to carry personal items or given as ceremonial gifts, making them both utilitarian and symbolic. They were crafted using a sophisticated twining technique of soft hemp or dogbane for the foundation, and corn husk and dyed yarns to create vibrant designs on both sides. Admired for their abstract motifs of triangles, zigzags, and stepped patterns, their symmetrical compositions reflect a Plateau visual language that predates and yet parallels modern design principles.
The desirability of Warhol’s collection lies not only in his fame but in his discerning eye. As Sotheby’s noted, his interest in Native American material culture mirrored his broader artistic inquiry into identity, iconography, and the mythologizing of American history. Warhol’s engagement with Indigenous imagery extended beyond collecting. In his 1986 ‘Cowboys and Indians” series (one of his last major works), he juxtaposed romanticized Western figures like John Wayne with Native leaders such as Sitting Bull and Russell Means, challenging how Native identity had been commodified in pop culture.
Today, these corn husk bags stand as exceptional works of Indigenous textile art and with Warhol’s ownership, now bridge two distinct creative legacies that embody both the cultural heritage of the Plateau tribes and the curatorial vision of one of the most iconic artists of the 20th century.
A Nez Perce twined corn husk bag
Late 19th/early 20th century, Nimiipuu; Northwest Plateau
The double-sided flat twined bag with polychrome wool yarn imbricated motifs to each side, featuring terraced stepped diamonds to one side, and an all-over pattern of conjoined blue and red triangles verso, with woven top edge and twisted cord lacing 22.25” H x 17.5” W
$1,000-1,500
Provenance:
Sold: Sotheby’s, New York, NY, The Andy Warhol Collection, “American Indian Art,” April 28, 1988, lot 2564 [3 pieces]
Private collection, Studio City, CA
57
A Nez Perce twined corn husk bag
Late 19th/early 20th century, Nimiipuu; Northwest Plateau
The double-sided flat twined bag with polychrome wool yarn imbricated motifs to each side, featuring a scattered array of small rectangles to one side and multiple interlocking stepped diamonds verso, with fabric binding, rawhide lacing and two rawhide loops attached to one side
16.25” H x 11.5” W
$1,000-1,500
Provenance:
Sold: Sotheby’s, New York, NY, The Andy Warhol Collection, “American Indian Art,” April 28, 1988, lot 2564 [3 pieces]
Private collection, Studio City, CA
58
A Nez Perce twined corn husk bag
Late 19th/early 20th century, Nimiipuu; Northwest Plateau
The double-sided flat twined bag with polychrome wool yarn imbricated motifs to each side, featuring multiple diagonal rows of stepped multicolored bands to one side and four horizontal rows of narrow stepped zigzag banding verso, with a twined top edge and twisted cord lacing 20” H x 14.5” W
$800-1,200
Provenance: Private collection, Studio City, CA
59
$1,500-2,500
A Navajo Yei weaving Mid-20th century, Diné Woven in grey, red, standing Yei dancer three sides by a Rainbow 51” H x 64” W
orange, yellow, pink, purple, brown, and cream wool with five
figures with masks, feathers, and sash details, all surrounded on Rainbow Guardian figure
A Navajo Germantown weaving
Late 19th century, Diné
Woven in red and multicolored wool featuring four rows of stepped diamonds, floating crosses and a border of stepped diamonds and decorative stitched edges to two ends.
51” H x 64” W
$8,000-12,000
Provenance:
Private collection, Studio City, CA
61
A Navajo banded twill child’s blanket
Late 19th century, Diné
Elaborately woven in red, green, pink, brown, cream, purple, orange and black wool featuring various serrated, zigzag, ticked, and solid color twill banding, with narrow banded ends
32” H x 49.75” W
$6,000-8,000
Provenance:
Private collection, Studio City, CA
A Navajo Germantown child’s blanket
Late 19th century, Diné
Woven in red, green, black, cream and blue wool, with a central column of concentric crosses, flanked by floating conjoined diamonds and half crosses to each side, with red band to each end
34.5” H x 47.5” W
$2,000-3,000
Provenance: Private collection, Studio City, CA
A Navajo regional rug Early 20th century, Diné Woven in red, cream, dark brown, light brown, and grey wool, with two central stepped crosses, and multiple floating Spider Woman crosses to corners
90” H x 65.5” W
$1,000-1,500
A Navajo regional rug
Early 20th century, Diné Woven in reds, oranges, brown, cream, and grey wool with central stacked Saltillo-style sawtooth diamonds and a banded border.
61” H x 45” W approximately
$600-800
A Navajo regional rug Early 20th century, Diné Woven in red, cream, dark brown, and variegated brown wool with a central rectangular motif flanked by triangles and hooked elements to each end, and two columns of conjoined diamonds to sides, with banded borders
51.5” H x 41” W
$500-700
A Navajo regional runner Mid-20th century, Diné
An extra-long narrow rug woven in grey, cream, black, and light brown wool with multiple alternating serrated and stepped diamonds and cross motifs 230” H x 20.5” W
$1,000-1,500
A Navajo Two Grey Hills rug Mid/late 20th century, Diné
Woven in white, light brown, variegated brown, variegated grey, tan, and black wool with two central stepped hooked diamonds with elaborate stepped hooked corners and side motifs, and a variable sawtooth border on two sides
68” H x 37” W approximately
$400-600
A Rita Charley Navajo Two Grey Hills rug
Rita Charley (b. 20th century, Diné)
Late 20th century
Woven in cream, tan, variegated brown, light brown, dark brown, and russet wool, with a conjoined double diamond motif and stepped triangular border
80” H x 53” W
$600-900
Notes:
This lot accompanied by a purchase receipt from Garland’s Navajo Rugs, Sedona AZ, dated February 1984, as well as a label indicating Rita Charley as weaver, and two photographs of the artist holding the weaving.
A Navajo regional rug Mid-20th century, Diné Woven in red, dark brown, cream, tan, and variegated grey wool with three central elaborate stepped hooked motifs, with various floating diamond motifs overall and an elaborate zigzag border with striped banding to the ends
88.5” H x 48” W approximately
$300-500
A Lucille Silver Navajo Ganado rug
Lucille Silver (b. 20th century, Diné)
Late 20th century
Woven in red, light and dark grey, cream, and black wool with an elaborate central diamond motif and stepped corners, wtih an elaborate stepped border
58.5” H x 40.5” W
$300-500
Notes:
This lot accompanied by a purchase receipt from Garland’s Navajo Rugs, Sedona, AZ, dated May, 1984, as well as a label indicating Lucille Silver as weaver, and a photograph of the artist next to the weaving.
A Navajo regional rug
Mid-20th century, Diné Woven in red, dark grey, pale pink, variegated light brown, and dark brown, with two conjoined stepped hooked diamonds to center, with hooked motifs and crosses to sides, and banded ends
70” H x 34” W
$400-600
A Navajo regional rug
Mid-20th century, Diné Woven in cream, red, dark brown, tan, and variegated grey wool, with a central column of conjoined serrated diamonds and half diamonds to the sides, with a banded border 51” H x 34” W
$300-500
73
A framed Navajo Yei weaving
Late 20th century, Diné
Woven in brown, red, green, cream, light grey, turquoise, and black with two Yei dancers and a Rainbow Guardian with corn and feather motifs, with stepped border to top and lower edge, professionally mounted and framed under glass
Sight: 30.75” H x 28.75” W
$200-400
74
Dave McGary (1958-2013)
“Bear Tracks” from the “Upper Missouri River Series,” 1993 Cold-painted bronze on wood plinth Edition: 57/75
Signed, dated, and numbered in the casting: Dave McGary; with applied thumbprint pastille; titled, and with artist’s name to metal plaque applied to plinth Bronze: 25.5” H x 23.5” W x 10.5” D; Overall: 29” H x 23.” W x 12.5” D
$3,000-5,000
75
Dave McGary (1958-2013)
“Trophies of Honor” from the “Warrior Series,” 1994
Cold-painted bronze on rotating wood plinth Edition: 29/75
Signed, dated, and numbered in the casting: Dave McGary; with applied thumbprint pastille; titled, and with artist’s name to metal plaque applied to plinth Bronze: 15.75” H x 12.25” W x 8.5” D; Overall: 23.5” H x 12.25” W x 9.75” D
$4,000-6,000
76
Dave McGary (1958-2013)
“Four Bears (Mah-To-Toh-Pa)” from the “Upper Missouri River Series,” 1990
Cold-painted bronze on rotating wood plinth Edition: 4/75
Signed, dated, and numbered in the casting: Dave McGary; with applied thumbprint pastille; titled, and with artist’s name to metal plaque applied to plinth
Bronze: 17.5” H x 12.5” W x 8.75” D; Overall: 22” H x 12.5” W x 11” D
$2,000-3,000
77
Dave McGary (1958-2013)
“Eye of the Storm Study” from the “Warrior Series,” 1992
Cold-painted bronze on rotating wood plinth Edition: 17/75
Signed and numbered in the casting: Dave McGary; with applied thumbprint pastille; titled, and with artist’s name to metal plaque applied to plinth Bronze: 10.375” H x 14.5” W x 9.5” D; Overall: 16.75” H
Signed, dated, and numbered in the casting: A. Kelly Pruitt / 1968 / 4-36; foundry mark: Hoka Hey [feather cipher]
Bronze: 14” H x 12” W x 8” D; Overall: 16” H x 14” W x 8.75” D
$300-500
A framed collection of Navajo silver buttons
Late 19th century and later, Diné
A large group of silver buttons of various sizes and styles including stamped designs, repoussé, cast designs, and silver overlay, many with set turquoise or stone inlay, and some with motifs including jackrabbits, birds, whirling logs, and Sunface, each securely mounted to a cardboard backing 25 pieces
Sight: Largest: 2” Dia.; Smallest: 0.625” Dia.
$800-1,200
A group of Navajo silver concho buttons
Mid/late 20th century, Diné
Unmarked
Comprising multiple sterling silver stamped buttons in various sizes and styles, including two matching 6-piece sets of stamped buttons (1.5” Dia. & 1” Dia.), a set of 4 matching buttons with set turquoise (1.5” Dia.), two single buttons with set turquoise (1.5” Dia.), and a matching set of 7 stamped buttons 25 pieces approximately 105.4 grams gross
$200-400
Dennis M. Doheny (b. 1956)
Contemporary Santa Barbara-based landscape depictions of the natural world. Born and raised passion for art and the outdoors, which deeply mastery of classical techniques reminiscent of sensitivity to light and atmosphere. His paintings coastline, the Sierra Nevada mountains, and desert
Early in his career, Doheny worked as a commercial commercial background is evident in the technical the artist’s use of light, shadow, and texture that experience the sublime beauty of untouched emphasizing grandeur and tranquility over human art world dominated by abstraction and conceptualism
Over the years, Dennis Doheny has received numerous Prize” at the 2016 California Art Club’s 105th West exhibition; the Frederic Remington Award Museum’s Prix de West; and the Inaugural Purchase in both public and Private collections, and he
landscape painter Dennis Doheny is renowned for his luminous and meticulously detailed raised in Los Angeles as a third-generation Californian, Doheny developed an early deeply influenced his artistic vision. Though largely self-taught, his style reflects a of the Hudson River School and early California Impressionists, with a modern paintings often feature dramatic vistas of the American West, particularly the California desert landscapes.
commercial artist before turning to fine art full time in the mid-1990s, and this technical precision of his work. Doheny’s paintings also have emotional resonance in that brings a sense of realism and serenity to his landscapes, inviting viewers to nature. Each composition reflects a deep reverence for the environment, often human presence. His dedication to traditional landscape painting in a contemporary conceptualism sets him apart.
numerous accolades, including prestigious awards such as “The Irvine Museum Annual Gold Medal Exhibition and the Autry Museum’s Masters of the American Award for “exceptional artistic merit” at the National Cowboy & Western Heritage Purchase Prize at the Eiteljorg Museum’s “Quest for the West.” His paintings are held continues to influence a new generation of realist landscape painters.
Provenance: Private collection, Cathedral City, CA
86
20th Century Taos School
Taos Indians on horseback with foal, in the style of Walter Ufer
Gouache and ink on sturdy, teal-colored, card stock
Signed with a stylized monogram in the lower left corner: LZS [?]
Sight: 19.5” H x 24.5” W
19.875” H x 25” W
$600-800
Provenance: From the Collection of Robert A. Day
87
A Gustav Stickley music cabinet, no. 70
Circa 1912-1916; Eastwood, NY
With Stickley shop mark [joiner’s compass]
The oak wood cabinet of mortise and tenon construction with splined panels, featuring an upper gallery above a single cabinet door with “hammered” amber glass panes between the mullions, with copper pull and lock escutcheon, revealing five adjustable shelves mounted on pegs
47.25” H x 20.25” W x 16.5” D
$700-900
Literature: Stephen Gray, “Gustav Stickley After 1909” (Philmont, NY: Turn of the Century Editions, 1995), p. 6 & 147
88
A pair of Dirk Van Erp Pair hammered copper urns Circa 1915-1977; San Francisco, CA
Each base signed: Dirk van Erp / San Francisco [open-box mark]
Each footed vessel with opposed lug handles
2 pieces
Each: 17.125” H x 6.625” W x 6” D
$2,000-3,000
89
Harry St. John Dixon (1890-1967)
A hammered copper urn-form trophy, 1925
Etched signature, date, and inscription to underside: Harry Dixon / San Francisco; lengthy inscription to body
The trophy to be awarded to the boy at the Ginn House Orphanage in San Francisco who achieved the highest marks 15.375” H x 6.875” Dia.
$1,000-1,500
Notes:
The inscription reads: Presented to the Boys of the Ginn House / By the Members of / The Dial Club of San Francisco / Aug. 10, 1925 / As a Perpetual Trophy for / The Highest Scholarship Record / Robert Pratt / May 1925
This lot is accompanied by a newspaper article with a photograph of Dixon awarding the trophy to a student, presumably the abovementioned Robert Pratt.
Grace Carpenter Hudson (1865-1937)
Grace Carpenter Hudson was a pioneering American people of Northern California. Raised in Potter promise and studied at the California School work. In 1890, she married Dr. John W. Hudson,
Though primarily focused on California subjects, brief travels. Her artistic process was methodical: copies, a rare practice at the time.
In 1911, she and her husband built the Sun House their deaths, the house and her body of work Californian art and culture.
American artist best known for her sensitive, detailed portraits of the Pomo Potter Valley, California, by photographer parents, she showed early artistic of Design in San Francisco. By age 16, she had won awards for her portrait Hudson, an ethnologist who encouraged her to document Pomo life.
subjects, she also painted Native Hawaiians, Japanese, and Pawnee people during methodical: she photographed and cataloged each work to prevent unauthorized House in Ukiah, which served as both her studio and their residence. After were preserved as the Grace Hudson Museum, a major repository of Native
Searles R. Boynton D.D.S., “The Painter Lady: Grace Carpenter Hudson” (Ukiah: Sun House Guild Corporation, 1978), p. 175, fig. 453
Notes:
Dr. Boynton’s 1978 catalogue lists this painting’s title as “Angel’s Child with Dog” and location as “unknown.” Presumably relying on an old photograph of the yet-unlocated painting, the author states that Angel’s child is accompanied by a dog. She is actually holding a Pomo doll, traditionally made from a cedar board with tule reed clothing and shell eyes.
Select lots within this section offered from The Estate of Robert Day
91
Albert Lorey Groll (1866-1952)
“The Enchanted Mesa, New Mexico” Oil on canvas laid to canvas
Signed lower left: A.L. Groll; signed again and titled in ink on a label affixed to the stretcher 40” H x 51” W
$4,000-6,000
Provenance: Mrs. James F. Ballard
The Saint Louis Art Museum, Saint Louis, MO, gift from the above, 1922 Sold: Christie’s, Los Angeles, CA, “California, Western and American Paintings, Drawings and Sculpture,” April 25, 2007, Lot 20
From the Collection of Robert A. Day
Exhibited:
Anglo-American Exposition, London, 1914, presumably, based on a fragment of an old label affixed to the frame’s stretcher.
92
James Swinnerton (1875-1974)
“Monument Valley” Oil on canvas
Signed lower right: Swinnerton; titled on a gallery label affixed to the stretcher 30” H x 40” W
$4,000-6,000
Provenance:
Biltmore Galleries, Rancho Santa Fe, CA
Sold: Butterfields, Los Angeles, and San Francisco, June 17, 1999, Lot 1122 From the Collection of Robert A. Day
93
Carl Oscar Borg (1879-1947)
Signed lower left: Carl Oscar Borg; titled on a label affixed to the frame’s backing board 16” H x 20” W
$4,000-6,000
Provenance:
Sold: Butterfield & Butterfield, Los Angeles and San Francisco, CA, June 15, 1994, Lot 4494
15.5” H x 14.25” W x 5.5” D; Overall: 16.75” H x 14.5” W x 5.5” D
$2,000-3,000
Literature:
Frank Getlein, “Harry Jackson” (New York: Kennedy Galleries, 1969), pg. 86, another example illustrated John Walker, et al., “Harry Jackson: Forty Years of His Work, 1941-81” (Cody, WY: WFS Publication, 1981), pg. 77, another example illustrated
Larry Pointer and Donald Goddard, “Harry Jackson” (New York: Harry N. Abrams, Inc., 1981), pg. 172, another example illustrated
Patricia Smith, “Harry Jackson: 30 Years of Working in Versilia, Camaiore, Italy” (Italy: Commune di Camaiore, 1985), pg. 33, another example illustrated
Notes:
“Lone Hand” and “The Plainsman” (1960) were conceived as studies for a larger sculpture envisioned by Jackson but never executed.
95
A Brydon Bros. silver-mounted parade saddle
Early 20th century
Embossed to seat: Brydon Bros. / Makers / Los Angeles / CA; the gullet inscribed ‘’Los Prietos Ranch’’
The saddle of tooled brown leather with silver-mounted swell and horn, conchos and studs along rear housing skirt and fender, with high back and sheepskin padding, seat size 16, together with a wood saddle stand bearing the D Arrow brand
Seat: 16”; Swell width: 13.5”; Gullet width: 6”; Stand: 31” H x 18” W x 30” D
$2,500-3,500
Provenance:
Sold: John Moran Auctioneers, CA,The Collection of Ernest A. Bryant III, November 12, 2013, Lot 374 From the Collection of Robert A. Day
96
An Hermés Brasilia leather saddle and accessories
Mid/late 2000s, France
Stamped to underside: E. Hermés / 45 491 [serial number] / Made in France; stamped to leather straps: Hermés / Paris; stamped to stirrups: Hermés; pad with label: Hermés / Paris
The saddle custom-made of natural tanned full grain leather, with branded grommets, rounded and padded flap, rounded cantle, branded stirrups and contoured orange quilted fabric pad, 16” seat, girth belt (125cm), four fixed martingale bridle leather straps, and two original Hermés dust bags and a saddle cover, together with a wood saddle stand bearing the D Arrow brand
Seat: 16”; Gullet width: 3.5”; Flaps: 13.5” H; Stand: 31” H x 18” W x 30” D
$2,000-3,000
Provenance:
The Estate of Tammis Day, Sula, MT
Sold: John Moran Auctioneers, CA, Estate of Tammis Day, October 3, 2017, Lot 1153
From the Collection of Robert A. Day
97
A wood and copper saddle stand
Late 20th century
The barrel form stand with a hammered copper inset to the front featuring scrolled motifs and a copper medallion with a ring, with a monogram to wood below 41.22” H x 21.75” W x 30” D
$300-500
Provenance: From the Collection of Robert A. Day
Edward
(1872-1945)
Borein
Born in 1872 in San Leandro, California, Edward work of the cowboy came naturally to Borein, who the ranch, Borein began to sketch. Aged 18 and on ranches throughout the state, all the while capturing
After returning to northern California for a month-long encouraged by classmates Maynord Dixon and James school and left to find work at the Rancho Jesus the harsh conditions and grueling labor of Rancho Old West. Borein set out for Mexico, learned Spanish,
Making his way north and back to the United States, Southwest where he feverishly documented the life and illustrations to be published. By 1902, he was Francisco Call.” In 1907, in order to enhance his enrolled at the Art Students’ League, where he studied in watercolor, ink and graphite, while periodically watercolor were his main focus.
In New York, Borein brought the West to Manhattan, and entertaining Western luminaries such as Buffalo Seltzer and Carl Oscar Borg. Around this time Borein found meaning and purpose in the West.
Longing for the Western life he left behind, Borein began producing etchings and paintings of the colorful Santa Barbara would be home to Borein for the rest Parade and holding court with notable artists and Santa Barbara in 1945, hailed as one of the most
Borein grew up in the final decades of the Old West into a family of ranchers. The who by age twelve was driving cattle. While working with the cattle and horses on bored of school, Borein left to travel up and down California, working as a cowboy capturing the life of the ranchers in drawings.
month-long stint at the Art School of the San Francisco Art Association, Borein was James Swinnerton to pursue art as a career. Borein did not last long in formal art Maria, and there began to send sketches out to magazine publishers. After leaving Rancho Jesus Maria, Borein’s life became the epitome of the greatest legends of the Spanish, and journeyed from ranchero to ranchero through central Mexico.
States, Borein spent time among Native American peoples of the American life of the people and communities he visited, continuously sending off drawings was a successful illustrator in San Francisco for publications including the “San illustration skills, Borein went to New York to learn etching techniques and studied under Child Hassam. While early in his career, Borein worked primarily periodically also in oil, but once he perfected his etching technique, this medium and Manhattan, adorning his studio with artifacts and trappings from California and Mexico Buffalo Bill Cody, Will Rogers, and Western artists including Maynard Dixon, Olaf Borein also befriended then-president Theodore Roosevelt, another figure who
Borein returned to California in 1921. He set up his own studio in Santa Barbara, and colorful characters he lived and worked with. Already a thriving artistic center, rest of his life. He immersed himself in the city, helping to establish the Fiesta and creatives like Leo Carrillo, Walt Disney, and friend Will Rogers. Borein died in most authentic artists of the American West.
98
Edward Borein (1872-1945)
Stagecoach
Watercolor on sturdy paper
Signed lower right: Edward Borein Sheet: 7.625” H x 10.125” W
$10,000-15,000
Provenance: The artist
Private collection, likely acquired from the above By family descent
Sold: Bonhams, San Francisco, CA, November 23, 2015, Lot 100 From the Collection of Robert A. Day
99
Edward Borein (1872-1945)
“Roping” (Cowboy on horseback chasing a steer)
Watercolor on thick paper
Signed lower right: Edward Borein; titled from an artist’s label affixed to the frame’s backing board Sheet: 7” H x 9.75” W
$8,000-12,000
Provenance:
John S. Perkins, Ojai, CA (according to an inscription on the label affixed to the frame’s backboard)
Sold: Bonhams, Los Angeles, CA, “California and American Paintings and Sculpture,” August 7, 2007, Lot 37
From the Collection of Robert A. Day
Notes:
This work likely dates to 1921 or later. The address on the original artist label affixed to the verso of the frame is that of the permanent studio Borein established back in his native California, at 17 De La Guerra in Santa Barbara.
100
Edward Borein (1872-1945)
Bucking bronco
Watercolor with traces of graphite on board
Signed lower left: Edward Borein
6” H x 6.25” W
$4,000-6,000
Provenance: The Estate of Ernest A. Bryant III
Sold: John Moran Auctioneers, Pasadena, CA, “The Estate of Ernest A. Bryant III,” November 12, 2013, Lot 302
From the Collection of Robert A. Day
101
Edward Borein (1872-1945)
“Little Bucking Horse”
Etching and drypoint on thin cream wove paper
From the edition of unknown size
Signed in the plate lower right: Edward Borein
Sheet: 5” H x 3.875” W
$600-800
Provenance:
Sold: John Moran Auctioneers, Pasadena, CA, “Property from the Estate of Ernest A. Bryant III,” November 12, 2013, Lot 307
From the Collection of Robert A. Day
Literature: Galvin 64
102
Henry Ziegler (1889-1969)
Two Works:
“Riding Pretty”
Etching and drypoint on paper
From the edition of unknown size
Signed and inscribed in pencil in the lower titled again, presumably in another hand, on
Plate: 6.875” H x 5.875” W; Sight: 8” H x 7.875”
“The Comet”
Etching and drypoint on paper
From the edition of unknown size
Signed in pencil in the lower margin: Henry
Plate: 4.875” H x 6.875” W; Sight: 5.5” H x
$200-400
margin: Henry Ziegler imp.; inscribed and on paper tape affixed to the backing paper
7.875” W
Ziegler
7.5” W
103
Edward Borein (1872-1945)
“An Old Time Christmas - Mission Santa Barbara” Etching and drypoint on wove paper
From the edition of unknown size
Signed and titled in pencil in the lower margin: Edward Borein Plate: 9.625” H x 7.625” W; Sheet: 12.25” H x 8.875” W
$1,200-1,800
Provenance:
The Estate of Ernest A. Bryant III
Sold: John Moran Auctioneers, “The Estate of Ernest A. Bryant III,” November 12, 2013, Lot 396
From the Collection of Robert A. Day
Literature: Galvin 251
104
A mounted rattlesnake skin 20th/21st century
The skin dried and stretched, mounted to a wood plank with brass tacking Panel: 93” H x 10” W x 1” D
$100-200
Provenance: From the Collection of Robert A. Day
105
Bill Goldman (20th Century)
“#{*?!!” (Hunter accidentally shot his cow), 1983
Painted carved wood and mixed media
Etched signature, date, and title: Bill Goldman / ‘83
9.5” H x 22.5” W x 6” D
$150-250
Provenance:
From the Collection of Robert A. Day
106
Clyde Scott (1884-1959)
“Rugged Hills” Oil on board
Signed lower left: Clyde Scott; titled 36” H x 48” W
$1,000-1,500
Provenance: William A. Karges Fine
From the Collection of
Art, West Hollywood,
Robert A. Day
107
Gene Speck (b. 1937)
“Twilight,” 2008 Oil on Masonite
Signed and dated lower left: Gene Speck 08; titled on a piece of white tape affixed verso 11” H x 14” W
$1,000-1,500
108
Gene Speck (b. 1937)
“The Woodlands,” 2008 Oil on Masonite
Signed and dated lower left: Gene Speck 08; titled by repute 20” H x 16” W
$1,500-2,000
109
Gary Carter (b. 1939)
“Iron Backside (Custer),” 1971 Oil on Masonite
Signed and with the artist’s device lower right: Gary Carter, inscribed “1876” as part of the composition; signed again, titled, dated, and with the artist’s copyright, all verso: 1971 24” H x 36” W
$5,000-7,000
110
Nicholas Samuel Firfires (1917-1990)
“Three of a Kind” Oil on canvas
Signed lower left: Nicholas S. Firfires CA; titled on the frame plaque 24” H x 36” W
$3,000-5,000
Tom Dorr (b. 1950)
“Texas Cattle Drive” Oil on canvas
Signed lower right: Tom Dorr; titled on a gallery card affixed to the frame’s verso 12” H x 16” W
$800-1,200
Provenance: El Presidio Gallery, Tucson, AZ Estate, Grand Terrace, CA
112
Cecil Broadhurst (1903-1981)
“Arivaca, Arizona” Oil on board
Signed and titled lower right: Cecil Broadhurst 16” H x 20” W
$400-600
Provenance: Veerhoff Galleries, Washington, D.C.
113
(b. 1936)
“The Steamboat,” 1972 Oil on canvas
Signed lower left: Bodily; titled, and dated in pencil “72” on the stretcher bar 16” H x 20” W
$800-1,200
Provenance: Private collection, Reno, NV
Sheryl Bodily
114
Robert B. Wagoner (1928-2017)
Cowboy and horses at rest in a Western landscape, 1977
Signed and dated, with artist’s corn cipher to underside: Hisi Nampeyo / 8-95
The four-color jar with flared neck and wide shoulder, decorated with red, brown, and white stylized avian motifs on a cream slip ground 4.25” H x 4.125” Dia.
A polychrome pottery jar, late 20th/early 21st century
Incised signature and artist’s corn cipher to underside: Loren H. Nampeyo
With deeply incised and polychrome kivas, Tawa sun face, and katsina figure, all on a white slip ground
6.5” H x 6” Dia.
$200-400
Provenance:
Private collection, Judsonia, Arkansas
127
Tonita Nampeyo (1934-2020, Hopi-Tewa)
A polychrome yellowware pottery jar, mid-20th century
Signed to underside with artist’s corn cipher: Tonita Nampeyo
The three-color jar with red and brown moth motif to shoulder above banded geometric motifs, on a cream slip ground
5.5” H x 6.625” Dia.
$300-500
Provenance:
Private collection, Judsonia, Arkansas
129
Rex Brandt (1914-2000)
“Bright Morning at La Posada” (New Mexico), 1978
Watercolor on paper
Signed, titled, and dated in pencil lower left: Rex Brandt N.A. / 9-15-78
Sight: 13.5” H x 15.5” W
$800-1,200
Provenance: Private collection, Studio City, CA
130 Kit Shing (b. 1959)
View of a shore through an adobe window Oil on canvas
Signed lower right: Kit Shing; signed again in pencil, verso 24” H x 20” W
$400-600
Provenance: Private collection, Reno, NV
131 Sergei Bongart (1918-1985)
“Afternoon Light” Oil on Masonite
Signed lower left: Sergei Bongart; titled on a label affixed to the frame’s verso; inscribed “29” in marker of the frame’s verso 24” H x 30” W
$600-800
Provenance: The Estate of Sergei Bongart
132
Gabor Svagrik (b. 1970)
Signed lower right: Svagrik 20” H x 30” W
$700-1,000
Provenance: Private collection, Reno, NV
“Cattle Pasture” Oil on canvas
133
Gabor Svagrik (b. 1970)
Three riders forging the river Oil on canvas
Appears unsigned
21.75” H x 31.5” W
$700-1,000
Provenance: Private collection, Reno, NV
134
Emil Bisttram (1895-1976)
“White Head, Maine,” 1925 Oil on canvas
Signed and dated lower right: Bisttram 25; signed again and titled in pencil on the upper portion of the stretcher; inscribed, titled, and dated again, all in another hand on a label affixed to the stretcher 18” H x 24” W
$2,000-3,000
135
Emil Bisttram (1895-1976)
“Maine Coast Series #15,” 1927
Watercolor on paper
Signed lower right: E.S. Bisttram 27; signed again, titled, and inscribed “Taos, NM,” all in pencil on the frame’s backing paper; inscribed and titled again, in another hand, on a label affixed to the frame’s backing paper
Sight: 13.5” H x 19.5” W
$800-1,200
136
Marjorie Reed (1915-1996)
Stagecoach arriving at a Trading Post Oil on canvas
Signed lower left: Marjorie Reed 20” H x 24” W
$1,000-2,000
137
Marjorie Reed (1915-1996)
“Sunday: Keams Canyon Trading Post,” 1973 Oil on canvasboard
Signed lower left: Marjorie Reed; signed again and titled in ink on a label affixed verso; dated and inscribed in ink verso: “Sketch For Trading Post Series - / Arizona - 1973 -” 10” H x 14” W
$1,000-1,500
138
Marjorie Reed (1915-1996)
“Bambi and the Lamb of God” Oil on canvasboard
Signed lower right: Marjorie Reed; signed again and titled in ink on a label affixed verso
4.5” H x 7” W
$300-500
Dan Mitchell Allison (b. 1953)
Western scene with bull-man on a rearing horse
Offset lithograph in colors on wove paper
An artist’s proof aside from the edition of unknown size
Signed and dated in pencil in the lower right corner: Dan Allison ‘82; inscribed “AP” in pencil in the lower left corner
Image/Sheet: 23” H x 17.5” W
$300-500
Provenance:
Private collection of an Orange County Gallerist
140
David Charles Wade (1952-2019)
“In the Trees” Oil on Masonite
Signed lower center: Wade; titled by repute 30” H x 40” W
$3,000-5,000
Provenance: Private collection, Reno, NV
141
David Charles Wade (1952-2019)
“Mule Deer” Oil on Masonite
Signed lower center: Wade; titled by repute
28.25” H x 22” W
$2,000-3,000
Provenance: Private collection, Reno, NV
142
Fred J. Boyce
(1923-2023)
“Desert Bighorn Trio,” 1981
Acrylic on Masonite
Signed, dated, and with the artist’s device lower right: F.J. Boyce / 81; titled on a label affixed to the frame’s backing paper 24” H x 27” W
Signed and dated lower left: F.J. Boyce / 90; titled on a label affixed to the frame’s backing paper
Sight: 10.25” H x 14” W
“Autumn Meadow” Watercolor on paper
Signed lower right: F.J. Boyce; titled on a label affixed to the frame’s backing paper
Sight: 14.125” H x 20.125” W
“Spring Creek,” 1959 Watercolor on paper
Signed and dated lower left: F.J. Boyce / 59; titled on a label affixed to the frame’s backing paper
Sight: 13.5” H x 18” W
$500-700
Provenance: The artist By descent to Private collection, Reno, NV
152
Gabor Svagrik (b. 1970)
Winchester Rifles advertisement, after Philip R. Goodwin Oil on canvas
Signed and inscribed lower right: Svagrik / “After Philip R. Goodwin”
30” H x 17” W
$500-700
Provenance: Private collection, Reno, NV
Notes:
This painting is a contemporary reinterpretation of Philip R. Goodwin’s (1881-1935) original 1912 illustration, created as an advertisement poster for Winchester Rifles.
A Folk Art carved wood wolf trophy/plaque
Late 20th/21st century
Unsigned
A large sculpted wolf head effigy of carved wood sections covered with embossed textured foil, with polychrome painted features, metal teeth, and resin eyes; the head mounted to a painted wood plaque 26.75” H x 11.75” W x 29” D
$300-500
154
A Southwest-style mosaic side table
Early 21st century
The tile mosaic depicting a gila monster in a desert landscape with saguaro cacti, set in a wood frame and raised on four enameled metal legs
17” H x 21.5” W x 15.75” D
$200-300
Duard Marshall (1914-2010)
“Through the Valley,” 1945
Lithograph on paper
From the edition of 10
Signed, titled, dated, and inscribed in pencil in the lower margin: Duard Marshall 1945 / “10 prints”
Image: 13.5” H x 17” W; Sight: 14.25” H x 17.5” W
$500-700
156
Frank Hoffman (1888-1958)
“The Long Ride Home” Ink wash on paper laid to paperboard
Signed lower right: Hoffman; titled by repute
20” H x 14.25” W
$1,500-2,500
Provenance:
Sold: Scottsdale Art Auction, Scottsdale, AZ, “Important Western, Wildlife and Sporting Art Auction,” April 7, 2018, Lot 2 Private collection, Reno, NV
157
20th Century Western School
Sketch of two saddled horses
Graphite on paper
Unsigned
Sight: 7.5” H x 9.5” W
$400-600
158
20th Century Western School
Moonrise over Hernandez, NM, 1970
Graphite and mixed media on paper
Indistinctly signed and dated in pencil lower right: C Janda 70
Sight: 7.75” H x 8.625” W
$200-400
Notes:
This 1970 drawing appears to reference the famous photograph, “Moonrise, Hernandez, New Mexico,” taken by Ansel Adams late in the afternoon on November 1st of 1941.
Cornelis Botke (1887-1954)
“Canyon Ranch”
Etching and drypoint on paper
From the edition of unknown size
Signed and titled in pencil in the lower margin: Cornelis Botke Plate: 9.875” H x 11.875” W; Sight: 9.25” H x 12.25” W
$500-700
160
Frederic Remington (1861-1909)
“Indian Scout,” from “A Bunch of Buckskins,” 1901
Chromolithograph on paper
From the edition of unknown size
Signed and dated in the stone lower right: Frederic Remington / 1901; with the publisher’s printed copyright in the lower margin, at left; Robert Howard Russell, pub.
Sheet: 20” H x 15” W
$100-200
161
A polychrome Yokuts lidded basket
Late 19th/early 20th century; Central California
A finely coiled tapered bottle neck lidded basket with alternating vertical conjoined diamond “rattlesnake” banding 5” H x 7.5” Dia.
$800-1,200
A large polychrome Yokuts basketry bowl
Early 20th century; Central California
A coiled tapered gap-stitch basket with striped banding and stepped geometric banding to top 5.625” H x 12.75” Dia.
$400-600
163
A polychrome Yokuts basketry bowl
Early/mid-20th century, Central California
The small coiled bowl with two bands of “rattlesnake” geometric diamond motifs, and one band to base 3” H x 6” Dia.
The coiled globular bowl with six panels of stacked geometric shapes alternating with single diamonds
4.5” H x 8” Dia.
$2,000-3,000
A polychrome Panamint pictorial basket
Mid-20th century, Timbisha Shoshone; Eastern Central California
The small coiled flared bowl with a band of alternating bat motifs, a star to the base, and rim ticking 3.125” H x 6.25” Dia.
$600-800
166
A Panamint basketry bowl
Mid-20th century, Timbisha Shoshone; Eastern Central California
The small flared coiled bowl with double zigzag contrast banding and rim ticking
3.25” H x 7.5” Dia.
$200-400
Notes:
This lot accompanied by a copy of a purchase receipt from The Indian Jewelry Center, Sacramento, CA, dated November 1982.
Two diminutive California baskets Mid-20th century
Comprising a coiled round low bowl with stepped geometric pointed motifs (1.75” H x 4.25” Dia.), and a coiled oval low basket with four pictorial/geometric motifs (0.875” H x 3.5” W x 2.75” D) 2 pieces
$500-700
Provenance: Private collection, Studio City, CA
168
A small Washoe basket
Early 20th century; Northern California/Nevada
The coiled low bowl with three stepped “V” geometric motifs
2.25” H x 4.5” Dia.
$200-400
A Mono/Paiute basket
Early/mid-20th century; Central California/Great Basin
The coiled low bowl with a central radiating spiral whorl motif
The wide twined conical tray with imbricated motifs including sawtooth banding and multiple serrated columns of stacked triangles
3.5” H x 16.5” Dia. approximately
$300-500
171
A large polychrome Hupa/Yurok/Karuk basket
Mid/late 20h century; Northern California
The tall twined mush bowl with diagonally stacked imbricated geometric motifs and banding to rim
5.75” H x 9” Dia. approximately
$400-600
Notes:
This lot accompanied by a copy of a retail receipt from “Indian Territory,” Laguna Beach, CA, dated January 1984.
172
A group of polychrome Northwest baskets
Early/mid-20th century; Northern California & Northwest Coast
Three twined bowls comprising a small Hupa/Yurok/Karuk basketry bowl with four stacked triangle floating motifs (3” H x 4.5” Dia.), a similar style diminutive bowl with diagonal imbricated banding (2.5” H x 3.5” Dia.), and a miniature Northwest Coast style cylindrical basket with ticked banding (1.75” H x 2.5” Dia.)
3 pieces
$400-600
Three polychrome Northern California/Oregon twined baskets
Three works comprising a small Hupa/Yurok/Karuk basket with three bands of ticking (3.5” H x 5.25” Dia.), a small similar bowl with rows of stacked triangles and ticking to top edge (2.75” H x 4” Dia.), and a small Hat Creek Atsugewi bowl with three stepped hooked motifs (2.625” H x 3.5” Dia.)
3 pieces
$500-800
174
A group of Vera Ryerson Yurok basketry items
Vera Cooper Ryerson (d.1996, Yurok)
Circa 1980s
Four works comprising three polychrome twined tapered tobacco baskets, two with lids, and each with rawhide laces, as well as a twined basketry rattle with rawhide lacing trim
6 pieces (including lids)
Largest: 5” H x 3.5” Dia.; Smallest: 3.75” H x 2.5” Dia.; Rattle: 8.5” H x 2” Dia.
$200-300
Notes:
Tobacco bags with tags indicating Vera Ryerson, Yurok as maker, May & October, 1987.
A group of Northern California winnowing tray baskets and beaters
Mid/late 20th century
Four twined basketry items comprising two large openwork winnowing trays, one with a matching twined seed beater, and one polychrome tray with an additional seed beater
4 pieces
Largest tray: 21” H x 16” W x 6.5” D; Smallest: 18.25” H x 15.5” W x 4.5” D; Beaters: 10.75” H x 8” W & 9.5” H x 8.5” W
$300-500
176
A Paiute basketry water vessel
Early/mid-20th century; Great Basin
The twined conical bottle neck jar sealed with pine resin pitch, with two integral handles to one side and a stopper, with custom stand 10.5” H (with stopper) x 6” Dia.; with stand: 11” H
$300-500
177
A group of Paiute baskets
Early/ mid-20th century; Great Basin
Three coiled works comprising an oval single rod lidded basket with geometric banding (4” H x 10” W x 5” D), a smaller round lidded basket, (5” H x 4.75” Dia.), and a round basketry bowl (2.875” H x 4.5” Dia.)
5 pieces
$100-200
178
A polychrome Thompson River basket
Mid-20th century, Salish; Northern Washington/Southern British Columbia
The coiled tall basket with decorative twisted rim and imbricated zigzag banding and small floating cross motifs
9” H x 12” Dia.
$300-500
Notes:
This lot accompanied by a purchase receipt from the Ojai Indian Shop, the Ojai Valley Inn, CA, dated February, 1992.
179
A polychrome Fraser/Thompson River basketry trunk
Early 20th century, Salish; Northern Washington/Southern British Columbia
The coiled woven lidded storage basket with overall imbricated ticking and geometric designs with wrapped rawhide handles and lacing ties
8.75” H x 17” W x 10.25” D
$400-600
Notes:
This lot accompanied by a purchase receipt from The Legacy, Ltd. Seattle, WA, dated September 1995.
180
Sylvia “Featherwoman” Naha (1951-1999, Hopi-Tewa)
A polychrome pottery jar, late 20th century
Signed to underside with artist’s feather cipher and: S
The three-color jar with red and brown lizard motifs alternating with hachured geometric motifs on a white slip ground
A Hopi/Tewa polychrome pottery jar, mid/late 20th century Signed with the artist’s frog cypher to underside
The stone-polished bulbous form jar with a fluted rim, with multiple multidirectional directional bands of geometric and stylized pictorial motifs such as feathers, in black and red 5” H x 6” Dia.
A Hopi/Tewa polychrome white slip pottery wedding vase, mid/late 20th century Signed with the artist’s frog cypher to underside
The stone-polished elongated vase featuring flared spouts joined by an arched handle, with curvilinear and geometric swirling bird motifs to each side of body 13.75” H x 6.75” Dia.
A polychrome pottery jar, early 21st century With artist’s kokopelli cipher to underside and signed: Koopee The four-color jar with red, ochre, and brown banded geometric motifs to shoulder on a yellow ground 4.125” H x 6.25” Dia.
Marcia “Ant Woman” Fritz Rickey (1918-1991, Hopi-Tewa)
A polychrome pottery low bowl, early 21st century
Marked to underside with flying ant cipher
The three-color bowl with red and brown banded geometric motifs on a white slip ground to interior and brown banded motifs to exterior on a red wash
3.625” H x 11.125” Dia.
$500-700
Provenance: Sold: Scottsdale Auctions & Appraisals, Scottsdale, AZ, “Native American, Photos, Ancient & Fine Art,” May 16, 2015, Lot 424
Private collection, Judsonia, Arkansas
186
Marcia “Ant Woman” Fritz Rickey (1918-1991, Hopi-Tewa)
A polychrome pottery low bowl, early 21st century
Inscribed to underside: Marcia Fritz / [ant cipher] / Class 5 / Premium No. 501 / Award / Exhibitor No 18
The three-color bowl with red and brown parrot motif over a white slip ground to interior and brown and white banded feather motifs to exterior over a red wash
2.625” H x 10.625” Dia.
$500-700
Provenance:
Private collection, New York
Sold: Santa Fe Art Auction, Santa Fe, NM, “American Indian & Tribal - Session 3,” August 15, 2021, Lot 473
Private collection, Judsonia, Arkansas
187
Stetson Setalla (b. 1962, Hopi-Tewa)
A polychrome pottery bowl, early 21st century
Signed with artist’s raincloud motif: S. Setalla
The three-color bowl with red and black raincloud motifs
With outstretched wings, applied feathers, and corn husk earrings, signed to underside: C.W.T. / !!
15.5” H x 20.25” W x 7” D
$300-500
195
Attributed to Clark Tenakhongva (b. 1957, Hopi-Third Mesa-Hoat’Ve’La) A Patun Squash katsina
Polychrome painted cottonwood and squash gourd In green and yellow stripes, with squash flower to top and striped neck band, unsigned 18” H x 4.5” W x 5.5” D
With miniature shell and leather cord lacing, large feather headdress and bear paw claw motifs, signed to underside: Tay Polequaptewa / [artist’s cipher]
14” H x 8” W x 4.5” D
$300-500
Notes: With retail tag from the Heard Museum Shop, Phoenix, AZ, denoting artist and title.
199
A large polychrome Pima basket
Early/mid-20th century, Akimel O’odham; Southwest United States
The coiled tapered shouldered bowl with multiple diagonal columns of stacked stepped triangles
8.75” H x 14” Dia.
$300-500
Two Apache Walpi baskets
Early/mid-20th century; Southwest United States
Comprising two diagonally twined basketry bowls, one with a stacked coiled rim edge and brown imbricated banding (5.25” H x 7.5” Dia. approximately), and the other smaller with a coiled rim edge and faint banding (4” H x 7.5” Dia. approximately) 2 pieces
$100-200
201
Two Southwest baskets
Mid-20th century, Tohono O’odham & Akimel O’odham; Southwest United States
Comprising a Papago coiled flared pictorial basket with two bands of horse motifs (5” H x 7.5” Dia.), as well as a small coiled Pima basket with overall stepped motif banding (2.75” H x 4.25” Dia.)
2 pieces
$200-400
202
Two Southwest Early 20th century, Comprising a tall Pima/Akimel motifs, possibly feathers, O’odham coiled flared 2 pieces
$100-200
baskets century, Akimel O’odham & Tohono O’odham; Southwest United States Pima/Akimel O’odham high-sided coiled basket with two bands of interlocking triangular feathers, and a band of ticking below the rim (6.75” H x 11” Dia.), and a Papago/Tohono flared bowl with rim ticking and a wide band of interlocking diamonds (5.5” H x 11.5” Dia.)
203
Two Southwest baskets
Early/mid-20th century; Southwest United States
Comprising a coiled Pima / Akimel O’odham large tray with a continuous stepped hook motif to sides and dark spot to center (4” H x 14.5” Dia.) as well as a small coiled Apache flared bowl with central concentric star motifs and dark rim (2.5” H x 9” Dia.)
2 pieces
$300-500
Notes:
The Pima basket with a copy of a retail receipt and a Certificate of Authenticity issued by the Old Territorial Shop, Scottsdale, AZ, each dated October 1998.
The Apache basket with a copy of a retail receipt issued by The Old Territorial Shop, Scottsdale, AZ, dated May 1998.
Two Southwest baskets
Two works:
Attributed to Helen Lomahaftewa (1888-1956, Hopi)
Early/mid-20th century
A small polychrome Hopi coiled pictorial basketry plaque with central Shalako Mana katsina figure 1.5” H x 5.5” Dia.
A small Pima basketry bowl
Mid-20th century, Akimel O’odham; Southwest United States
A coiled low bowl with light and dark striped double star motifs to center 1.75” H x 7” Dia.
2 pieces
$100-200
Notes:
Hopi plaque with attached exhibition tag denoting Helen Lomahaftewa as maker, unknown date.
205
A group of Hopi Pueblo basketry trays
Mid-20th century; Southwestern United States
Three coiled baskets comprising a shallow tray with two handles and hooked motifs (1.25” H x 11.5” Dia.), a polychrome plaque with directional stepped geometric motifs (1” H x 11.5” Dia.), and a polychrome low bowl with central stepped floral sunburst motif (2.75” H x 10” Dia.)
3 pieces
$100-200
Two Papago baskets
Early/mid-20th century, Tohono O’odham; Southwest United States
Comprising a large polychrome coiled tray with floral star motif to center (3.25” H x 14” Dia.), and a flared small coiled tray with central floral star and contrast rim (3.25” H x 10.25” Dia.)
2 pieces
$200-300
207
A group of Native American baskets Early 20th century
Three twined baskets comprising a polychrome Klamath basket with zigzag banding (3.625” H x 6.5” Dia.), a polychrome Pit River berry basket with striped banding (4” H x 7” Dia.), and a Northwest Coast basket with stepped key motif and two handles to rim (4.25” H with handles x 7” Dia.) 3 pieces
$400-600
Provenance: Private collection, Studio City, CA
208
A group of Native American baskets
Early/mid-20th century
Four works comprising a small California Mission coiled basketry bowl with stepped geometric motifs (3” H x 6.25” Dia.), a small goblet-form openwork twined basket (6.25” H x 6.25” Dia.), and two small polychrome Northwest Coast twined lidded baskets with geometric banding, one oval (2.5” H x 5.25” W x 4” D) and one round (1.874” H x 3.5” Dia.)
6 pieces (including lids)
$300-500
209
Three Southwest baskets
Early/mid-20th century
Comprising three coiled baskets including a tapered Pima/Akimel O’odham basketry bowl with meandering cross motif (3.75” H x 6.25” Dia.), a small Apache oval boatshaped basket (2.25” H x 7.25” W x 4” D), and a small oval Papago lidded basket with stepped banding (1.5” H x 3.875” W x 2” D)
4 pieces
$100-200
210
A group of Native American pine needle baskets
Late 20th/21st century; Louisiana & Southwest United States
Seven coiled basketry items including two Coushatta lidded baskets, one by Madeline Celestine (3” H x 4” Dia.) and one by Diana Schuff (2.25” H x 3” Dia.), together with two Tohono O’odham Papago baskets including a coiled tray (5.75” Dia.) and a larger lidded basket (5” H x 5.5” Dia.) as well as two additional lidded baskets (3” H & 2.5” H x 3.5” Dia.) and a low bowl (2.75” H x 6.25” Dia.)
7 pieces
$100-200
Notes:
Four items with attached tags designating attribution and maker.
211
A polychrome Wounaan butterfly basketry tray
Late 20th/21st century; Darien Rain Forest, Panama, Central America
A small coiled flat tray with scattered butterfly motifs and geometric motifs to rim
0.5” H x 10.5” Dia.
$100-200
A late 19th century Victorian leather bound photo album
The album bound in dark green tooled leather with gilt metal clasps, with gilt page edges containing portrait photographs and lithographs, together with an assortment of loose photos, all in plastic sheet protectors; front end paper inscribed in pencil: “This was Hiram Cranston’s own portrait album of personal friends”
12.5” H x 10.125” W x 2.375” D
$2,000-3,000
213
David F. Berry (1854-1934)
Nine portrait photographs of Native Americans mounted to thin paperboard; all except one work with the title in ink in the upper or lower edge of the paperboard, presumably in another hand; seven works with the title again and an inscription in ink on the verso, presumably in another hand; 9 pieces
Photograph of largest: 5” H x 4” W; Paperboard: 6.5” H x 4.25” W
$700-900
Notes:
Photographs include portraits of “Chief Joseph” Nez Perce (Na Persay)”; “Curley” (General Custer’s scout and only survivor of that horrible massacre); “Black Bear and Moon Eye”; “War Eagle” Gros Ventures (Gros Von); “Crow Flies High” (Most cruel heartless man in his tribe – Each feather denotes a scalp); “Two Crows” Sioux, (Scout for Maj. Crozier, betrayed the command and had the whole party gobbled); Sitting Bull’s Son (This man refused to have his picture taken unless his revolver was ready for instant use); “Crazy Horse”; “Black Owl”, [illegible] and “Sitting Woman”.
214
A Civil War era tintype
A tintype depicting a soldier with his rifle and bayonet, with a chased gold-toned metal preserver within a red velvet-lined tooled leather case
Sight: 3.5” H x 2.5” W
$400-600
215
A Civil War era tintype
A tintype depicting a seated husband and wife, with a chased gold-toned metal preserver within a light orange velvet-lined tooled leather case
Sight: 2.5” H x 2” W
$300-500
216
A Civil War era tintype
A tintype depicting a soldier in full uniform with his rifle, with a chased goldtoned metal preserver within a tooled leather case
Sight: 3.5” H x 2.625” W
$300-500
217
A Civil War era tintype
A tintype depicting a family portrait, with a chased gold-toned metal preserver within a burnt orange velvet-lined tooled leather case
Sight: 2.5” H x 2” W
$300-500
218
A Civil War era tintype
A tintype featuring a portrait of a bearded man, with a chased gold-toned metal preserver within a magenta velvetlined thermoplastic case
3” H x 2.5” W
$200-300
219
A Civil War era tintype
A tintype depicting a cavalry soldier posing with his sword, with a chased gold-toned metal preserver within a magenta velvet-lined thermoplastic case
Sight: 2.5” H x 2” W
$250-350
220
A Civil War era tintype
A tintype depicting a family portrait, with a chased gold-toned metal preserver within a magenta-lined thermoplastic case Sight: 2.75” H x 2.25” W
$300-500
221
A Civil War era tintype
A tintype featuring a portrait of a soldier posed beside a column, with a chased gold-toned metal preserver within a red velvet-lined tooled leather case Sight: 3.5” H x 2.625” W
$250-350
Two Civil War era tintypes
One depicting a soldier in uniform, and the other of a distinguished young chap, both with a thin chased gold-toned metal preserver, the soldier within a burnt orange velvetlined thermoplastic case, the young chap within a similar case, but lined with Magenta velvet
Sight of each: 2” H x 1.5” W
$300-500
223
Two Civil War era tintypes
One tintype depicting a Union soldier, with a thin chased gold-toned metal preserver within a tooled leather case, and the other tintype of a man in a suit, with a thin chased gold-toned metal preserver, within a maroon velvet-lined thermoplastic case
Sight of smallest: 2.625” H x 2.25” W; Sight of largest: 3.5” H x 2.5” W
$300-500
224
A Civil War era tintype
A tintype depicting a soldier holding his revolver, with a chased gold-toned metal preserver with a burnt orange velvet-lined tooled leather case
Sight: 2.5” H x 2” W
$300-500
225
A Civil War era tintype
A tintype depicting a seated soldier with his cap under his arm, with a chased gold-toned metal preserver within a tooled leather case
Sight: 3.5” H x 2.5” W
$200-300
226
A Civil War era tintype
A tintype depicting a seated couple, with a chased gold-toned metal preserver within a red velvet-lined tooled leather case Sight: 2.5” H x 2” W
$300-500
227
A Civil War era tintype
A tintype depicting a Union soldier posed with his rifle, housed in a chased gold-toned metal preserver within a burnt orange velvet-lined tooled leather case Sight: 2.5” H x 2.125” W
$300-500
228
Two Civil War era early photographs
An ambrotype depicting a portrait of a soldier in uniform, with a thin chased gold-toned metal preserver within a red velvet-lined tooled leather case, and the other a tintype depicting a full-length, uniformed soldier with a thicker chased gold-toned metal preserver within a tooled leather case
Sight of smallest: 3” H x 2.5” W; Sight of largest: 3.5” H x 2.625” W
$300-500
229
Two Civil War era early photographs
One daguerreotype and one tintype, both depicting a seated soldier, and with a thin chased gold-toned metal preserver, the daguerreotype within a Magenta velvet-lined thermoplastic case, the tintype within a similar case lined with dark orange velvet
Sight of each: 2” H x 1.5” W
$300-500
Two Civil War era early photographs framed together
Two framed early photographs depicting a husband and wife before the Civil War; the wife shown in a daguerreotype and the husband in a tintype; both set in a chased goldtoned metal preservers within a single thermoplastic case
Sight of each: 2.5” H x 2” W
$400-600
231
Two Civil War era early photographs
Two tintypes depicting a Union soldier, one with a chased gold-toned metal preserver within a green velvet-lined tooled leather case, the other in a similar case lined with orange velvet
Sight of each: 2.5” H x 2” W
$400-600
233
A Civil War era daguerreotype
A daguerreotype depicting a soldier, with a chased goldtoned metal preserver within a light orange velvet-lined tooled leather case
Sight: 2.5” H x 2.125” W
$500-700
232
A Civil War era daguerreotype
A daguerreotype depicting a uniformed soldier standing, with a chased gold-toned metal preserver within a red velvet-lined tooled leather case
Sight: 2” H x 1.5” W
$250-350
234
Two Civil War era daguerreotypes
Two daguerreotypes depicting Union soldiers, one with a chased goldtoned metal preserver within a red velvet-lined tooled leather case, the other with a chased gold-toned metal preserver within a blue velvet case Sight of each: 2” H x 1.5” W
$300-500
235
A 19th century tintype of a seated man
A tintype depicting a seated man with a curtain to his left, with a chased gold-toned metal preserver within a magenta velvet-lined tooled leather case
Sight: 3” H x 2.5” W
$200-300
236
A 19th century tintype of a sailor
A tintype featuring a portrait of a sailor in front of a faux boat background, with a chased gold-toned metal preserver within a burnt orange velvetlined thermoplastic case
Sight: 2” H x 1.625” W
$200-300
237
Two Civil War era early photographs
A daguerreotype depicting a seated soldier, with a chased gold-toned metal preserver within a light red velvet-lined tooled leather case, and the other a tintype depicting a seated Union soldier with a chased gold-toned metal preserver within a magenta velvet-lined thermoplastic case
Sight of each: 2” H x 1.5” W
$400-600
Two 20th century Western photographs
Two works:
Western portrait of William S. Hart
Photograph on paper
Signed and inscribed in ink lower right: “To Bill Richardson / From Bill Hart” Sight: 13” H x 10” W
Western portrait of Tom Mix holding his rope
Photograph on paper
Unsigned Sight: 9.5” H x 7.5” W
$100-200
239
After Edward S. Curtis (1868-1952)
“Shores of Walker Lake,” plate 534 from “The North American Indian,” 1924
Photogravure in brown on paper
From the Suffolk Engraving Co., Cambridge, MA edition printed after the 1924 original photograph copyrighted by Curtis; with the title, plate number, copyright, publisher, and artist name all printed in the blank outside the image Image: 15.25” H x 11.5” W; Sight: 16.5” H x 12.75” W
$300-500
240
After Edward S. Curtis (1868-1952)
“Zuni Street Scene,” plate 605 from “The North American Indian,” 1925
Photogravure in brown on paper
From the Suffolk Engraving Co., Cambridge, MA edition printed after the 1925 original photograph copyrighted by Curtis; with the title, plate number, copyright, publisher, and artist name all printed in the blank outside the image
Image: 15.5” H x 11.5” W; Sight: 16.75” H x 12.5” W
$300-500
241
A Hopi yellowware pottery bowl
Early 20th century
Unsigned
The three-color bowl with Polik Mana or Butterfly Maiden katsina motif to the interior and bands of geometric and stepped motifs to shoulder 2.5” H x 10.25” Dia.
$800-1,200
Dee Johnson Setalla (b. 1963, Hopi-Tewa)
A polychrome pottery jar, early 21st century
Initialed and with the artist’s bear paw cipher to underside: D S / Hopi
The three-color low jar decorated in orange and brown with four large corn and feather motifs on a cream slip ground
The slip-glazed large round owl with multiple small owls to chest, wings and tail
7.5” H x 7” W x 7.5” D approximately
$200-400
249
Stephanie “Snowflake Flower” C. Rhoades (1931-2018, Cochiti Pueblo)
A Cochiti Pueblo storyteller “Grandma Owl,” 1989
Slip-glazed ceramic
With multiple owls in black and grey, signed and titled to underside: Snowflake Flower, 1989 7.25” H x 4” W x 4.625” D
$200-300
Notes:
Stephanie is one of the only storyteller makers who earned a college degree, which was from the University of New Mexico, and received her BS in Education in 1985. She incorporates prayer feathers in this piece, which she only did between 1983 and 1999, as a prayer for her daughter, who went into a coma while giving birth.
Stephanie “Snowflake Flower” C. Rhoades (1931-2018, Cochiti Pueblo)
Two Cochiti Pueblo Coyote storytellers “Coyote and the Winter Shawl,” circa 1990s
Polychrome slip-glazed ceramic
Each with fringed shawl motifs and multiple attached figures, each titled, and signed “Snowflake Flower” to underside, one dated 1990
Larger: 7.75” H x 6.25” W x 6.5” D; Smaller: 7.75” H x 4.5” W x 4.5” D
$300-500
Notes: Stephanie Rhodes (Estephanita Cordero) is one of the only storyteller makers who earned a college degree, which was from the University of New Mexico, and received her BS in Education in 1985. She incorporates a prayer feather in both of these pieces, which she only did between 1983 and 1999, as a prayer for her daughter, who went into a coma while giving birth. https://www.penfieldgallery.com/artistsstoryteller/snowflake-flower-storyteller-maker1-2.html https://www.adobegallery.com/art/-coyote-and-the-winter-shawl-storyteller-with-4-children https://www.eyesofthepot.com/cochiti/snowflake-flower.php
251
Martha Arquero (b. 1944, Cochiti Pueblo)
Two Cochiti Pueblo polychrome slip-glazed pottery animal storytellers, late 20th century
Each signed to underside: Martha Arquero
Comprising a black and white Owl storyteller with two small owls, as well as a black and white crouched Frog storyteller with multiple frogs, and a fly in his mouth 2 works
Owl: 6” H x 4.75” W x 3” D; Frog: 3.5” H x 6” W x 4” D approximately
$200-400
Notes:
Martha Arquero uses all-natural pigmented clay to hand coil her sculptures, gathering the clay from the hills nearby her home. Martha makes a variety of pottery, from traditional storytellers and nativity scenes to playful characters and comic book heroes. Martha is the Museum of Indian Arts & Culture 2024 Legacy Award Recipient. https://shopmuseum.org/collections/martha-arquero
Robin Teller (b. 1954, Isleta Pueblo)
Two polychrome slip-glazed pottery storyteller figures, late 20th/21st century
Each signed to underside: Robin Teller / Isleta Pueblo / New Mexico
Comprising a large elaborate storyteller with long braided hair and a blanket, holding a pottery bowl, and with multiple groupings of figures, animals and other elements including a bald eagle, as well as a smaller storyteller figure with a blanket holding a basket of corn and acorns, with multiple figures including squirrels 2 pieces
Larger: 8.25” H x 8.5” W x 8.5” D; Smaller: 5.75” H x 4.5” W x 5.5” D approximately
Comprising “Hakto” (Zuni Stick Boy) katsina with black and white striped neck, Muhmá Kwosi (Water Spider Sound) katsina with tableta mask and feathers, and a Buffalo katsina with horned mask, feathers and red hair
3 pieces
Largest: 11.5” H x 4” W x 2.5”D; Smallest: 11” H x 4.5” W x 3” D
$700-900
Notes:
Two figures each with retail tag from the Heard Museum Shop, Phoenix, AZ, denoting artist and title.
With pointed toothed snout, turquoise paint accents, badger claw motifs, and feathers to mask, unsigned
10.5” H x 6” W x 3.5” D
$200-300
Notes:
With attached retail tag from the Heard Museum Shop, Phoenix, AZ, denoting artist and title.
255
A Hopi Salako Mana katsina
Late 20th/21st century; Hopi Pueblo
Signed to base: KM X [unknown artist]
In polychromed cottonwood with green mask, thread earrings, and three-point stepped tableta with elaborate feathers
16” H x 10” W x 3” D
$200-300
A group of five Southwest katsina figures
Late 20th century Five works:
Ron Largo (b. 20th century, Navajo/Diné)
A Zuni Longhair katsina
Signed and titled to base: Ron Largo / Zuni
Polychrome painted wood, leather, and plastic, with feathers and corn husk clubs
14” H x 5.25” W x 6” D
Lisa Charley (b. 20th century, Navajo/Diné)
A Clown katsina dancer
Signed, titled, and numbered to base: Lisa Charley / Navajo / 429653
With a watermelon balancing on his foot, in painted polychrome and black and white wood, with leather and feather accents
11.5” H x 6” W x 5.5” D
A K. Begay Thunder Dance katsina
Signed and titled to base: K. Begay
With a second figure to shoulders, all in polychrome wood, with feathers, fur, and leather accents
12” H x 6” W x 5” D approximately
A Burlin Lansing Wolf katsina
Signed and titled to base: Burlin Lansing
Carved and painted polychrome wood, 9” H x 3.75”W x 3.5” D
A Doug Hawthorne Feather Dancer figure
Signed to base: Doug Hawthorne
An elaborate Native American Pow Wow breastplate and leather accents, and fur 12” H x 7.5” W x 6” D
5 pieces
$300-500
Lansing wood, with cross motif blanket, and jacla jewelry
Wow style dancer with feather regalia, bead fur leggings
Three Hopi/Zuni polychrome katsina figures
Late 20th century
One etched to underside of base: Earl Arthur / Hopi / Eagle
The painted carved cottonwood figures, comprising one Hopi eagle katsina by Early Arthur (20th century), a Zuni warrior katsina with articulated arms and painted canvas skirt, depicted with a rattle and whip, and another Zuni warrior katsina with fabric and feather adornments, depicted with a bow and set in a custom metal stand
3 pieces
Tallest with stand: 16” H x 8” W x 8” D; Shortest: 9.25” H x 4.25” W x 3.375” D
$500-700
Two Hopi Pueblo katsinas
Two works:
Ryon Polequaptewa (b. 20th century, Hopi-Tewa, Sun Clan)
A Sohu “Chasing Star-Meteor” katsina, 2009
Signed and dated to underside
In polychromed cottonwood with painted stars to mask, attached feathers, corn husk earrings, and bead bracelet, with arms outstretched 17.5” H x 12” W x 3” D
Mario Ugalde (b. 20th century, Hopi-Tewa)
A Longhorn katsina, late 21st century
Unsigned
In polychromed cottonwood with one horn, red ear, and attached horsehair and feathers 12” H x 8” W x 4.5” D
2 pieces
$300-500
Notes:
Each figure with retail tag from the Heard Museum Shop, Phoenix, AZ, denoting artist and title.
Two Hopi Pueblo katsinas
Two works:
Clark Tenakhongva (b. 1956, Hopi-Third Mesa)
A Road Runner katsina, late 20th/21st century
Signed to underside: C.W.T. / !!
In polychromed cottonwood with attached feathers and fur to top of mask 12” H x 3.5” W x 3.5” D [including feathers]
Raynard “Tawma” Lalo (b. 1984, Hopi-Third Mesa)
A Bear katsina, early 21st century
Signed to underside with artist’s Spider web cipher In polychromed cottonwood with attached feathers to mask 12” H x 4” W x 3” D [including feathers]
2 pieces
$200-400
A group of large Southwest katsina figures
Late 20th century
Three works:
Evelynnita Willie (b. 20th century)
A “Zuni Rain Priest” dancer figure with bow and arrow
Signed and titled to underside: Evelynnita Willie
In polychrome painted wood, with feather, fur, shell, and leather accents
22” H x 12.25” W x 11” D
Jacida Loley (b. 20th century, Navajo/Diné)
A “Medicine Man” dancer with feather fans
Signed, titled, and numbered to underside: Jacida L / 637934
In polychrome painted wood with feather, fur, and leather accents
18.5” H x 11.5” W x 8” D
F. Willie (b. 20th century, Navajo/Diné)
A “Hoop Dancer” katsina-style figure with elaborate feathers
Signed, titled, and numbered to underside: F. Willie / 401932 / [cipher]
In polychrome painted wood with feather, turquoise, fur, horsehair, and leather accents
18.5” H x 17” W x 13” D
3 pieces
$300-500
261
Robert Rivera (20th century)
Hopi water bearers, 2001
Cold-painted bronze on marble plinth
Overall: 16” H x 11.5” W x 9” D
$300-500
Wayne Snow Bird Shields
(b. 20th century, Santa Clara Pueblo)
Standing Figure, 2005
Sculpted clay, feathers, gemstones
Incised to base: Snow Bird / Santa Clara / 9-4-05
An abstract figural robed sculpture with contrasting smooth, matte and incised textures, with attached feathers with turquoise and coral bead accents
10.125” H x 4.375” W x 1.75” D
$200-400
263
John Burroughs (1913-1979) Two works:
“Indian Brave” Oil on canvas
Signed lower right: Burroughs; titled on the stretcher bar 12” H x 9” W
“Old Prospector” Oil on canvas
Signed lower right: Burroughs; titled on the stretcher bar 12” H x 9.25” W
$500-700
Notes:
This lot is accompanied by documentation materials relating to the artist.
264
A. Kelly Pruitt (1924 - 2009)
Two works: Riders on horseback
Each: Oil on canvas
Each: Signed lower right: A Kelly Pruitt
Smallest: 12” H x 9” W; Largest: 14” H x 11” W
$500-700
A. Kelly Pruitt (1924 - 2009)
Two works: San Francisco de Asis Mission Church, Taos
Each: Oil on Masonite
Each: Signed lower right: A. Kelly Pruitt
Each: 9” H x 12” W
$500-700
A painted gourd centerpiece 2003
Signed and dated to underside: D. PcPeak / ‘03
The carved gourd with incised and painted horse figures to body and black painted interior
13.25” H x 15” Dia., irregular
$200-400
268
Randall “Randy” Chitto (b.1962, Choctaw)
A Turtle Koshare storyteller, late 20th/21st century
Incised with artist’s cipher to underside
The black and white figure in painted engobe ceramic with hide and grass accents, including a hide pouch and ceramic canteen
12” H x 6.5” W x 9.5” D
$800-1,200
Notes:
Randy Chitto, born in 1962 in Philadelphia, Mississippi, is a ceramic artist based in New Mexico and Mississippi, most known for his turtle storyteller figures. As a Choctaw Indian sculptor, Chitto’s work is deeply rooted in his heritage. He began his artistic journey in the 1980s while studying at the Institute of American Indian Arts. The turtle is one of the three sacred animals in Choctaw culture, alongside the bear and raccoon, which influences his creative focus.
This figure carries a small medicine pouch. This pouch is inspired by a Choctaw tradition in which warriors placed dirt inside to help guide their spirits home if they died in battle. Chitto enriches this concept by typically including a tiny ceramic shard from a previous sculpture within each pouch.
267
Louis Naranjo (1932-1997, Cochiti Pueblo)
A polychrome slip-glazed pottery Bear storyteller figure, mid/late 20th century
Signed to underside: Louis Naranjo / Cochiti, N.M.
The black slip bear with multiple bear cubs to lap and shoulders 6” H x 6” W x 5” D
$800-1,200
269
Helen Cordero (1915-1994, Cochiti Pueblo)
A polychrome slip-glazed pottery storyteller, mid/late 20th century
Signed to underside: Helen Cordero / Cochiti, N Mex.
With multiple figures perched on shoulders, legs, and back 10.5” H x 8.25” W x 9.5” D
$1,000-2,000
270
Louis Naranjo (1932-1997, Cochiti Pueblo)
A polychrome slip-glazed pottery storyteller, mid/late 20th century Signed to underside: Louis Naranjo / Cochiti, N. M. The seated figure holding bowl of corn and bread, with child wrapped to her back
8.75” H x 7.75” W x 8” D
$800-1,200
271
Louis Naranjo (1932-1997, Cochiti Pueblo)
A polychrome slip-glazed pottery “Deer Hunter” storyteller figure, mid/late 20th century
Signed to underside: Louis Naranjo / Cochiti, N.M.
With applied figures of children and a deer, and with wood bow and arrows in a clay quiver
8.75” H x 8” W x 8.5” D approximately
$800-1,200
272
A small Zia Pueblo pottery dish
Mid-20th century
Unsigned, with faint pencil marks to underside: Zia / [illegible]
The three-color dish with roadrunner figure to interior and scalloped accents to rim interior
1” H x 5.125” Dia.
$500-700
Vincentita Pino (1917-2009, Zia Pueblo)
A polychrome pottery jar, late 20th century
Signed and inscribed faintly to side: Vincentita Pino / Zia Pueblo
The three-color low jar with red and brown avian and kiva motifs to shoulder on a white slip ground, above a terra cotta wash
A large Zia Pueblo polychrome olla, late 20th century
Signed in slip to lower side: Sofia Medina / Zia
The large rounded jar with scattered bird medallion motifs within stepped triangles and stylized feather motifs, fine line rim edging, and a red base 9.625” H x 11.5” Dia.
The three-color jar with brown and orange geometric motifs on a white slip ground
4.625” H x 4” Dia.
$300-500
Grace Chino (1929-1994, Acoma Pueblo)
A black on white pottery wedding vase, circa 1984
Signed to underside: Grace Chino / Acoma N. Mex
The vase with a rounded body, featuring flared spouts joined by a twist arched handle, with an overall pattern of interlocking lozenge motifs forming four-part circles and stylized floriform motifs
A polychrome pottery pitcher, mid/late 20th century
Signed to underside: Anita Lowden / Acoma / New Mexico / 1-22
The tall handled pitcher with polychrome stylized bird and geometric motifs and black band to rim 6.5” H x 5” Dia.
$300-500
Provenance:
Private collection, Judsonia, Arkansas
282
Emmalita “Charlie” Chino (b. 1931, Acoma Pueblo)
An Acoma Pueblo polychrome pottery olla, circa 1984
Signed to base: Emma Chino / Acoma / N. Mex. The rounded jar with black on white and red zigzag and stylized triangular motifs, with a red base 8” H x 9” Dia.
Two Ramona Sakiestewa for Pendelton Limited Edition wool blankets
Ramona Sakiestewa (b. 1948, Hopi)
Late 20th century
Each numbered: 247/1000; each with attached large fabric tag denoting edition, designer and design significance; with Beaver State Pendleton cloth tag; with attached original bi-fold paper tag with original plastic fastener; also with attached title infor mation tag
Comprising two Limited Edition “Southwest Trails” double-sided multicolored wool/cotton blankets, one entitled “Iron Horse Trail” 1994, a pictorial design in reds, greens, brown, white, blue, and black, and one entitled “Chihuahua Trail” 1992, with Saltillo-style sawtooth diamonds in reds, purples, blues and greens, each with Certificate of Authenticity and original box 2 pieces
Each: 80-78” H x 64” W approximately
$400-600
Two Ramona Sakiestewa for Pendelton Limited Edition wool blankets
Ramona Sakiestewa (b. 1948, Hopi) Late 20th century
Each numbered: 247/1000; each with attached large fabric tag denoting edition, designer and design significance; with Beaver State Pendleton cloth tag; with attached original bi-fold paper tag with original plastic fastener; also with attached title information tag
Comprising two Limited Edition “Southwest Trails” double-sided multicolored wool/ cotton blankets, one entitled “Chaco Trail” 1992, in black, greys and reds, and one entitled “Navajo Trail” 1994, in black, red, purple, yellow, and green, each with Certificate of Authenticity and original box
2 pieces
Each: 80” H x 64” W approximately
$400-600
Two Ramona Sakiestewa for Pendelton Limited Edition wool blankets
Ramona Sakiestewa (b. 1948, Hopi)
Late 20th century
Each numbered: 247/1000; each with attached large fabric tag denoting edition, designer and design significance; with Beaver State Pendleton cloth tag; and one with attached original bi-fold paper tag with original plastic fastener, and attached title information tag
Comprising two Limited Edition “Southwest Trails” double-sided multicolored wool/cotton blankets, one entitled “Hopi Trail” 1993, in tan, brown, grey, and green with a central Hopi pottery bird feather directional motif, and one entitled “ Santa Fe Trail” 1991 in tan, brown, red, blue, and orange with striped and sawtooth diamond banding, each with Certificate of Authenticity and original box
2 pieces
Each: 80” H x 64” W approximately
$400-600
287
A Native American beaded hide tobacco bag
Mid/late 20th century
The hide bag with drawstring opening, featuring polychrome beadwork depicting an elaborate X form centering stepped motifs above strands of bead fringe
Without fringe: 9” H x 6.5” W
$400-600
288
A Plains beaded hide bag
Late 19th/early 20th century; Northern/Central Plains
The rectangular bag with polychrome beadwork on a blue ground with multiple stacked geometric motifs, flap top closure, and with quilled hide lacings with metal cone tips, horsehair dangles, and a beaded border trim verso 11.75” H x 10” W
$500-700
289
A Plateau beaded bag
Early/mid-20th century; Northwest United States/Canada
The single-faced multicolored rectangular bag with the front featuring geometric diamond and arrow motifs worked in beads of blue, green, yellow, and red on a dusty pink field, with a single hide lacing strap, and with velvet edge binding, a velvet back, and pink cotton plaid lining
12” H x 10.75” W
$300-500
Provenance: Private collection, Studio City, CA
290
A pair of Plateau beaded gauntlet gloves Mid-20th century; Northwest United States/Canada
The pair of beaded hide gloves with multicolored beaded floral and botanical motifs to fringed gauntlet tops, the gauntlets lined with printed cotton calico 2 pieces
Each: 17.5” L from tip to opening x 8.75-8.5” W at wrist approximately
$500-700
Provenance: Private collection, Studio City, CA
291
A pair of Plateau beaded hide gauntlet gloves
Mid-20th century; Northwest United States/Canada
The pair of beaded hide gloves with a beaded monogram “S P” pierced heart motif to top of hand and fringed gauntlet tops with star and crescent moon motifs, the gauntlets lined with printed cotton calico
2 pieces
Each: 14” L from tip to opening x 7” W at wrist approximately
$200-400
292
A pair of Ojibwe/Chippewa beaded velvet leggings
Late 19th/early 20th century, Anishinaabe; Great Lakes/Northern Plains
A pair of tapered hand-sewn black velveteen beaded leggings with traditional multicolored twining floriform beadwork to sides and to cuffs, each outer edge with attached band of black silk ribbon fringing, and with blue wool binding to edges and seams; each legging lined with cream dotted cotton, and secured with cotton twill tape ties 28” - 27.5” H x 21.5” - 21” W (open top edge)
$500-700
293
Two Plateau double-faced beaded bags
Mid-20th century; Northwest United States/Canada
Comprising a two-sided multicolored rectangular gusseted bag, one side with a sectioned star motif in beads of blue, pink, red, and yellow on a white field, the opposite side with pointed geometric motifs in red, orange, and green on a white field, each side with beaded edging and with two hide handles, as well as a smaller rounded multicolored two-sided beaded bag pouch with stacked triangle columns and floating crosses to one side, and floriform and heart motifs to the opposite face; each bag lined in printed cotton fabric, the smallest with a zip closure
2 pieces
Larger: 10.5” H x 9.25” W; Smaller: 8” H x 7.5” W
$500-700
Provenance: Private collection, Studio City, CA
A group of Native American beaded items
Three works:
A Plains beaded hide drawstring pouch bag
Late 19th/early 20th century; Northern Plains
With multicolored beadwork buffalo and floriform motifs to each side, with fringed edges
15.25” H x 5.25” W
A Haudenosaunee Iroquois beaded Glengarry cap
Late 19th/early 20th century; Northeastern United States/Canada
With multicolored floral beadwork motifs on dark brown/black velvet with multicolored passementerie trim, red ribbon trim, and later fabric lining
4” H x 5.5” W x 10” D
A Northern Plains/Winnebago gourd “peyote” rattle
Mid-20th century; Northern Plains/Nebraska
With polychrome beaded handle, twisted cord fringe, and horsehair tufted topper 21.5” H x 3” Dia.
3 pieces
$700-900
Notes:
The beaded pouch with purchase receipt from The Indian Tree, Chicago, IL, dated January 1980. The beaded hat accompanied by a purchase receipt from Old Allen Township Hall Shops, Allen MI, dated April 1991. The rattle accompanied by a retail tag indicating tribe, location and collector, dated May 1970, as well as a copy of a purchase receipt dated June 1970.
296
295
A large Andrew Pearce turned wood centerpiece bowl
Early 21st century
With artist’s burned shop mark to underside
The burlwood footed bowl with smoothed live edge rim
7.375” H x 23.5” W x 18.5” D
$200-300
Provenance: Estate, Grand Terrace, CA
A large Andrew Pearce turned wood bowl
Early 21st century
With artist’s burned shop mark to underside
The burlwood footed bowl with live edge rim
10.25” H x 17.25” W x 16.25” D
$250-350
Provenance: Estate, Grand Terrace, CA
Notes:
This lot is accompanied by a bottle of Andrew Pearce branded “refined walnut wood oil.”
297
Three Bill Haskell turned wood vases
Early 21st century
Three signed and variously marked to identify the type of wood used: Bill Haskell; one etched: S. McClain / Maple Burl / 2011
Comprising an “Olive” wood footed vase, a “Buckeye” wood low vase with openwork to shoulder, and a “Carob” wood vase with openwork to body, together with a small burlwood vase 4 pieces
Tallest: 8.375” H x 5.5” Dia.; Shortest: 4.5” H x 3.875” Dia.
$300-500
Provenance: Estate, Grand Terrace, CA
298
A group of Andrew Pearce turned wood items
Early 21st century
Each with artist’s burned shop mark; trees with burned signature: Andrew Pearce
Comprising two burlwood bowls and three tree-form figures
5 pieces
Taller bowl: 6” H x 11.5” Dia.; Shorter bowl: 4.5” H x 15.25” Dia.; Largest tree: 8.25” H x 3.75” Dia.
$300-500
Provenance: Estate, Grand Terrace, CA
Notes:
This lot is accompanied by a bottle of Andrew Pearce branded “refined walnut wood oil.”
299
Four Andrew Pearce turned wood bowls
Early 21st century
Each with a variation of artist’s burned shop mark Each burlwood bowl with live edge elements to rim
4 pieces
Largest: 4.375” H x 12.5” Dia.; Smallest: 2.5” H x 6” W x 5.125” D
$300-500
Provenance: Estate, Grand Terrace, CA
Notes:
This lot is accompanied by a bottle of Andrew Pearce branded “refined walnut wood oil.”
300
Attributed to Kent (Patch) Peterson (1939-2019)
A large Northwest Coast-style carved wood totem sculpture, late 20th century
Polychromed carved wood
With various figures including a raven, a beaver and a central seated figure holding a Northwest Coast flared “copper shield” motif, all in carved wood with polychrome painted highlights, carved and hewn from one piece of wood with attached wings to sides, the grain likely highlighted with slight burn treatment 79” H x 21” W x 23” D approximately
$800-1,200
Provenance: Private collection, Arcadia, CA, acquired 1970s
Notes:
This lot accompanied by handwritten notes by the artist with details of installation, on personalized notepaper.
301
William Dennis, Sr. (b. 1923, Nuu-chah-nulth /Nootka, Ohiaht Band)
“Talking Stick,” mid/late 20th century
Carved wood, likely cedar
A carved narrow “speaker’s staff,” with multiple animal and figural totem figures, including eagles, killer whale, and raven, with original tag denoting artist and title, signed in ink to handle verso: Wm. Dennis, Sr. 47.75” H x 1.625” W x 1.625” D
$200-300
Notes:
William Dennis Sr. has totems in both the University of Washington and the Smithsonian National Museum of the American Indian.
302
David Nahanee (1937-2022, Squamish/Coast Salish)
A carved Totem talking stick, late 20th/21st century Wood, likely cedar
A carved wood “speaker’s staff” with multiple animal and figural totem figures, including Thunderbird, Bear, Killer Whale, Serpent, and Frog, with incised signature and attributes verso: D. Nahanee
35.5” H x 2.75” W x 2.125” D
$300-500
An Anasazi/Ancestral Pueblo pottery ladle
Pre-1500 CE
With black on white geometric and Tularosa-style motifs to bowl and to handle
7” H x 3.25” W x 1.75” D
$300-500
Notes:
This lot accompanied by a copy of a purchase receipt from The Indian Tree, Chicago, IL, dated January 1980.
304
An Acoma Pueblo Mimbres-style pottery vase
Mid/late 20th century; New Mexico
Signed to underside: E.C. / Acoma, NM
The tall long-necked jar with ruffled “pie crust” rim and black-on-white pictorial motifs including birds, turtle, fish and other fine-line geometric motifs 11” H x 9.5” Dia. approximately
$600-900
305
Joseph Lonewolf (1932-2014, Santa Clara Pueblo)
A diminutive polychrome seed jar, late 20th/21st century
Signed to underside: Joseph Lonewolf / Z13 OR CM
The miniature pictorial jar with sgraffito motifs including bees, butterflies, and caterpillars, with a pinprick hole to base 1.125” H x 1.25” Dia.
Robert Tenorio (b. 1950, Kewa/Santo Domingo Pueblo)
A polychrome pottery jar, late 20th/early 21st century
Incised to underside: [stars] Robert Tenorio / Santo Domingo Pueblo / NM The three-color jar with orange and black banded feather and cloud motifs on a white slip ground
5.5” H x 8.375” Dia.
$300-500
Provenance:
Private collection, Judsonia, Arkansas
308
A Richard S. Begay Navajo sterling silver and turquoise squash blossom necklace
Richard S. Begay (b. 1943, Diné)
Late 20th/21st century
Stamped: RB / Sterling
With a large seven-stone naja and ten graduated set turquoise blossoms on a double silver bead strand
27.5” L x 2.625” H
125.8 grams gross
$800-1,200
309
A Southwest sterling silver and turquoise squash blossom
necklace
Late 20th century
Unmarked
With a central stone-set cast silver naja and twenty “fleur de lis” style blossoms, all suspended from a double strand of silver beads 29” L x 2.75” H 221.6 grams gross
$800-1,200
310
A Southwest silver and turquoise squash blossom necklace
Late 20th century
Unmarked
With a sterling silver two-wire stone-set naja and ten tear-drop blossoms on a double strand of silver beads
22” L x 3” H
190.1 grams gross
$600-900
311
An Ernest Roy Begay Navajo silver and turquoise squash blossom necklace
Ernest Roy Begay (b. 1956, Diné)
Late 20th/21st century
Stamped: ERB / Sterling
A chunky sterling silver necklace with a large cluster-set turquoise pendant and eight graduated set turquoise “blossoms” all suspended from a single strand of large silver beads
21.75” L x 4” H
253.1 grams gross
$600-800
A set of Norman & Virginia Hooee Zuni turquoise petit point jewelry
Norman and Virginia Hooee (b. 20th century, Zuni)
Mid/late 20th century
Necklace stamped: NVH / Zuni NM
Comprising a diminutive sterling silver squash blossom necklace with a petit point and cluster-set turquoise naja and twelve blossoms on a double strand of small silver beads, together with a matching ring as well as a pair of earrings
4 pieces
Necklace: 23” L x 1.75” H; ring: size 6.5; earrings: 1” H
55.5 grams gross
$700-900
313
A Southwest silver and turquoise squash blossom necklace
Late 20th century
Unmarked
With a small teardrop cluster-set turquoise and sterling silver naja and twelve clustered blossoms, all set on double strands of pyramidal silver beads
25.5 “ L x 2” H 99.6 grams gross
$500-700
A Southwest silver and inlay hummingbird “squash blossom” necklace
Late 20th century
Unmarked
With an elaborate sterling silver hummingbird “naja” and eight hummingbird “blossoms” in stone and shell inlay including turquoise, coral, mother of pearl, white shell, and jet, all set to a double strand of silver beads
27.5” L x 3.25” H
149.9 grams gross
$600-900
315
A Southwest-style squash blossom necklace
Mid/late 20th century
Unmarked
Featuring a large silver-toned metal two-wire naja with five chunky set turquoise-colored stone plaques and one dangle, each with silver-tone metal feather motif overlay and with ten matching chunky stone set “blossoms”, all suspended from two strands of silver-toned beads
24” L x 3.25” H
255.5 grams gross
$400-600
316
A set of Mexican sterling silver and amethyst jewelry
Comprising a sterling silver collar necklace with scrolled links set with carved amethyst mask motif teardrop and oval accents, with a pair of matching earrings
3 pieces
Necklace: 17” L x 1.75” H; Earrings: 1.75” H
131.8 grams gross
$400-600
A group of Southwest Zuni-style sterling silver and turquoise jewelry
Late 20th century
Three works:
A set of Henry Morris Navajo cluster-set turquoise jewelry
Henry Morris (b. 20th century, Diné)
Each stamped: HTM [conjoined] / Sterling
Comprising a cluster-set turquoise squash blossom-style link necklace with a central medallion and ten “blossoms” joined by paperclip silver links, with a matching cluster-set ring, 2 pieces
Necklace: 29” L x 2” Dia.; Ring: size 8
A pair of Zuni-style cluster-set turquoise earrings
Each stamped: VJP / Sterling
Each with a central medallion suspending a half plaque dangle, 2 pieces
Each: 2” H
4 pieces total 107.2 grams gross
$500-700
A Willie Yazzie Navajo storyteller silver concho belt
Willie A. Yazzie, Jr. (b. 20th century, Diné)
Late 20th/21st century
Stamped with medicine man’s dipper picto mark verso [shared with father Willie Yazzie, Sr, d. 1999]
A long link belt with sixteen Hopi-style round sterling silver overlay/shadowbox “conchos”, each depicting various Southwest figural motifs and landscapes, including deer, turtles, roadrunners, a butterfly, Rainbow Guardian, katsina dancers, and bearpaw motifs 41” L x 2” Dia.
182.1 grams gross
$300-500
319
Two Southwest-style sterling silver concho link belts
Late 20th century
Unmarked
Comprising two silver link belts, each with stamped oval concho links featuring small set turquoise cabochons, and hook clasp closure
2 pieces
Larger: 36” L x 0.875” H; Smaller: 35” L x 1” H
165.0 grams gross
$600-900
320
A Southwest sandcast sterling silver cuff bracelet
Early/mid-20th century
Unmarked
An openwork cast silver cuff with concho-style hooked floral motif
6.375” total inner C x 1.875” H, with a 1.125” gap
65.1 grams
$400-600
321
Two Southwest sterling silver cuff bracelets
Mid/late 20th century
Each unmarked
Comprising a heavy three-wire silver cuff bracelet with stamped banding and edge accents, as well as a narrow three-wire silver cuff with a single row of graduated set turquoise cabochons with silver ball spacers
2 pieces
Larger: 7.25” total inner C x 0.875” H, with a 1.25” gap; Smaller: 7.25” total inner C x 0.375” H, with a 1” gap
78.7 grams gross
$300-500
Two Southwest silver and stone set cuff bracelets
Late 20th/21st century
Two works:
A Wilbert Benally Navajo sterling silver and stone set cuff (b. 20th century, Diné)
Marked: WB / Sterling
A narrow cuff with row-set coral and turquoise and elaborate stampwork to edges
6.625” total inner C x 0.625” H, with a 1” gap
A Zuni-style Gan dancer stone inlay cuff
Unmarked
A two-wire sterling silver cuff with central figural plaque with turquoise, shell and coral inlay, flanked by two set turquoise oval cabochons
7” total inner C x 1.75” H, with a 1.75” gap
62.1 grams gross
2 pieces
$300-500
A group of Southwest-style sterling silver and mixed metal bracelets
Late 19th to mid-20th century
Each unmarked
Comprising tapered silver cuff with silver overlay and shadowbox-set central turquoise cabochon, a silver band cuff with large oblong set turquoise and silver feather overlay, and a three wire cuff with set coral and turquoise with silver overlay and ball accents, as well as a tapered copper cuff with central repoussé mask and circular motifs
4 pieces
Largest: 7” total inner C x 1.5” Dia., with a 1.25” gap; Smallest: 6” total inner C x 2.5” H, with a 1.5” gap; copper: 8”
total inner C x 1.75” H, with a 1.375” gap
199.2 grams gross
$700-900
324
A Southwest carved turquoise bear fetish necklace
Late 20th century
Comprising a single strand necklace with carved turquoise bears and a central standing bear, with turquoise and shell heishi and a silver cone clasp
30.5” L x 1.875” H
63.7 grams gross
$200-400
Two Southwest Zuni-style carved stone fetish necklaces
Late 20th century
Featuring two single strand necklaces of stacked carved animal fetish figures, including heartline bears, wolves, foxes, turtles, eagles, armadillos, fish, and katsinas, one with a large central carved jet standing bear and stacked animals in various stones such as turquoise, mother of pearl, spiny oyster, and pipestone, with fine shell heishi (32” L) and one with carved bone fetish figures with a central Sunface dancer figure and a traditional wrapped neck cord (30” L)
2 pieces
239.3 grams gross
$300-500
326
Two Southwest Zuni-style carved stone fetish necklaces
Late 20th century
Featuring two single strand necklaces of stacked carved stone animal fetish figures, including heartline bears, wolves, foxes, and squirrels, in turquoise and various multicolored stones, including one with graduated stacked animals and a central carved turquoise standing bear, with fine shell heishi (33.5” L), and one with a large central carved jet standing bear and a traditional wrapped neck cord (32” L)
2 pieces
238.5 grams gross
$300-500
A group of Southwest Zuni-style carved animal fetish necklaces
Late 20th century
Three works featuring a triple strand necklace (25.5” L) and a single strand necklace (29” L), each with carved stone animal fetish figures, including bears, wolves, foxes, turtles, birds, fish, and bison, and in various stones such as turquoise, mother of pearl, malachite, and amber, with fine heishi shell spacers and silver cone clasps, as well as a chunky necklace with stacked carved horn animal fetish figures including heartline bears and armadillos, with a central Zuni Tawa sunface dancer figure and a traditional wrapped neck cord (30” L)
3 pieces
165.6 grams gross
$300-500
A group of Southwest-style carved stone and shell necklaces
Late 20th century
Comprising three necklaces including a single strand with carved turquoise turtle fetish beads with heishi shell spacers (22” L), a single strand with small turquoise nuggets and white shell heishi (28” L), and a double strand with multistone and shell carved bird and turtle fetish beads with heishi shell spacers (26.5” L)
3 pieces
75.5 grams gross
$300-500
329
Three Southwest sterling silver and turquoise rings
Mid/late 20th century
Each unmarked
Comprising three chunky silver rings, each with textured bands and with set turquoise of various colors and sizes
3 pieces
Ring sizes: 11.5; 11.75; 8.5
94.9 grams gross
$200-400
329
Three Southwest sterling silver and turquoise rings
Mid/late 20th century
Each unmarked
Comprising three chunky silver rings, each with textured bands and with set turquoise of various colors and sizes
3 pieces
Ring sizes: 11.5; 11.75; 8.5
94.9 grams gross
$200-400
331
A Leo Feeney Southwest-style stone-set brooch
Late 20th/21st century
Stamped verso for maker and for sterling
The small sterling silver geometric brooch with set turquoise, coral, sugilite, and lapis lazuli
1.25” H x 2.25” W 14.1 grams gross
$150-250
332
A group of Southwest silver and stone-set jewelry
Mid/late 20th century
Eight variously marked for maker and/or for sterling
Comprising twenty-five rings in various sizes and styles, including row-set turquoise and multistone inlay, by various makers including Lloyd and Jennie Salvador (Zuni); Wilson Blackgoat (Navajo/Diné), and Zeno and Mary Edaakie (Zuni), as well as a narrow row-set turquoise and silver cuff bracelet and a pair of set turquoise ear clips
28 pieces
Ring sizes: 9.25 to 6; Cuff: 6.25” total inner C x 0.1875” H; Earrings: 0.625” H
135.2 grams gross
$500-700
333
A group of Southwest jewelry and dress accessories
Mid/late 20th century
Variously marked for maker and/or for sterling
Nine works comprising two sterling silver bolos, one with set turquoise, and one with set chrysoprase (each with etched marks: CCE); together with three sets of interchangeable watch band terminals in silver and set turquoise, coral and turquoise chip mosaic, and silver overlay (one with band, marked: JWC), as well as a pair of cuff links with set coral, and three further single cuff links with set turquoise
12 pieces
Bolos: 2” & 1.625” H; cords: 39 & 38” L; Terminals: 1.25” to 1” H x 1.5” W; Cuff links: 1.25” to 0.75” H
232.1 grams gross
$400-600
A group of Southwest silver and set-stone jewelry
Late 20th/21st century
Variously marked for maker and for sterling
Thirteen works in silver and multi-stone turquoise, coral, and shell inlay including a shell inlay owl ring with matching pendant/brooch, a Zuni Sunface pendant/pin by Esther Cellicion, a llama-motif pendant with a pair of matching earrings, as well as two additional brooch/pendants, an owl and a parrot, plus four Zuni thunderbird/woodpecker motif pendants, two with chains and one for a bolo, a pair of oval stone inlay earrings, and a Navajo-style stone set leaf ring
15 pieces
Largest pendant/pin: 1.75” H; Smallest: 0.75” H; Rings: sizes 7.5 & 6.5; Earrings: 1.75” H & 1.25” H 90.3 grams gross
$300-500
A group of Southwest silver and turquoise jewelry
Late 20th/21st century
Variously marked for maker and for sterling: AB / CFD 90 / Claudine [likely Pentakewa; etched] Zuni / Cliff Jamon
Seven works comprising two bracelets by Cliff Jamon (b. 1953, Zuni), including a delicate three-wire cuff with narrow set needlepoint turquoise, and a narrow flat wire bangle with spaced needlepoint turquoise, together with a Claudine [Pentakewa] Zuni delicate single wire and turquoise needlepoint set cuff, a Zuni-style needlepoint butterfly ring, a needlepoint cross pendant, as well as two pairs of earrings, one pair with nugget turquoise dangles and one pair with sterling silver storyteller figures
9 pieces
Cuffs: each 6.25” inner C; Bangle: 8.25” inner C; Ring size: 6.25; Pendant: 1.375” H; Earrings: 2” H & 1.5” H 45.3 grams gross
$500-700
336
A group of Southwest Pueblo carved stone and pottery animal figures
Mid/late 20th century; Santa Clara Pueblo and Zuni Pueblo
Three variously marked for maker
Comprising four Santa Clara Pueblo miniature blackware pottery animals, including a Dorothy Gutierrez howling coyote/wolf, a Candelaria Suazo abstract bear, as well as a blackware pottery owl and a skunk, together with seven Zuni-style carved stone and horn fetish animals and figures, including a Herbert Halate Zuni carved jet mountain lion/puma, a fluorite bear, a white stone mountain lion, a red stone rabbit, an amber ringtail, a grey stone frog, and a carved antler maiden with small child and feathers
11 pieces
Pottery: 3.25” H x 2” W to 2” H x 1.25” Dia. Fetishes: Largest: 1.25” H x 0.75” W x 4.125” D; Smallest: 0.5” H x 1.25” W x 1.375” D
$200-400
337
A collection of miniature Southwest-style pottery
Late 20th century
Five variously marked for maker
Comprising a Denny Guiterrez 1991 Santa Clara Pueblo blackware shouldered jar, A Lucero Santa Clara incised blackware jar, an Anita Lowden Acoma Pueblo black-on-white small face motif handled jar, a polished fire-clouded beige tapered lidded jar/deed pot with “howling wolf” lid/stopper, as well as two small green-glazed modernist-style miniature ashtrays, including one with notch marked Cohn, and one olive green unmarked, and a small lidded basket
7 pieces
Largest: 4.25” H [with lid] x 2.875” Dia.; Smallest: 1.5” H x 2” Dia.; Basket: 1.25” H x 1” Dia.
$200-400
338
A group of miniature Southwest Pueblo pottery
Mid/late 20th century
Eight works:
Rondina Huma (b.1947, Hopi-Tewa)
Signed to base
A polychrome Hopi jar with fine line geometric and stepped motifs 3” H x 4.5” Dia.
Minnie Vigil (1931-2024, Santa Clara Pueblo)
Signed to base
A polychrome Santa Clara small wedding vase in red clay with slip-painted cloud and rain motifs 4.5” H x 4.5” W x 3” D
Ramona Tapia, (1940-2003, Santa Clara Pueblo)
Signed to base
A polychrome redware low shouldered jar with curvilinear and geometric motifs to shoulder 1.5” H x 3.375” Dia.
Mary Ann Hampton (1930-2013, Acoma Pueblo)
Signed to base
A black-on-white miniature rounded jar with a band of fine line optical star patterned motifs 2” H x 2.75” Dia.
Lucy M. Lewis (1890/8 - 1992, Acoma Pueblo)
Signed to base
A diminutive polychrome ovoid seed pot with bird motifs 2” H x 1.75” Dia.
Mar___ Naranjo, (b. 20th century, Santa Clara Pueblo)
Illegibly signed to base
A small blackware rounded jar with etched sgraffito wolf motif to one side 1.5” H x 1.75” Dia.
V. Romero (b. 20th century, Jemez Pueblo)
Signed to base
Two small polychrome jars, each with contrast motifs including hummingbirds and feathers 2” H x 2” Dia. and 1” H x 1.625” Dia.
8 pieces
$300-500
Notes:
Four items accompanied by copies of purchase receipts, including one receipt for the Tapia, Hampton, and Lewis pots from Dewey-Kofron Gallery, Santa Fe, NM, dated July 1978, and one receipt for the Rondina Huma jar from The Indian Tree, Chicago, IL, dated January 1980.
339
A collection of Northwest mounted stone points
Pre-historic or later
Comprising various knapped and carved points of differing stones, shapes and sizes, including arrowheads, barbs, scrapers, and narrow points, all fixed to glass within a frame, with illegible shop label to top 59 pieces approximately Largest point: 2” H; Smallest: 0.5” H
$200-400
Notes:
Inscription in ink verso: Northwest United States / Snake River / LS Black Collection / Jim Bla____ /; Adhesive label verso: Blacks Navajo Indian Store / Phoenix AZ
Comprising a flint axe with studded and beaded shaft, and black feather dangles, as well as a flint knife bound to an animal jawbone, with beadwork and sinew accents
2 pieces
Axe: 24” H x 12” W x 0.875” D, Feathers: 10.5”; Knife: 16” H x 2.5” W x 0.75” D
$400-600
Notes:
Artist’s attribution indicated from owner’s retail invoice from Stewart’s Fine Art, Taos, NM, dated October, 2004.
341
A group of stone implements
Pre-historic or later
Comprising a group of carved stone objects including a small paint mortar and pestle, four further stone pestles of various sizes, two from Oregon, as well as a small round stone, likely a Chumash stone, from Southern California, two knapped blades, one from New Mexico, and one likely from the Midwest, a long curved grinding stone, and a reproduction Chumash knife, with Paiute knapped point mounted to a wood shaft, with shell inlay to bituminous-like band to top 11 pieces
Largest: 15” L x 3.5” Dia.; Smallest 1.5” H x 2” W x 1.75” D; Knife: 8.5” H x 1.5” W x 1” D
$200-400
Notes:
Collector’s notes attached to objects indicate attribution, area, and date found.
342
A large stone mortar and pestle
Pre-historic or later
The oval mortar with an off-center hole and an elongated pestle of a different stone
5.25” H x 15.5” W x 12” D; Pestle: 9.5” L x 3.5” W x 2.75” D
$200-400
A group of Southwest pottery vessels
Mid-20th century
Five works:
Nellie Nampeyo (1896-1978, Hopi-Tewa)
Two polychrome pottery vessels
Comprising a three-color bowl with red and brown banded figural motifs to body, and a small jar with brown geometric motifs, each on a white slip ground
2 pieces
Bowl: 3.375” H x 6” Dia.; Jar: 3.125” H x 3.125” Dia.
Marie Z. Chino (1907-1982, Acoma Pueblo)
A pottery bowl
Signed to underside: Marie Z. Chino / Acoma. N. M.
With banded brown kiva step motifs on a white slip ground
2.75” H x 5.25” Dia.
Two Acoma Pueblo pottery vessels
Each marked to underside: Acoma. N. M.
Comprising a two-color bowl with brown kiva step motifs on a white slip, and a threecolor jar olla jar with brown and orange avian motifs
2 pieces
Jar: 3.5” H x 4.75” Dia.; Bowl: 3” H x 5.375” Dia.
5 pieces total
$500-700
A group of miniature Southwest pottery vessels
Late 20th/early 21st century
Four works:
Miriam Gallegos (b. 20th century)
Two Mata Ortiz seed pots
Each with incised signature to underside: Miriham Gallegos
The three-color pots, each with black and red intricate geometric motifs on a white slip ground
2 pieces
Larger: 1.5” H x 2” Dia.; Smaller: 1.125” H x 2” Dia.
Fito Tena (b. 20th century)
A Mata Ortiz blackware bud vase
With corrugated body
2.375” H x 2.625” Dia.
A polychrome seed pot
Signed to underside with eagle feather cipher and possibly reading: Dawao
The pot with swirling protrusions to one side, depicting a corn stalk in brown on a white slip ground
2.375” H x 2.375” Dia.
4 pieces total
$200-300
A group of Southwest pottery vessels
Mid-20th century Four works:
Maria Martinez (1887-1980, Santa Clara Pueblo)
A blackware pottery seed jar
The jar with black on black banded raincloud motif to rim 1.625” H x 3.125” Dia.
Caroline G. Loretto (b. 1953)
A redware seed pot
The pot with banded avian motifs to shoulder 3.25” H x 3.625” Dia.
A blackware wedding jar
Incised to underside: Margaret [likely Margaret Garcia (1943-2016, Santa Clara Pueblo)] / Sta. Clara [illegible]
The two-spouted jar with black on black stepped and cloud motifs 6.25” H x 5.5” W x 3.5” D
A canoe-form blackware bowl
With black on black kiva step and geometric motifs to sides 2.75” H x 7.5” W x 2.75” D
4 pieces
$100-200
A group of Southwest pottery vessels
Mid/late 20th century
Four works:
Verna Nahee (b. 1940, Hopi-Tewa)
A polychrome yellowware bowl
Signed to underside: Verna Nahee
The three-color bowl with red and brown banded avian motifs
3” H x 5.5” Dia.
Three small vessels
One dish signed to underside: BZ
Comprising a three-color small dish with red and brown kiva step motifs to interior on a white slip ground, a dish with white painted bird motif to interior, and a diminutive yellowware vase with red and brown banded geometric motifs
3 pieces
Polychrome dish: 1.125” H x 4.25” Dia.; Vase: 2.5” H x 1.5” Dia.
4 pieces total
$100-200
Two Southwest Pueblo pottery vessels
Two works:
Calvin Analla, Jr. (b. 1960, Laguna Pueblo)
A black on red jar, 2016
Signed and dated to underside: C. Analla, Jr. / Paguate, N. Mex. / Pueblo of Laguna / 16
A bulbous form jar with a wide band of interlocking trapezoids 4.625” H x 5.25” Dia.
M. Sanchez (b. 20th century, Acoma Pueblo)
A black on red jar, mid/late 20th century
Signed to underside: M. Sanchez / Acoma, N. Mex.
A tapered jar with fine line floral medallions and overall fine line hatched design 4” H x 5.25” Dia.
2 pieces $500-700
Provenance:
Private collection, Judsonia, Arkansas
348
R. C. Gorman (1932-2005, Navajo/Diné) “Shonto,” 1998
Glazed ceramic in an acrylic shadowbox
From the edition of 50
Signed in the glaze: RC Gorman
Plate: 15” Dia.; Case: 19.5” H x 19.5” W x 4.5” D
$100-200
349
A group of Southwest Pueblo mudhead pottery storytellers
Late 20th/21st century
Six signed to underside
Seven works comprising five polychrome slip-glazed ceramic and two blackware ceramic mudhead figures, each with multiple applied figures, by various artists including Stella Teller, Isleta Pueblo, Judy Toya (Waquie), Jemez Pueblo, and Tony Dallas, Hopi Pueblo, as well as Cleo Teissedre
7 pieces
Largest: 8.5” H x 5.5” W x 5.5” D; Smallest: 1.75” H x 1.75” W x 3” D
$500-700
Consignment and Auction Inquiries: info@johnmoran.com Consign Today
November 19, 2025
Realized: $9,240
SINCE 1969
A Clarence Lee Sterling Silver Story Teller Necklace Price
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Condition Reports
1
Overall good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. Scattered areas of rubbed wear to surface. Minor surface crazing to base edge.
2
With shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. A curved hairline fracture to base, 2.5” L approximately.
3
Previously lacquered, with losses to finish. With shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. Scattered abrasions and spalling.
4
Overall good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. With a fine surface line issuing from base, approximately 3” L.
5
With shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. With wax residue to interior.
6
With shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age.
7
Overall good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. Slightly heavier scuffing and fine scratches to center.
8
Overall good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. A few scattered deeper small scratches and a couple of minor small chips. Scattered crazing to rim edge.
9
Overall goodcondition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. A few scattered fine pinprick marks.
10
Overall good condition with shelf wear, scattered scuffs, and inherent firing flaws commensurate with age.
11
Each overall good condition with shelf wear, scattered scuffs, and inherent firing flaws commensurate with age. Fading to smaller cloud motifs. Proper function of lighter untested and unknown.
12
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
14
Each possibly previously lacquered, with wear and loss to lacquer and/or slip. Each with shelf wear, scattered scuffs, and inherent firing flaws commensurate with age.
15
Overall good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. With unevenness to seated lid. Scattered minor surface crazing.
16
Overall good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age.
17
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Sticker remnants to underside. The shoulder with a 1.5” long deeper scratch.
18
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Previous dealer’s sticker remnants to underside.
19
Overall good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age.
20
Each in overall good condition with minor shelf wear, scattered faint scuffs and scratches, and inherent firing flaws commensurate with age.
21
Each overall good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. Larger jar with deeper scratch to one side, 1.375” L.
22
Each with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. The first with a couple of deep incised marks/scratches to the sides, 5” L. The second with a few small pitted marks and a deep scratch to one side near base, 2” L. The feather jar with variation to color from firing.
23
Each overall good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. Martinez jar with minor pale scuff to one side.
Overall good condition with shelf wear, scattered scuffs and scratches, especially near base, and inherent firing flaws commensurate with age. With a small indentation to base, likely inherent by maker.
Overall generally good appearance. Pale toning. Time staining along the extreme upper edge. The colors attenuated. A 2.5” horizontal skillfully repaired tear near the center of the left edge, slightly affecting the image, with a related patch verso, and a few smaller areas of skillfully repaired tears in the lower portion of the left edge. Various skillfully repaired and retouched creases and possible skinned areas, including in the body of the bear, and other areas primarily in the left half of the work, as well as each sheet corner. All of the weakened or repaired areas reinforced with Japanese tissue on the verso. The tip of the upper left sheet corner replaced. A few indentations/ scratches to the sheet, mostly in the blank of the upper and lower right quadrant, and an area in the black ink geometric structure in the upper left quadrant. Minor handling creases and a few pale pinhead-sized (or smaller) foxmarks scattered in the blank of the sheet, primarily visible in raking light. Uneven backboard staining and small pale foxing scattered throughout the verso. The sheet is loose, secured to the back mat with four clear archival corners.
Unframed
25
Overall good appearance. Not examined out of the frame.
Framed under glass: 16” H x 19.625” W x 1.125” D
26
Overall good appearance. Not examined out of the frame. Framed under glass: 14.25” H x 12.25” W x 1.5” D 27
Overall generally good appearance. Light-staining and the colors attenuated. Small, unobtrusive abrasions to the blank of the work, including a few near the lower portion of the left edge, and one area near the upper edge, just left of center. Not examined out of the frame.
Framed under glass: 19.25” H x 15.875” W x 1.5” D
28
Overall good appearance. Not examined out of the frame.
Framed under glass: 10.375” H x 11.25” W x 2.5” D
29
Overall good appearance. Not examined out of the frame.
Framed under glass: 10.375” H x 11.25” W x 2.5” D
30
Overall good appearance. Not examined out of the frame.
Framed under glass: 10.375” H x 11.25” W x 2.5” D
31
Overall good appearance. Not examined out of the frame.
Framed under glass: 10.375” H x 11.25” W x 2.5” D
32
Overall good appearance. With margins. Not examined out of the frame:
Framed under glass: 34” H x 40.75” W x 3” D
33
Overall good appearance. With margins. The colors good. Not examined out of the frame.
Framed under glass: 42.5” H x 34.75” W x 1.25” D
34
Overall good appearance. The full sheet with deckled edges and the colors fresh. The sheet is framed floating, hinged to the back mat from the verso of the upper sheet corners. Not examined out of the frame.
Framed under glass: 23.5” H x 30.5” W x 1.25” D
35
Overall good appearance. The full sheet with deckled edges. The colors good. The sheet is framed floating, mounted to the back mat. Not examined out of the frame.
Framed under Plexiglas: 31” H x 39” W x 2.25” D
36
Overall good appearance. The colors good. Not examined out of the frame.
Framed under glass: 41.25” H x 30.75” W x 2.25” D
37
Overall good appearance. The sheet is framed floating, tipped to an invisible backboard which is mounted to the back mat. Not examined out of the frame.
Framed under tinted Plexiglas: 27.5” H x 36” W x 3” D
38
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
39
Overall good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. With two minor small dark marks to one side, near base and near top.
40
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The underside with previous dealer’s penciled notes.
41
Overall good condition with light shelf wear, a few minor marks, and inherent firing flaws commensurate with age.
42
Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions.
43
Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. Wear to stamped terminals. Tests for sterling with XRF.
44
Overall good appearance. Full, narrow margins with deckled edges. The sheet is framed floating, mounted to the back mat. Not examined out of the frame.
Framed under glass: 15” H x 29.75” W x 1.125” D
45
Overall good appearance. With margins. Not examined out of the frame.
Framed under Plexiglas: 18.25” H x 15” W x 1.25” D
46
Overall generally good appearance. With margins. Pale light-staining. A pinpoint-sized nick in the image, in the upper mountains, at center. A 2.75” H x 2.25” W stain in the lower right margin corner, slightly affecting the image, and a 1” H x 2” W area in the lower left corner, slightly affecting the printed number “1”. A few flattened, laid down tears scattered in the upper and lower margin edges. Scattered, flattened creases in the margins and occasionally in the image. Scattered areas of surface soiling in the margins. As mentioned, the sheet is laid down to linen. The work is loose, not matted.
Framed under Plexiglas: 43.625” H x 29.25” W x 1.25” D
47
Visual: Overall good appearance. A pinhead-sized puncture with an attendant pigment loss, surrounded by a small area of slightly unstable craquelure, as well as a few very minor scratches, the largest 0.25,” all in the dark-brown pigment of the lower right quadrant. A very faint 4” horizontal scuff mark in the dark-brown pigment of the lower left quadrant.
Blacklight: No evidence of restoration.
Frame: 65” H x 53” W x 2.5” D
48
Visual: Overall good appearance. A soft stretcher bar crease in the upper portion of the central stretcher bar. A minor 2” Dia. pressure mark in the background of the upper left quadrant.
Blacklight: No evidence of restoration.
Unframed
49
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With previous dealer’s inked inscription and a sticker ghost to underside.
50
Overall good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. Scattered surface crazing. Scattered spots to beige slip.
51
Overall good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age.
52
Overall good condition with minor shelf wear, scattered light scuffs and scratches, and inherent firing flaws commensurate with age. A small minor shallow mark just below serpent head motif.
53
Overall good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age.
54
Overall good condition with light tarnishing and scratches commensurate with age and use. Tests for sterling with XRF.
55
Overall good condition with typical general wear and minor soiling commensurate with age and use. Scattered minor losses to yarn on each side, with some added losses to areas near rawhide straps. Diamond motifs with minor fading to some colors. Rawhide edging and straps with darkening and slight stiffening.
56
With typical general wear, soiling and darkening commensurate with age and use. Scattered minor losses to yarn on each side. Four small holes to bag, three near side edges, and one to upper area of triangle pattern face; largest: 1.5” H x 1” W. Three holes with previous older stiched repair patches. Base with staining and wear to weave, with a few worn areas and small holes. Top with loss and minor damage to edging.
57
With typical general wear, soiling and darkening commensurate with age and use. A few scattered minor losses to yarn on each side. Rawhide with breaks to lacing and stiffening to loops verso. With metal inventory tag attached to top edge.
58
Overall good condition with typical general wear and minor soiling commensurate with age and use. A minor spot to one side near top edge. Scattered small losses to yarn on each side. Minor fading to some colors.
59
Overall good condition with dust accumulation and typical wear commensurate with age and use. Side A with fading and afew scattered minor spots/faint marks. A few scattered minor breaks/ravelling to selvage cords to bottom edge.
With removable stitch-attached metal rod to top verso.
60
Overall good condition with dust accumulation and typical wear commensurate with age and use.
Fading to side A. Each side with a few scattered spots and small dark marks. Side B with a few areas of minor moth damage. Side B with applied red cotton twill tape to one end, likely for hanging display.
61
Overall good condition with dust accumulation and typical wear commensurate with age and use. Edges with scattered small areas of loose or missing selvage cords. Scattered small dark smudges, stains and marks to each side.
62
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Fading to one side. A few areas of loose selvage cords, to one corner and some edges, with attendant loose weave. A few scattered areas of minor moth grazing.
63
Overall good condition with dust accumulation and typical wear commensurate with age and use. Scattered breaks and losses to selvage threads to long sides and one short edge, with attendant loose weave. A few scattered small repairs. Scattered areas of dye migration, with scattered marks and spots to each side.
64
Overall good condition with dust accumulation and typical wear commensurate with age and use. Scattered areas of selvage loss, with attendant loose threads. Side A with a few minor spots/dark marks to center area. Side A and B each with fading and darkening at center. Thinning of weave in one quadrant near the center.
65
Overall good condition with dust accumulation and typical wear commensurate with age and use. Scattered breaks to selvages, with attendant loose weave and stitch loss, primarily to each end. Slight fading to side A. Side A and B with scattered spots and stains, primarily to side B.
66
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Side B with scattered marks and faint stains, with large metal snap fasteners sewn to each end, likely for display.
67
Overall good condition with dust accumulation and typical wear commensurate with age and use.
68
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. A few scattered minor surface spots to one side.
69
With dust accumulation and wear commensurate with age and use. Each side with dye transfer and areas of spots and staining. Breaks and loss to one corner and to one top edge, with scattered selvage losses, stitch losses, and two large holes.
70
Overall good condition with dust accumulation and typical wear commensurate with age and use. A few scattered minor spots and stains to each side. Each side with scattered single areas of minor moth grazing, some areas revealing a few warps.
71
Overall good condition with dust accumulation and typical wear commensurate with age and use. A few scattered areas of loose selvage threads, with one section of loss to weave, 2.5” L. A couple of small holes. Color variation to weave in places. Variable fading to side A. Scattered stains and soiling to each side, primarily side B.
72
Overall good condition with dust accumulation and typical wear commensurate with age and use. Scattered minor areas of slight dye transfer. Each side with a few scattered small spots and surface stains.
73
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Not examined out of frame.
Frame: 39.75” H x 38” W x 1.125” D
74
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Some losses to feathered metal ends, the others somewhat frayed.
75
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
76
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Feathered metal ends somewhat frayed.
77
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Feathered metal ends somewhat frayed.
78
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
79
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
80
Each overall good condition with light tarnishing and scratches commensurate with age and use. Stones with light abrasions and surface reaching fractures. Buttons not examined out of frame. Not tested for sterling.
Frame: 12.75” H x 9.75” W x 1.25” D
81
Each in overall good condition with light tarnishing and wear commensurate with age and use. Scattered stones with light abrasions. Test for sterling with XRF.
82
Visual: Overall good appearance. Fine craquelure in the white pigment of the upper right quadrant. Minor specks of surface grime or old varnish along the right portion of the extreme lower edge.
Blacklight: No evidence of restoration.
Frame: 37.5” H x 47.25” W x 3” D
83
Visual: Overall generally good appearance. A few scratches, with attendant pigment loss, scattered along the lower and right edges, the largest measuring 2” H x 0.25” W near the lower edge, at left. A 2” vertical scratch and rice-sized abrasions with attendant pigment losses at the center of the work, as well as a faint scratch near the upper edge, at left. Frame abrasion with attendant, scattered, pigment losses along the extreme edges.
Blacklight: No evidence of restoration.
Frame: 51.5” H x 71” W x 4.5” D
84
Visual: Overall good appearance. Two unobtrusive, faint areas of black-colored residue in the sky of the upper right quadrant.
Blacklight: No evidence of restoration.
Frame: 22.75” H x 37.75” W x 2.5” D
85
Visual: Overall good appearance. Slight varnish discoloration and/or grime.
Blacklight: No evidence of restoration.
Frame: 46” H x 34” W x 2.5” D
86
Overall good appearance. The colors fresh. A very unobtrusive, approximately 0.25” H x 0.5” W area of stray brown paper adherred to the surface within the green bushes behind the white horse’s tail. A pinhead-sized pigment loss in the clouds near the upper left corner. An artist pinholes at the tip of each corner and in a few places at the extreme sheet edges. The work is hinged to the back mat with two small pieces of linen tape from the verso of the upper sheet edge.
Framed under Plexiglas: 31” H x 36” W x 1.75” D
87
Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. With a vertical 1’ split/separation between the splines at right side proper starting from upper edge. Top surface with fading, scattered stains, small moisture rings, and a 1.5” long burn. Some shelf pegs later replaced. Includes key.
88
Each overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. One with scattered pea-sized abrasions, each with scattered small stains with attendant oxidation.
89
With dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
90
Visual: Overall good appearance. A 1.75” H x 0.125” W diagonal line of touch-up attendant with a skillfully repaired tear in the background to the left of the figure’s head. Soft stretcher bar creases showing primarily in raking light.
Blacklight: Scattered touch-ups throughout, ranging from rice-sized to larger, measurable areas. Almost none of these affect the figure, however, with most of the touchups concentrated in the backgound at left. In addition to the diagonal line already mentioned as part of the visual description, there is another, smaller, diagonal line of touch-up measuring approximately 0.125” H x 1” W attendant with a different reparied tear in the upper portion of the background, closer to the left edge. There are also two vertical lines of touch-up attendant with the stretcher bar creasing at left, one measuring 2” H and the other approximately 4.5” H.
Frame:25.5” H x 22.5” W x 2.5” D
91
Visual: Heavy craquelure throughout. Frame abrasion with a few attendant small pigment losses scattered along the extreme upper and right edges.
Blacklight: A 0.25” W x 1.5” W area of touch-up near the lower right corner, and a pea-sized touch-up in the dark clouds, near the upper edge, left of center.
Frame: 50.25” H x 61.25” W x 4” D
92
Visual: Overall generally good appearance. Minor varnish discoloration, primarily in the sky. Heavy craquelure throughout the upper half of the work. Fine paint shrinkage scattered throughout the lower half. A very soft stretcher bar crease scattered in places along the upper edge. An unobtrusive, hairline, vertical scratch measuring approximately 1” near the lower left corner.
Blacklight: No evidence of restoration.
Frame: 43.375” H x 53.25” W x 4” D
93
Visual: Overall good appearance. Small areas of craquelure along the right edge and upper center.
Blacklight: No evidence of restoration. Small spots of paint in the upper right corner fluoresce under blacklight, but these appear to be in the hand of the artist.
Frame: 22” H x 26” W x 3” D
94
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Some surface grime throughout. Chipping to stone base at corners.
95
Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Scattered scuffs, scratches, and minor oxidation to leather elements and light tarnishing to silver. Leather with scattered craquelure to surface in places, with dryness and cracking to some laces, primarily to ends. Scattered areas of conditioning wax residue overall. Perishing and loss to edges of sheepskin.
96
Overall good condition with light signs of wear. Scattered scuffs and minor oxidation to leather elements and light oxidation to metal. A few scattered dark marks and whitish patches. Belt with original sales tag attached. Conditioning wax residue to elements under flaps. The saddle and its accessories may have been kept in damp conditions. Light wear and minor marks to storage bags. Stand with dust accumulation and light wear commensurate with age.
97
Overall good condition with dust accumulation, and scattered scuffs and light scratches commensurate with age. A couple of deeper marks to back edges.
98
Overall good appearance. Pale light-staining concentrated primarily along the window opening of the overmat. One unobtrusive, pinpoint-sized foxmark in the dust clouds behind the stagecoach. Very minor backboard staining. Two small pieces of white paper tape at the verso of the lower margin corners. The sheet is hinged to the overmat with white paper tape from the verso of the upper sheet edge.
Framed under glass: 14.25” H x 18” W x 1” D
99
Overall good appearance. Slight old backboard staining (except along the upper and lower sheet edges where previous mounting tape likely acted as a buffer). The sheet is hinged to the back mat from the verso of the upper sheet edge.
Framed under glass: 16” H x 18.5” W x 1” D
100
Overall good appearance. Minor light-staining concentrated primarily along the window opening of the overmat. An old square of brown paper tape affixed to one corner of the board’s verso. Slight surface skinning along the edges of the board’s verso from removal of old tape. The board is taped to the overmat from the verso edges with four pieces of Japanese hinging tape.
Framed under Plexiglas: 13.5” H x 13.625” W x 1.375” D
101
The sheet trimmed slightly unevenly, with thread margins along the upper and lower edges, and trimmed or on just inside the platemark in places along the vertical edges. A 4” diagonal soft crease running edge to edge across the lower portion of the plate, including the tail and hind quarters of the horse. Extremely pale and unobtrusive, yet uneven, light-staining, and a few scattered unobtrusive foxmarks, the latter of which are mostly confined to the sheet edges. A rice-sized paper loss to the left of center in the upper sheet edge. The work is tipped to a support sheet at the upper sheet corners, with attendant pale glue staining showing through to the recto.
Framed under Plexiglas: 13” H x 12” W x 1.25” D
102
Each overall good appearance. With margins. Pale lightstaining. “Riding Pretty,” with a few unobtrusive, pale foxmarks in the image. Each not examined out of the frame.
Each framed under glass: Largest: 14.375” H x 11.875” W x 1” D
103
Overall generally good appearance. With full margins, deckled along the left edge. Light-staining and overmat staining. A 1” horizontal repaired tear partially extending into the image from the right margin edge, and a 1” diagonal edge tear in the upper right margin corner, not affecting the image. A few very pale foxmarks in the upper left and lower right quadrants of the image, and a few others scattered primarily in the margins. Old tape remnants in places along the upper margin edge. The sheet is hinged to the back mat from the verso of the upper margin edge.
Framed under Plexiglas: 17.25” H x 15.25” W x 1.375” D
104
Overall good condition with minor wear and dust accumulation commensurate with age. The skin with a quarter-sized area of loss to one end, and a 2.5” long tear to another.
105
Overall good condition with scattered scuffs, scratches, and dust accumulation commensurate with age. The shotgun barrel has broken off but is retained with the lot.
106
Visual: Overall good appearance. Delicate paint shrinkage scattered in the mountains and hills at the center of the work, and even finer paint shrinkage in the dark green pigment of the trees and bushes lining the base of the mountain/hills. A pinhead-sized abrasion with attendant pigment loss in the upper portion of the left edge. Minor frame abrasion along the extreme edges, primarily in the upper and right edges, attendant with the board slipping within the frame opening.
Blacklight: Small, scattered bands of touch-up along the extreme upper and right edges. Occasional pea-sized (or smaller) touch-ups scattered in the sky along the perimeter of the mountain and on the right side of the main mountain in the upper left quadrant.
Frame: 47” H x 58.5” W x 3.5” D
107
Visual: Overall good appearance.
Blacklight: No evidence of restoration.
Frame: 20.75” H x 23.75” W x 2.5” D
108
Visual: Overall good appearance. A few very minor, unobtrusive specks of white residue adhered to the surface, primarily scattered in the lower half.
Blacklight: No evidence of restoration.
Frame: 26.25” H x 22.25” W x 1.75” D
109
Visual: Overall good appearance. Slight varnish discoloration. A few minor abrasions in the upper left quadrant, likely due to imperfections in the Masonite.
Blacklight: No evidence of restoration.
Frame: 33” H x 45” W x 3” D
110
Visual: Overall good appearance. A pinhole in the extreme upper edge, at left.
Blacklight: No evidence of restoration.
Frame: 34.5” H x 46.5” W x 3” D
111
Visual: Overall good appearance.
Blacklight: No evidence of restoration.
Frame: 21.5” H x 25.5” W x 1.75” D
112
Visual: Overall good appearance. Occasional specks of grime and slight dust accumulation.
Blacklight: No evidence of restoration. Certain pigments fluoresce under blacklight, however these appear to be in the hand of the artist.
Frame: 22” H x 16.25” W x 1.25” D
113
Visual: Overall good appearance. A pea-sized abrasion due to framing in the extreme upper left corner.
Blacklight: No evidence of restoration.
Frame: 24” H x 28” W x 2.5” D
114
Overall good appearance. Very minor, unobtrusive, fine crazing in the white pigment of the snow-covered mountain peak in the upper right quadrant, and in the white pigment of the horses. Not examined out of the frame.
Framed under glass: 24.25” H x 20.25” W x 1.5” D
115
Visual: Overall good appearance. A 0.25” H x 0.125” W pigment loss in the extreme lower left corner.
Blacklight: No evidence of restoration.
Frame: 27” H x 32.75” W x 2.75” D
116
Visual: Overall good appearance. A very unobtrusive, pinhead-sized pigment loss near the left portion of the upper edge.
Blacklight: No evidence of restoration.
Frame: 19” H x 17” W x 2” D
117
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to metal commensurate with age. The base with losses along edges, and a 1.5” x 1” area of older loss to one upper corner.
118
Visual: Overall good appearance.
Blacklight: No evidence of restoration.
Frame: 39.25” H x 33.25” W x 4” D
119
Visual: Overall good appearance.
Blacklight: A few rice-sized or smaller flecks of pigment fluoresce under blacklight. Very fine crazing throughout, only visible under blacklight.
Frame: 26.5” H x 30.5” W x 2.5” D
120
Visual: Overall good appearance. The work is sandwich mounted.
Blacklight: No evidence of restoration.
Framed under glass: 26.25” H x 21.375” W x 1.625” D
121
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Scattered minor rubbed losses to the polychrome and very small bits to spalling, concentrated to underside.
122
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Some discoloration to body, possibly fire clouding, with attendant loss to polychrome decorations, concentrated at underside and obtrusive to signature.
123
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Felt pads applied to underside, with a ‘5397506’ inscribed in pencil.
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Sticker remnants to underside.
125
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The rim with hairline cracks in the slip inherent in the firing.
126
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
127
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
128
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
129
Overall good appearance. Not examined out of the frame.
Framed under Plexiglas: 23.24” H x 25.5” W x 1.75” D
130
Visual: Overall good appearance. Very minor frame abrasion primarily visible in the left and lower edges.
Blacklight: No evidence of restoration.
Frame: 32.5” H x 28.5” W x 3.25” D
131
Visual: Overall good appearance. Two delicate and unobtrusive, 1” long (or less) hairline surface scratches with attendant pigment loss near the lower edge, one of which is well to the right of the signature, and the other is in the lower right corner. A small series of rice- to peasized pigment losses in places along the lower portion of the extreme right edge, likely attendant with the framing process.
Blacklight: No evidence of restoration.
Frame: 33.5” H x 39.5” W x 1.75” D
132
Visual: Overall good appearance. The canvas is slightly puckered in the upper right quadrant, primarily visible in raking light.
Blacklight: No evidence of restoration.
Frame: 29” H x 39” W x 3” D
133
Visual: Overall good appearance. The canvas has been reduced in size from the lower and right edges.
Blacklight: No evidence of restoration.
Frame: 32.25” H x 42” W x 3” D
134
Visual: Overall good appearance. An unobtrusive 1.25” hairline surface scratch near the lower right corner. Artist pinholes at each corner and at the center of the upper and lower edges. Minor frame abrasion scattered along the extreme lower edge.
Blacklight: No evidence of restoration.
Frame: 20.375” H x 26.375” W x 2.5” D
135
Overall good appearance. A thin, curved, white, crayon-like line, approximately 7” in length, in the upper right quadrant, possibly in the hand of the artist.
Framed without glazing: 20.25” H x 25.125” W x 1” D
136
Visual: Overall good appearance. A few minor areas of surface grime or scuffing in the upper right quadrant.
Blacklight: No evidence of restoration.
Unframed
137
Visual: Overall good appearance. Scattered foxing or mildew spots throughout the verso.
Blacklight: No evidence of restoration.
Frame: 15.25” H x 19.25” W x 3” D
138
Visual: Overall good appearance.
Blacklight: No evidence of restoration.
Frame: 11.25” H x 13.25” W x 2.25” D
139
Overall good condition. The full sheet with deckled edges. The sheet is framed floating, mounted to the back mat. Not examined out of the frame.
Framed under Plexiglas: 34” H x 28.5” W x 1” D
140
Visual: Overall good appearance.
Blacklight: No evidence of restoration.
Frame: 40.25” H x 50.25” W x 2.5” D
141
Visual: Overall good appearance.
Blacklight: No evidence of restoration.
Frame: 38.5” H x 32.5” W x 3.25” D
142
Visual: Overall good appearance.
Blacklight: No evidence of restoration.
Frame: 33.5” H x 36.5” W x 3” D
143
Visual: Overall good appearance. Minor, unobtrusive specks of grime scattered throughout, primarily in the upper half.
Blacklight: No evidence of restoration.
Frame: 34” H x 28” W x 2.5” D
144
Visual: Overall good appearance.
Blacklight: No evidence of restoration.
Frame: 34.25” H x 46.25” W x 3” D
145
Visual: Overall good appearance.
Blacklight: No evidence of restoration.
Frame: 27.25” H x 27.25” W x 3” D
146
Visual: Overall good appearance. Very fine, occasional, unobtrusive craquelure scattered near the upper edge. An approximately 2” stretcher bar crease with attendant craquelure in the upper portion of the right edge, primarily visible in raking light.
Blacklight: No evidence of restoration.
Frame: 24.25” H x 28.25” W x 3” D
147
Visual: Overall good appearance.
Blacklight: No evidence of restoration.
Frame: 31” H x 35” W x 3.5” D
148
Overall good appearance. Not examined out of the frame.
Framed under glass: 17.25” H x 20.25” W x 2” D
149
Overall good appearance. Not examined out of the frame.
Framed under glass: 19.375” H x 21.375” W x 2.125” D
150
Visual: Overall good appearance.
Blacklight: No evidence of restoration.
Frame: 26” H x 22” W x 2.25” D
151
Each overall good appearance. Not examined out of the frame.
The largest framed under Plexiglas: 23.25” H x 28.75” W x 1.25” D; the two others framed under glass
152
Visual: Overall good appearance. The canvas is slightly loose and bowed convexly in the upper half.
Blacklight: No evidence of restoration.
Frame: 38.25” H x 25.25” W x 2.5” D
153
Overall good condition with dust accumulation, minor marks/spots, and scattered nicks, scuffs, and scratches commensurate with age and use. A few cracks to top of snout. Slight distortion to some teeth. Some minor movement of joints, revealing sections beneath the foiled cover, visible under the neck.
154
Overall good condition with scattered minor scuffs and scratches commensurate with age. The legs with some loss to enameling and attendant oxidation/rust.
155
Overall generally good appearance. With margins. Pale light-staining, primarily concentrated in the margins. A few pale, mostly pinpoint-sized foxmarks scattered in the image and margins. Not examined out of the frame.
Framed under glass: 22” H x 25.125” W x 0.875” D
156
Toning throughout. Time staining concentrated along the edges. Two pinpoint-sized abrasions at the rear of the horse. Minor surface soiling and a pale, pinpoint-sized foxmark to the left of the figure’s head. A few small areas of abrasion/surface skinning scattered in the blank of the upper right quadrant. A 1.5” tear in the upper portion of the left edge, now laid down to the paperboard. Scattered paper losses and abrasions along the extreme edges. The work is loose inside the matting.
Framed under glass: 26.875” H x 21.25” W x 1.625” D
157
Overall good appearance. Pale light-staining. Scattered surface soiling. Not examined out of the frame.
Framed under glass: 13.5” H x 15.5” W x 3” D
158
Overall good appearance. Pale light-staining. Not examined out of the frame.
Framed under glass: 14.375” H x 14.375” W x 0.75” D
159
Overall generally good appearance. With margins. Pale light- and mat staining. A few soft 1” (or smaller) handling marks in the sky, primarily visible in raking light. Not examined out of the frame.
Framed under glass: 15.75” H x 18.75” W x 1” D
160
Overall generally good appearance. Pale light-staining throughout and time staining along the extreme upper edge. Occasional faint and unobtrusive foxing scattered throughout the blank. A pinhead-sized reverse foxmark near the upper portion of the left edge. One 1” H x 0.125” W and one 0.125” H x 0.25” W scattered area of surface skinning, both near the center of the upper edge. The sheet is framed floating, mounted to the back mat. Not examined out of the frame.
Framed under glass: 28.5” H x 23.5” W x 1.625” D
161
With multiple stitch losses to lid and to basket neck edge, as well as to a small section of exterior at shoulder. With general dust accumulation and darkening to the exterior overall.
162
Overall good condition with dust accumulation and light wear commensurate with age and use. A couple of single scattered stitch losses to rim, and to exterior. Slight darkening to basket overall.
163
Overall good condition with dust accumulation and light wear commensurate with age and use. Slight darkening in areas.
164
Overall good condition with dust accumulation and wear commensurate with age and use. A couple of fractured stitches to rim. Scattered small white dusty marks to exterior.
165
Overall good condition with dust accumulation and light wear commensurate with age and use.
166
Overall good condition with slight fading, and dust accumulation commensurate with age and use. A few scattered stitch losses to interior, and minor rubbed wear to a small area of exterior just above base.
167
Each overall good condition with dust accumulation and light wear commensurate with age and use. Oval basket with minor marks to rim.
168
Overall good condition with dust accumulation and wear commensurate with age and use. Slight darkening in some areas.
169
With dust accumulation and wear commensurate with age and use. Multiple scattered stitch losses to rim, primarily to terminal end, with exposed and loose rods, 2.5” L. One 2” L rod end detached, retained and fits in place. Some shelf wear to base. Darkening to bowl overall.
170
Overall good condition with dust accumulation and light wear commensurate with age and use. A couple of single rod breaks and losses, one near the rim and one near the center, with attendant stitch losses. Scattered minor stitch losses to rim, and a few single stitch losses overall. A loss of 1” to one reinforcing rod on the reverse.
171
Overall good condition with dust accumulation and wear commensurate with age and use. A small area of slight darkening/minor staining, 3” x 0.5”. Basket slightly out of round and slightly distorted.
172
Each overall good condition with dust accumulation and wear commensurate with age and use. Largest out-ofround and slightly distorted to one edge section at rim.
173
Each overall good condition with dust accumulation and light wear commensurate with age and use. Largest with a few scattered stitch losses to rim, and a few minor marks/ faint stains to base.
174
Each in overall good condition with dust accumulation and light wear commensurate with age and use. One basket lacking lid.
175
Each overall good condition with dust accumulation and light wear commensurate with age and use.
176
Overall good condition with dust accumulation and general light wear commensurate with age and use. Light wear to suede-covered stand.
177
Each overall good condition with dust accumulation and wear commensurate with age and use, each with fading to motifs. Oval basket with slight distortion to lid, yet fits to basket.
178
Overall good condition with dust accumulation and wear commensurate with age and use. Scattered minor wear to some imbrication stitches. A few minor dark scuff marks to exterior and to base.
179
Overall good condition with dust accumulation and wear commensurate with age and use. Scattered wear to some imbrication stitches. Scattered dark scuff marks to exterior and interior base. Wear to rawhide laces, with break to one hinging lace on lid.
180
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With previous dealer’s penciled notes to underside.
181
Degradation and losses to underside, obtrusive to the artist’s cipher. With shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
182
Overall good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age.
183
Overall good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. One spout edge with flaked losses to slip.
184
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
185
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
186
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
187
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
188
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Cracking to the slip exterior underside, inherent in the firing.
189
Overall good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age.
190
Overall good condition with shelf wear, scattered scuffs and scratches, and dust accumulation commensurate with age. The feathers with general wear, and missing from one side. Rubbed losses to the polychrome and scattered nicks and indentations.
191
Overall good condition with with light wear, minor scattered scuffs and scratches, and dust accumulation commensurate with age. Light wear to feathers.
192
Overall good condition with light wear, minor scattered scuffs and scratches, and dust accumulation commensurate with age. Light wear to feathers.
193
Overall good condition with light wear, scattered scuffs and scratches, and dust accumulation commensurate with age. Heavier scuffs to paint verso. Light wear to feathers.
194
Overall good condition with light wear, minor scattered scuffs and scratches, and dust accumulation commensurate with age. A small dark mark to front, and a couple of heavier scratches verso. Light wear to feathers.
195
With light wear, minor scattered scuffs and scratches, and dust accumulation commensurate with age. Break and loss to one petal of squash blossom.
196
Each with light wear, minor scattered scuffs and scratches, and dust accumulation commensurate with age. Light wear to feathers. Larger with loss of one ear, and partial fracture to skirt tail verso. Smaller with loss to skirt tail verso.
197
Overall good condition with light wear, minor scattered scuffs and scratches, and dust accumulation commensurate with age. Light wear to feathers. With minor fractures and loss to teeth. Repaired fracture to one foot.
198
Overall good condition with light wear, minor scattered scuffs and scratches, and dust accumulation commensurate with age. Light wear to feathers.
199
With dust accumulation and general wear commensurate with age and use. Multiple stitch losses to exterior, primarily to the shoulder area. Fading to exterior.
200
Each overall good condition with dust accumulation, wear, and faint marks commensurate with age and use. Each with slight distortion to rim. The larger with a couple of single stitch losses to exterior and darkening overall. The smaller with fading to exterior.
201
Each overall good condition with dust accumulation and wear commensurate with age and use. Pictorial with multiple scattered stitch losses to rim and to interior. Each with darkening to exterior.
202
Each with dust accumulation, discoloration, and shelf wear commensurate with age and use. The Pima with a few scattered losses to rim stitches. Scattered single and multiple stitch losses overall, especially to base, longest: 1.5” L. The Papago with multiple stitch losses to base interior and exterior, with soiling to exterior.
203
Each overall good condition with dust accumulation, light wear, and minor fading commensurate with age and use. The Pima with a few areas with smudged marks, and a couple of scattered stitch losses to interior, a few to rim, and multiple stitch losses to exterior, largest area: 0.75”. The Apache with a couple of single stitch losses and scattered whitish marks to exterior.
204
Each overall good condition with dust accumulation, slight fading, and wear commensurate with age and use. Hopi tray with a few minor marks near rim. Pima bowl with a few scattered single stitch losses to exterior.
205
Each overall good condition with dust accumulation, light soiling, and wear commensurate with age and use. Two with slight fading to interior. Plaque with a couple of stitch losses verso. Two with integral hanging loops.
206
Each overall good condition with dust accumulation, slight fading, and shelf wear commensurate with age and use.
207
Each overall good condition with dust accumulation, slight fading, and minor wear commensurate with age and use. Berry basket with slight distortion to shape. Handled basket with minor faint stains to base interior and exterior.
208
Each with dust accumulation and wear commensurate with age and use. Mission with stitch losses to rim and fading to exterior. Goblet with a minor breaks to three sticks loss of one stick at waist. Lidded baskets with fading of motifs to exterior, and the larger with damaged rim under lid.
209
Each overall good condition with dust accumulation and wear commensurate with age and use. The Pima bowl with a break to rim, multiple stitch losses to rim and to base exterior, the largest: 1” L, and darkening to basket overall.
210
Each overall good condition with dust accumulation and minor wear commensurate with age and use.
211
Overall good condition with dust accumulation and wear commensurate with age and use. A couple of loose stitches to rim.
212
Overall fair/poor condition. With heavy rubbed wear to the tooled leather with attendant loss to the surface and flaking. The spine with a 5” split to the upper front, and losses to the tooled leather at the spine bottom and corners. Lacking lower front gilt clasp. All pages with foxing, acid burn, surface soiling, and scattered minor tears. The front and rear flyleaves with mold. The rear endpaper with organic staining from pressed flowers. Other lesser defects.
213
Each with toning, scattered foxing, small occasional losses in the paperboard and a few smaller areas in some of the photographs, darkening and wear to the photographs, surface soiling, scattered glue residue, occasional areas of surface skinning, and other minor defects. Each work is loose, housed in a plastic protector, and taped from the upper edge of the protector to the back mat.
Each work matted: 10” H x 8” W x 0.125” D
214
Overall generally good/fair condition. The tintype with minor tarnishing. The tooled leather case with wear, flaking, small losses, and minor surface soiling. The cover is mostly detached from the spine, remaining attached only at the center.
Tooled leather case: 4.625” H x 3.75” W x 0.75” D
215
Overall generally good condition. Minor tarnishing to the tintype and gold-toned metal preserver. The tooled leather case with wear, flaking, and small losses.
Tooled leather case: 3.75” H x 3.25” W x 0.75” D
216
Overall generally good/fair condition. The tintype with minor tarnishing and a few thin abrasions scattered along the right edge. The tooled leather case is missing the cover, and with wear, flaking, small losses, and scattered dark residue.
Tooled leather case: 4.625” H x 3.625” W x 0.375” D
217
Overall good/generally good condition. The tintype with minor tarnishing and a few faint surface scratches. The tooled leather case with wear, flaking, and small losses. A crescent-shaped abrasion to the case, attendant with the clasp scrapping the case at the center of the right edge.
Tooled leather case: 3.625” H x 3.25” W x 0.625” D
218
Overall good condition. The thermoplastic case with minor wear and small, occasional losses primarily in the edges and corners.
Thermoplastic case: 3” H x 2.5” W x 0.875” D
219
Overall generally good condition. The tintype with minor tarnishing, scattered surface scratches, and soft creasing. The thermoplastic case with dust accumulation adhered to the surface, wear, and small, occasional losses, primarily in the edges and corners.
Thermoplastic case: 4” H x 3.5” W x 0.875” D
220
Overall generally good condition. The tintype with a few scratches and attendant pinpoint-sized losses scattered in the outer edges. The thermoplastic case with a vertical crack along the left side of the case’s cover. Minor wear and small losses to the extreme edges, corners, and the clasp of the case.
Thermoplastic case: 3.75” H x 3.25” W x 0.75” D
221
Overall good/generally good condition. The tintype with minor tarnishing. The tooled leather case with wear, flaking, and occasional small losses. The cover of the case detached from the spine, however, with the clasps still attached along the right side.
Tooled leather case: 4.75” H x 3.75” W x 0.75” D
222
Each overall good/generally good condition. The tintype of the soldier with very fine, unobtrusive crazing and minor tarnishing. Each thermoplastic case with minor wear. The case housing the tintype of the soldier with small cracks and abrasions and a small piece of loss to the outer case where the clasp is.
Each thermoplastic case: 3” H x 2.625” W x 0.875” D (approx.)
223
Overall generally good condition. The tintype of the Union soldier with wear, scattered areas of crazing with attendant specks of loss in the outer edges, and minor tarnishing. The chased gold-toned metal preserver with oxidation, creasing, and soft dents. The tooled leather case is missing the cover, and with wear, flaking, and small losses, as well as stray white pigment/residue. The tintype of the man in a suit with minor wear and tarnishing. The thermoplastic case with minor abrasions to the edges and corners.
Thermoplastic case: 3.75” H x 3.25” W x 0.875” D; Tooled leather case: 4.625” H x 3.75” W x 0.25” D
224
Overall good condition. The tintype with minor tarnishing. The tooled leather case with wear, flaking, and small losses primarily along the edges and corners.
Tooled leather case: 3.625” H x 3.25” W x 0.625” D
225
The tintype with minor tarnishing, scattered crazing, and slight creasing. The tooled leather case is missing the cover, and with wear, flaking, and significant losses to the tooled leather.
Tooled leather case: 4.75” H x 3.75” W x 0.375” D
226
Overall good condition. The tintype with minor tarnishing. The tooled leather case with wear and minor flaking.
Tooled leather case: 3.625” H x 3.25” W x 0.625” D
227
Overall good/generally good condition. The tintype with minor tarnishing and a few scattered abrasions in the upper and right edges. The tooled leather case with minor wear, flaking, and occasional small losses. The cover of the case detached from the spine, however, with the clasp still attached on the right side.
Tooled leather case: 3.625” H x 3.125” W x 0.625” D
228
Each overall generally good condition. The ambrotype with crazing and pinhead-sized (or smaller) areas of loss scattered throughout the lower half of the portrait. The tooled leather case with wear, flaking, and small losses. The cover of the case almost detached from the spine. The tintype with scattered creasing and faint surface scratches, primarily visible in raking light. The chased gold-toned metal preserver with oxidation, creasing, and soft dents. The tooled leather case is missing the cover, and with wear, flaking, and small losses, as well as stray white pigment/ residue.
Largest tooled leather case: 4.625” H x 3.625” W x 0.375” D
229
Each overall good/generally good condition. The daguerreotype with fine crazing, minor specks of tarnishing, and light scratches. The tintype with splotches of wear and light scratches. The dark orange velvet with wear. Each thermoplastic case with minor wear and abrasion, mostly along the edges and corners.
Each thermoplastic case: 3” H x 2.5” W x 0.75” D
230
Each overall good/generally good condition. Minor wear and tarnishing. The brown thermoplastic case with minor wear and a few slight abrasions with attendant small losses to the edges and corners. The lower hinge slightly bent, therefore affecting how the case’s cover closes.
Brown thermoplastic case: 3.75” H x 3.25” W x 1” D
231
Each overall generally good condition. One tintype with tarnishing along the lower edge, a few pinpoint-sized surface losses, fine crazing, and minor scratches, all commensurate with age. Each of the tooled leather cases with wear, flaking, and small losses primarily along the edges and corners. One of the cases is easily detachable from its two hook hinges.
Each tooled leather case: 3.625” H x 3.25” W x 0.625” D
232
Overall good condition. The daguerreotype with minor tarnishing. The tooled leather case with wear, flaking, and small occasional losses. The cover slightly loose from the spine, however, still attached.
Tooled leather case: 3” H x 2.5” W x 0.75” D
233
Overall good/generally good condition. The daguerreotype with minor wear and tarnishing. The tooled leather case with wear, faking, and flecks of loss, primarily in the edges and corners.
Tooled case: 3.625” H x 3.125” W x 0.75” D
234
Each overall generally good condition. The daguerreotype in the tooled leather case with tarnishing, wear, and thin streaks of black residue. The tooled leather case with wear, rubbing, and flaking. The daguerreotype in the blue velvet case with minor wear and tarnishing. Uneven staining in the inner lining of the blue velvet case. The cover of the case is detached, and with glue residue along the spine of the case.
Each case: 3” H x 2.625” W x 0.625” D
235
Overall generally good condition. The tintype with crazing, wear, tarnishing, and minor surface abrasions. The tooled leather case with wear, flaking, and abrasion, primarily in the edges and corners, as well as the center of the cover.
Tooled leather case: 3.75” H x 2.25” W x 0.625” D
236
Overall good condition. The tintype and gold-toned metal preserver with minor tarnishing. The burnt orange velvet with minor wear to the upper half. The thermoplastic case with minor wear and scratches, primarily in the edges and corners.
Thermoplastic case: 3” H x 2.5” W x 0.75” D
237
Each overall good/generally good condition. The daguerreotype with minor tarnishing. The tooled leather case with wear, peeling, and slight flaking. The cover of the case is detached from the spine. The tintype with a few small, minor abrasions to its thermoplastic case, primarily scattered in the edges and corners.
Each case: 3” H x 2.5” W x 0.75” D
238
Each overall good/generally good appearance. The Western portrait of William S. Hart, with a minor 4” crease, partially going through the inscription in the lower right quadrant, primarily visible in raking light. Each not examined out of the frame.
Each framed under glass: Largest: 15” H x 12” W x 1” D
239
Overall generally good appearance. With margins. Lightstaining. A pale, pinpoint-sized foxmark below the printed copyright line. Not examined out of the frame.
Framed under glass: 26.5” H x 22.625” W x 1.5” D
240
Overall good appearance. With margins. The most unobtrusive, faintest stray graphite mark in the lower margin, right of center, primarily visible in raking light. Not examined out of the frame.
Framed under glass: 27” H x 22.625” W x 1.5” D
241
Overall good condition with shelf wear, scattered scuffs, and inherent firing flaws commensurate with age. Rubbed losses to polychrome decoration and fleabite losses to rim.
242
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
243
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
244
Overall goodcondition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age.
245
Overall good condition with shelf wear, scattered scuffs, and inherent firing flaws commensurate with age. More concentrated scuffs to rim area, with small losses to decoration.
246
Likely previously lacquered, with losses to lacquer. With shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Vessel is slightly out of round.
247
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
248
Overall good condition with dust accumulation, shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age and use.
249
Overall good condition with dust accumulation, shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Previous repair to feather at back of head.
250
Each overall good condition with dust accumulation, shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
251
Overall good condition with dust accumulation, shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age and use.
252
Each overall good condition with dust accumulation, shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age and use.
253
Each with light wear, minor scattered scuffs and scratches, and dust accumulation commensurate with age. Light wear to feathers. One figure missing attribute item to one hand. Two figures each with loss to tip of one foot.
254
Overall good condition with light wear, minor scattered scuffs and scratches, and dust accumulation commensurate with age. Light wear to feathers.
255
Overall good condition with light wear, minor scattered scuffs and scratches, and dust accumulation commensurate with age. Light wear to feathers.
256
Each overall good condition with shelf wear, dust accumulation, and scattered minor scuffs and scratches commensurate with age. Light wear to feathers. Wolf with partial loss to base. Clown kachina with loose watermelon slice, retained.
257
Each overall good condition with rubbed wear to polychrome, dust accumulation, and scattered scuffs and scratches commensurate with age. The tallest warrior lacking what was held in right hand, with break and losses to bow in left hand. The eagle with loss to top of headpiece.
258
Each overall good condition with light wear, minor scattered scuffs and scratches, and dust accumulation commensurate with age. Light wear to feathers. Larger with cracks to arm attachment joints and with partial fracture to wood verso.
259
Each overall good condition with light wear, minor scattered scuffs and scratches, and dust accumulation commensurate with age. Each with a few missing single feathers.
260
Each overall good condition with minor shelf wear, dust accumulation, and scattered minor scuffs and scratches commensurate with age. Light wear to feathers, with a few slightly bent.
261
Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.
262
Overall good condition with minor shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. A couple of minor chips to edge of textured area. Wax residue to base.
263
Visual of each: Overall good appearance.
Blacklight of each: No evidence of restoration.
Each frame: 18.25” H x 15.25” W x 3.5” D
264
Visual of each: Overall good appearance.
Blacklight of each: No evidence of restoration.
Frame of largest: 21.25” H x 18.125” W x 2.125” D
265
Visual of each: Overall good appearance.
Blacklight of each: No evidence of restoration.
Frame of each: 16.25” H x 19.25” W x 2.25” D
266
Overall good condition with scattered scuffing to body. Cork pads applied to underside.
267
Overall good condition with dust accumulation, shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age and use. One bear cub with loss to one ear.
268
Overall good condition with dust accumulation, shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
269
Overall good condition with dust accumulation, shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. A 0.375” shallow chip to lower back of figure.
270
Overall good condition with dust accumulation, shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age and use.
271
Overall good condition with dust accumulation, shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age and use.
272
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Fire clouding to underside and center of interior. Rubbed wear to slip-paintings.
273
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
274
Overall good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age.
275
Overall good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age.
276
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Shelf wear obtrusive to signature and inscription.
277
Overall good condition with minor shelf wear, scattered light scuffs and faint scratches, and inherent firing flaws commensurate with age.
278
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Small flea bites throughout intrinsic to clay. A 4” long vertical area of fire clouding. With inked mark to underside and three applied felt pads.
279
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
280
Overall good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. With graphite marks and wax residue to base.
281
Overall good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. Slight darkening to vase overall.
282
Overall good condition with light shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age.
283
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
284
Each overall good unused condition with dust accumulation and minor signs of wear commensurate with age.
285
Each overall good unused condition with dust accumulation and minor signs of wear commensurate with age.
286
Each overall good unused condition with dust accumulation and minor signs of wear commensurate with age.
287
Overall good condition with very minor wear to hide commensurate with age.
288
Overall good condition with dust accumulation, creasing, soiling, and wear to hide commensurate with age and use. Stiffeningto hide inareas. A single row of bead loss to top center. Distortion to laces, with missing quill stitches in areas. Oxidation to cone tips. Likely rust marks verso. Possibly lacking strap.
289
Overall good condition with dust accumulation and wear commensurate with age and use. Scattered areas of light soiling, scratches, and fabric wear to velvet verso. Wear to pile of velvet edge binding. Minor bead loss to the central motif, primarily near the top red arrow. Front top edge with wear and damage to handle lacing holes, lacking lacing to front. Lining with scattered minor stains.
290
Each in overall good condition with dust accumulation, light soiling, and wear commensurate with age and use. Each with scattered minor creasing, smudged marks to fingers, and darkening to the hide. Minor bead loss to leaf motif of right hand.
291
Each in overall good condition with dust accumulation, light soiling, and wear commensurate with age and use. Each with scattered marks and darkening to the hide. A few scattered bead losses to heart motifs. A few scattered areas of minor insect grazing.
292
Each overall good condition with dust accumulation, minor faint staining, and typical signs of wear commensurate with age and use. A few scattered small areas of loose or missing beads. A few scattered small tears and stitched repairs, largest: 3.5” L x 1” H, near one top edge. A few minor loose seams and threads, includng one fringing band with detached stitching near cuff. Linings with scattered marks and ligh soiling.
293
Overall good condition with dust accumulation and wear commensurate with age and use. The larger with a small area of white bead loss near one top edge. The smaller with a couple of single bead losses near lower edge of one side. Minor scuffs and marks and light wear to hide.
294
Each overall good condition with dust accumulation and minor wear commensurate with age and use. The hide bag with scattered light soiling, minor creasing and minor marks overall. The cap with a small row of white bead loss to one side, a few minor stitched repairs, with paper interlining to interior and later added lining. The rattle with added nylon loop for hanging.
295
Overall good condition with minor shelf wear and scattered minor scuffs and scratches commensurate with age.
296
Overall good condition with minor shelf wear and scattered minor scuffs and scratches commensurate with age. With splits in the wood, likely inherent to the piece but possibly expanded slightly over time.
297
Each overall good condition with minor shelf wear and scattered minor scuffs and scratches commensurate with age.
298
Each overall good condition with minor shelf wear and scattered minor scuffs and scratches commensurate with age.
299
Each overall good condition with minor shelf wear and scattered minor scuffs and scratches commensurate with age.
300
Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and indentations, inherent to the wood and commensurate with age. A few areas with minor staining along vertical cracks. Wings slightly loose on bolts, likely require tightening.
301
Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. A few minor chips to wood in places. Eagle figure at top with small loss to one ear.
302
Overall good condition with dust accumulation, shelf wear and scattered minor scuffs and scratches commensurate with age. With metal wire hanging loop verso. With custom wood storage box, with minor loss to one end.
Box: 36.5” H x 3.625” W x 3.5” D
303
Overall good condition with shelf wear, scattered scuffs, degradation to materials, fire clouding, and inherent firing flaws commensurate with age. Scattered chips to rim. Examination under UV reveals indications of re-assembly from shards.
304
Overall good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age.
305
Overall good condition with minor shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age.
306
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
307
Overall good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. Darkening to underside.
308
Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. One stone in naja with minor hairline fracture.
309
Overall good condition with light tarnishing and wear commensurate with age and use. Scattered stones with light abrasions. Tests for sterling with XRF.
310
Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Tests for sterling with XRF.
311
Overall good condition with light tarnishing and wear commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures.
312
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. Necklace tests for sterling with XRF.
313
Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions. Tests for sterling with XRF.
314
Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Tests for sterling with XRF.
315
Overall good condition with tarnishing, oxidation and light scratches commensurate with age and use. Stones with scattered abrasions and surface-reaching fractures. Does not test for sterling or for silver content. Stones not tested for treatment.
316
Each in overall good condition with tarnishing and light scratches commensurate with age and use. Stones with scattered abrasions, surface reaching fractures, and visible inclusions. Necklace missing central pendant stone, and one oval stone dangle detached, retained.
317
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions.
318
Overall good condition with light tarnishing and scratches commensurate with age and use. Tests for sterling with XRF.
319
Each in overall good condition with light tarnishing and wear commensurate with age and use. Scattered stones with light abrasions. Each tests for sterling with XRF.
320
Overall good condition with light tarnishing and scratches commensurate with age and use. Tests for sterling with XRF.
321
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. One stone with minor fracture near one edge. Each tests for sterling with XRF.
322
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones and inlay with scattered abrasions. Zuni cuff tests for sterling with XRF.
323
Each in overall good condition with tarnishing and scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures. Wire cuff turquoise with a minor fracture to one end. Two cuffs with slight distortion to shape. Three test for sterling and one tests for copper with XRF.
324
Overall good condition with light wear and scratches commensurate with age and use. Sones with scattered light abrasions and surface reaching fractures.
325
Each overall good condition with light wear and scratches commensurate with age and use. Stones and carved bone with scattered abrasions and surface reaching fractures. Light wear to neck cording.
326
Each overall good condition with light wear and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Light wear to neck cording.
327
Each overall good condition with light wear and scratches commensurate with age and use. Stones and carved horn with scattered abrasions and surface reaching fractures. Light wear to neck cording. Triple-strand with two turquoise bird beads with a break and loss to tail ends.
328
Each in overall good condition with light tarnishing and wear commensurate with age and use. Scattered stones with light abrasions.
329
Each in overall good condition with light tarnishing and wear commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. Each tests for sterling with XRF.
330
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Not tested for sterling.
331
Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions.
332
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. One ring with missing stone. One inlay ring with minor chip to turquoise element. Not tested for sterling.
333
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Largest cuff link with hairline fractures. Light wear to leather cords. Not tested for sterling.
334
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. Not tested for sterling.
335
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. One earring lacking post back.
336
Each overall good condition with light wear, dust accumulation, and minor scuffs and scratches commensurate with age. Some stones with surface reaching fractures.
337
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Ashtrays with slight residue to interiors.
338
Most overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Rondina Huma pot with repaired hairline.
339
Each point in overall good condition with intrinsic flaws in the stones and wear from weathering or excavation. A couple with minor later chips. Points appear to be adhered to the glass backing. Not examined off the glass.
Frame: 12.75” H x 16.75” W x 0.5” D
340
Each overall good condition with light wear commensurate with age and use. Stone with scattered minor scratches. Feathers with wear to each and break with loss to one feather.
341
Overall good condition with evidence of use and wear commensurate with age. Each with adhesive tape or paper label applied to one side.
342
Each in overall good condition with dust accumulation, soiling, and intrinsic flaws to stones with older chips to both.
343
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Each with scattered rubbed wear to slip painted decorations. One Nellie jar with two older fleabite chipped losses to rim, possibly inherent.
344
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.
345
Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Wedding jar with chipped losses to each spout rim.
346
Each with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The Nahee with a previous gift inscription to applied sticker. The dish with white bird previously lacquered with pooling lacquer to underside.
347
Each overall good condition with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. The first with a minor mark to exterior body near base. The second with a few minor fine spots.
348
Not examined out of case. Visually good condition with minor shelf wear to case. One acrylic mounting element loose/floating in the case.
349
Each overall good condition with dust accumulation, shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age and use.
John Moran Auctioneers, Inc
SPECIALISTS
Head of Sale, Vice President, Specialist, Silver, Western & American Indian Art
President, Auctioneer
Director, Fine Art
Associate Specialist, Fine Art
Associate Specialist, Fine Art
Department Administrator, Fine Art
Senior Cataloguer, Fine Art
Cataloguer, Fine Art
Cataloguer, Fine Art
Specialist / Department Manager, Furniture and Decorative Arts
Senior Specialist, Furniture & Decorative Art
Post-War & Contemporary Design Specialist
Cataloguer, Furniture & Decorative Arts
Cataloguer, Silver, Western and American Indian
Director, Jewelry & Watches
Senior Specialist, Jewelry & Watches
TRUSTS & ESTATES
Senior Vice President, Director Trusts & Estates
Director, Appraisals
Associate Appraiser
Department Administrator, Trusts and Estates
CLIENT SERVICES
Office/HR Manager
Client Services
Finance Administrator
Client Services
OPERATIONS
Vice President, Business Director, Auctioneer
Controller
Consignment Coordinator
Warehouse Supervisor, Senior Art Handler
Transport Supervisor, Senior Art Handler
Art Handler
Art Handler
MARKETING
Director, Advertising & Marketing
Manager, PR/Social Media
Graphic Designer
PHOTOGRAPHY
Senior Photographer, Head of Photography
Photographer
Photographer
FOUNDERS
Founder
Co-Founder
Maranda Moran
Jeffrey J. Moran
Katherine Halligan, AAA
Bobby Cullen
Ian Anderson
Jacob Baer
Anne Spink
Madison Ari
Lori Kassabian
Jen Kurtz
Angela Past
Matthew Grayson
Grant Stevens
Sally Andrew
Tom Burstein
Kelly Sitek
Morgana Blackwelder, ISA AM
Mariam Whitten, ISA AM
Shannon Dailey
Julia Kelley
Mario Esquivel
Ella Fountain
Jamie Holthauser
Bryan Ortega
Stephen Swan
Joseph Scott
Jean Rapagna
Richard Corral
Joe Miranda
Romero Corral
Robert Robles
Nathan Martinez
Brenda Smith
Brian Olivas
Keith Berson
Madison Torres
Wyatt Beserra
John H. Moran (1942-2017)
Madeleine Moran
This catalogue is meant merely as a guide. The Auctioneers do not warrant the accuracy, genuineness, authenticity, description, weight, count or measure of any of the lots specified herein.
BUYER’S PREMIUMS:
BUYER’S PREMIUM is calculated at 27% on the first $1,000,000 of the hammer price, plus 21% on any amount between $1,000,001 - $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check or wire transfer.
Credit card payments will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards. Buyers outside of the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside of the United States.
BIDDING INCREMENTS:
$100 - $475 @ $25 increments
$500 - $950 @ $50 increments
$1,000 - $1,900 @ $100 increments
$2,000 - $4,750 @ $250 increments
$5,000 - $9,500 @ $500 increments
$10,000 - $19,000 @ $1,000 increments
$20,000 - $47,500 @ $2,500 increments
$50,000 - $95,000 @ $5,000 increments
$100,000 - $190,000 @ $10,000 increments
$200,000 - $480,000 @ $20,000 increments
$500,000 & above @ $50,000 increments, or at Auctioneer's discretion.
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These Terms and Conditions of Sale (“Terms“) set out the terms by which the sale or purchase of property at auction through John Moran Auctioneers, Inc. (“Moran”) will be governed. These Terms constitute a legal and binding agreement between You and Moran.
AUCTION HOUSE AS AGENT
Except as otherwise expressly stated in writing, Moran acts as an agent for the seller. Thus, any contract for the sale of property through Moran is made between the respective seller and buyer.
BEFORE THE AUCTION
(a) Public Preview. All property is available for inspection by public or private preview according to the auction information posted online and in the catalogue. In many cases, particular lots can be examined in advance by private appointment by contacting a customer service representative at info@johnmoran. com or by dialing 626-793-1833. Prospective buyers are strongly encouraged to personally examine any property in which they are interested.
(b) Buyer’s Responsibility. Buyers are responsible for determining to their own satisfaction the true nature and condition of any lot prior to bidding. Though buyers are not legally required to inspect lots prior to purchase, failure to do so may constitute a waiver of complaint that an item was not delivered in a condition equal to the existent condition at the auction.
(c) Property Sold “As Is”: Neither Moran nor the seller provides any guarantee in relation to the nature of the property, or to any errors or omissions in the catalogue or supplemental material, apart from the Limited Warranty stated in Section 5 below. ALL PROPERTY IS SOLD “AS IS.” Condition reports are offered as a courtesy and are typically published in Moran’s catalogue, or online, or can be made available upon request. The absence of a condition report does not imply that an item is free from defects or restoration, nor does reference to particular defects imply the absence of others.
AT THE AUCTION
(a) Admission. Moran’s auction is open to the public, although Moran reserves the right to, in its sole discretion, refuse admission or participation to anyone at any time. The auction may be recorded (visually, aurally, or otherwise) and all participants or attendees at the auction consent to such recording.
(b) Buyer Registration. Prospective buyers must register with Moran before bidding. Moran may, in its sole discretion, require identification, financial references, or a deposit in advance of buyer eligibility. Registered bidders accept personal liability to pay the purchase price, including the Buyer’s Premium, as described in Section 4(a) below, plus all applicable charges, unless Moran agrees in advance that the bidder is acting as agent on behalf of an identified third party that Moran, in its sole discretion, deems acceptable. In such case, Moran will look to the third party for payment. Successful bidders may be required to further verify their identity before property is released.
(c) Bidding Guidelines. Bidding, whether in person or by agent, absentee bid, telephone, or internet, constitutes a bidder’s acceptance of these Terms. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer retains the absolute right to reject any bid; withdraw, pass, or divide any lots; combine multiple lots; advance the bidding at their absolute discretion; and—in the case of error or dispute, whether during or after the sale—determine the successful bidder; continue the bidding; cancel the sale; or re-offer and sell the lot in question. Under no circumstances are sellers, or agents acting on their behalf, permitted to bid on their own property. In the event of any dispute after the auction, Moran’s sale record shall be conclusive as to the successful bidder and the price of the successful bid.
(d) Absentee, Telephone, and Internet Bidding. Moran offers absentee, telephone, and internet bidding as a convenience to clients and does not accept liability for errors or failures to execute bids. Absentee and telephone bids must be recognized by Moran prior to auction day. When identical absentee bids are submitted that become the highest bids at the auction, the bid first received by Moran shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure.
(e) Reserves. Unless Moran expressly indicates otherwise, lots may be offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve for any lot shall not exceed its published estimate. Moran shall act to protect the reserve by bidding through the auctioneer, who may open bidding on any lot below the reserve by placing a bid on the seller’s behalf. The auctioneer may continue to bid on behalf of the seller up to the reserve amount, either by placing consecutive bids or by placing bids in response to other bidders. Lots without reserves are typically opened for bidding at 50% of their low estimate. In the absence of a bid at that level, the auctioneer may proceed backward at their discretion or deem the lot unsold if a bid is not recognized.
AFTER THE AUCTION
(a) Payment and Title Transfer. The buyer agrees to pay the sum of the hammer price plus Buyer’s Premium, plus any applicable sales tax. The Buyer’s Premium will be calculated as follows: 27% on the first $1,000,000 of the hammer price, plus 21% on any amount between $1,000,001 and $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check, or wire transfer.
Successful bidders using Live Auctioneers or Invaluable platforms will be charged a Buyer’s Premium calculated as follows: 32% on the first $1,000,000 of the hammer price, plus 26% on any amount between $1,00,001 and $5,000,000, and 20% on any amount above $5,000,000 when paying by cash, check, or wire transfer.
Credit card payments made directly to Moran will be subject to an additional 3% acceptance fee. This fee is not more than the cost of accepting these cards. The name and address associated with the credit card must match the name and address of the successful bidder. Credit Cards are not an accepted form of payment for buyers outside the United States.
Buyers are strongly encouraged to provide full payment at the auction. Payment must be received by Moran within five business days immediately following the auction. The buyer does not acquire title to and may not take possession of the lot until all amounts (including the hammer price, premium, and applicable taxes) due to Moran have been paid in full.
Unless alternate payment arrangements are made immediately following the auction, successful Live Auctioneers bidders will be automatically charged via Live Auctioneers’ LivePayments 24 hours after the auction. Payments made through Live Auctioneers LivePayments are subject to an additional processing fee and any applicable state sales tax.
(b) Collection: Buyers are strongly encouraged to collect purchased items from the sale site at the time of the auction. Packing material and labor are provided free of charge at the sale site during the auction. Packing and handling of purchased lots is undertaken by Moran solely as a convenience to customers. If a buyer opts to use this courtesy packing and handling service, Moran is not liable for damage to property, regardless of cause.
(c) Storage and Abandonment. Following the auction, uncollected lots shall be relocated to and stored in Moran’s warehouse. Moran shall retain possession of all purchases until full payment has been received from the buyer. Lots remaining uncollected after the fifth business day following the sale, regardless of payment status, are subject to a per-lot daily storage charge of $10.00. In addition to other remedies available by law, Moran reserves the right to impose upon delinquent buyers a separate 1% monthly charge (of the purchase price, or the maximum permitted by law) commencing on the sixth business day after the sale date. If a buyer fails to retrieve a purchased lot within thirty (30) days after the date of sale (the “Retrieval Period”), Moran may, without further notice, (a) continue to store the lot in Moran’s warehouse, or at the warehouse of a third-party, subject to the storage charge described above; (b) deliver the lot to the buyer at the buyer’s expense; or (c) sell the lot at auction without reserve at a place and time determined by Moran in its sole discretion.
(d) Consequences of Late Pick-Up/Abandoned Property. Notwithstanding the foregoing, Moran has no duty to store any lot indefinitely. Any purchased lot that remains in Moran’s possession sixty (60) days after the Retrieval Period (collectively, ninety (90) days) will be deemed abandoned (“Abandoned Property”) and title to it will pass to Moran. Moran may, in its sole discretion, discard or sell any Abandoned Property and may keep any proceeds from any such sale. Moran may not be held liable for any claims related to Abandoned Property. Moran is not responsible for damage or loss that occurs to Abandoned Property and Moran is not responsible for insuring Abandoned Property after the Retrieval Period.
(e) Shipping. As a courtesy to buyers, Moran provides a list of preferred shippers who are in the business of transporting antiques and works of art. Buyers are responsible for arranging their own shipping estimates and deliveries. Moran, in its sole discretion and as a courtesy to buyers, may arrange to have purchased lots packed, insured, and forwarded by a third-party shipper at the request, expense, and risk of the buyer. In circumstances where Moran arranges for such third-party services, Moran may apply an administration charge of 15% of that service fee. Moran assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers, even if recommended by Moran. Moran also assumes no responsibility for any damage to picture frames or to the glass therein.
(f) All Sales Final. Notwithstanding other terms mentioned herein, refunds may be given in Moran’s sole discretion. Refunds requested on the grounds of authenticity must be made within 180 days of the auction and accompanied by a supporting written statement from a recognized authority (defined as a person who has authored, edited, or substantially contributed to a monograph on the artist; a person who has curated, organized, or substantially contributed to a solo exhibition on the artist; or a person who has represented the artist’s estate or someone who represented or worked closely with the artist while they were alive and, in any of the foregoing instances, physically handled works of the period, medium, and subject matter in question during the course of their duties) stating that the object sold is incorrect or not the work of the artist. Dealers, appraisers, and representatives of other auction firms do not qualify as authenticators of individual artists unless they have had such specific involvement with that artist’s work, as specified above, in addition to their daily duties. Refunded lots must be returned to Moran in the same condition as when sold. Moran does not grant extensions to refund considerations based upon authenticity due to shipping delays. There are no exceptions to this refund policy.
LIABILITY AND LIMITED WARRANTY
(a) Liability. The buyer expressly agrees that (i) neither Moran nor the seller shall be liable, in whole or in part, for any special, indirect, or consequential damages, including, without limitation, loss of profits, and (ii) the buyer’s damages, if any, are limited exclusively to the original purchase price paid for the lot.
(b) Limited Warranty. ALL PROPERTY IS SOLD AS IS. Neither the seller nor Moran or its associates make any representation, express or implied, warranty (including merchantability and fitness), or guarantee in condition, age, size, provenance, medium, signature, inscription, exhibition history, importance, rarity, country of origin, genuineness, historical relevance, monetary or other value, framing or lack thereof, mounting, conservation, coloring, palette, inscription, edition, style, label, or other descriptor. No statement in the catalogue, brochures, website, bill of sale, invoice, any supplementary material, or statements by any Moran employee shall be deemed a warranty, representation or assumption of liability.
(c) Descriptions. No warranty, whether express or implied, is made with respect to any description contained in this auction or any second opinion. Any description of the items or second opinion is for the courtesy of identifying the items for those bidders who do not have the opportunity to view the lots in person, and no description of items has been made part of the basis of the transaction or has created any express warranty that the goods would conform to any description made by the auctioneer. Color variations can be expected in any electronic or printed imaging and are not grounds for the return of any lot.
(d) Estimates. All estimates provided are carefully considered opinions of Moran’s specialists and are merely suggested guidelines for interested buyers. Buyers must be aware that all property sold is subject to fluctuating values depending on the subjective interests of collectors and a wide variety of other uncontrollable factors. The lots auctioned may sell at prices above, within, or below estimate.
(e) Notices, Demands, and Refunds. Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be made (1) in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016 or (2) via email at info@johnmoran.com.
(f) Notices, Demands and Refunds: Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016.
ADDITIONAL MATTERS
(a) Copyright. The copyright on all images, illustrations, and written material produced by or for Moran for its auction is and will remain at all times the property of Moran. Moran and the seller make no representation or warranty that the buyer will acquire any copyright or reproduction rights to a purchased lot.
(b) Buyer’s Breach of Conditions. If a buyer fails to comply with any of these Terms, Moran may, in addition to asserting all remedies available by law, including the right to hold that buyer liable for the purchase price, (i) cancel the sale, retaining as liquidated damages any payment made by the buyer; (ii) resell the property without reserve at public auction or privately upon notice to the buyer; or (iii) take such other action as Moran deems necessary or appropriate. If Moran resells the property, the original defaulting buyer shall be liable for the payment of any deficiency between the original sale price and any subsequent mitigation sale, including warehousing, the expenses of both sales, reasonable attorney’s fees, commissions, incidental damages, and all other charges due hereunder. In the event that such buyer pays a portion of the purchase price for any property, Moran’s shall apply the payment received to such property that Moran, in its sole discretion, deems appropriate. Moran shall have the benefit of all rights of a secured party under the Uniform Commercial Code as adopted in the State of California.
(c) Governing Law. The rights and obligations of the parties with respect to these Terms and the conduct of the auction shall be governed and interpreted by the laws of the State of California.
(d) Arbitration. Any dispute, claim, or controversy arising out of or relating to these Terms or the breach, termination, enforcement, interpretation, or validity thereof, including the determination of the scope or applicability of this agreement to arbitrate, shall be determined by private arbitration before an arbitrator. The arbitration shall be administered by JAMS pursuant to its Comprehensive Arbitration Rules and Procedures. Judgment on the award may be entered in any court having jurisdiction.
This clause does not preclude the parties from seeking provisional remedies in aid of arbitration from a court of appropriate jurisdiction. The parties shall maintain the confidential nature of the arbitration proceeding and the award, including the hearing, except as may be necessary to prepare for or conduct the arbitration hearing on the merits, or except as may be necessary in connection with a court application for a preliminary remedy, a judicial challenge to an award or its enforcement, or unless otherwise required by law or judicial decision.
In any arbitration arising out of or related to these Terms, the arbitrator shall award to the prevailing party, if any, the costs and attorneys’ fees reasonably incurred by the prevailing party in connection with the arbitration. If the arbitrator determines a Party to be the prevailing party under circumstances where the prevailing party won on some but not all of the claims and counterclaims, the arbitrator may award the prevailing party an appropriate percentage of the costs and attorneys’ fees reasonably incurred by the prevailing party in connection with the arbitration.
(e) Severability. Should any of these conditions be deemed unenforceable, invalid, or illegal in any court having jurisdiction, that part shall be severed from these Terms and shall have no effect on the enforceability of the remaining provisions contained herein, which shall remain valid to the fullest extent permitted by law.
