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Art of the American West

Wednesday, November 19 , 2025 SINCE 1969

AUCTIONEERS & APPRAISERS w w w. j o h n m o r a n . c o m

Art of the American West November 19, 2025 | 10am PST Sale 325 145 East Walnut Avenue, Monrovia CA 91016

This is an interactive catalogue. Click on any item description or hyperlink for more information.

Previews:

Friday, November 14th: 12-4pm Saturday, November 15th: 12-4pm Monday, November 17th: 12-4pm Tuesday, November 18th: Doors open 10am Wednesday, November 19th: Doors open 9am

Meet the Team Maranda Moran Vice President Head of Sale, Art of the American West m.moran@johnmoran.com Sally Andrew Cataloguer, Silver Jewelry & Decorative Arts s.andrew@johnmoran.com

Grant Stevens Cataloguer, Decorative Arts g.stevens@johnmoran.com

Madison Ari Cataloguer, Fine Art m.ari@johnmoran.com

Client Services Mario Esquivel Office Manager m.esquivel@johnmoran.com

Ella Fountain Client Services e.fountain@johnmoran.com

SINCE 1969

AUCTIONEERS & APPRAISERS

The Collection of Kathy and Richard Schultheis For Kathy and Richard Schultheis, collecting Western and Native American art was never simply about acquisition, it was about connection. Their passion for the art of the West grew from a deep appreciation for the people and places that inspired it. A farmer, rancher, and lawyer by trade, Richard shared with Kathy a profound curiosity and respect for the region’s artistic traditions, finding joy in the stories woven into each pot, rug, carving, and canvas they brought home. Their adventures as collectors began with a business trip to the Southwest in the early 1990s, when a visit to an Indian market revealed the vibrant world of Native American artistry. What started as Kathy’s enthusiasm for discovery quickly became a shared pursuit; Richard embraced the thrill of finding art that spoke to them both. From Arizona to New Mexico and Utah, the couple spent years on the road together, meeting artists face to face and supporting their craft, whether in a gallery, a roadside stall, or an open-air market. As their collection grew, so did their relationships with the artists and the Western art community. Kathy’s involvement as a board member of the Western Art Association and Richard’s status as a familiar face at the Ellensburg Western Art Auction reflected their dedication not only as collectors but as advocates for the art form they loved. Guided by joy and authenticity, the Schultheis’ filled their home with works that resonated on a personal level, pieces chosen not for prestige, but for the spark they brought to daily life. The collection being offered celebrates their lifelong journey together and the enduring beauty they found in the art and spirit of the American West.

3001

Marjorie Reed

(1915-1996) “Sunset on the Old Stage Trail” Oil on canvasboard Signed lower right: Marjorie Reed; signed again and titled in ink on a label affixed verso 9” H x 12” W $800-1,200

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3002

Marjorie Reed

(1915-1996) Red wagon through a western landscape Oil on canvas laid to board Signed lower right: Marjorie Reed 16” H x 20” W $1,800-2,200

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3003

William “Willie” Murphy

(20th century) Family outside the hogan in winter, 1997 Oil on canvas Signed and dated lower left: Murphy 97 24” H x 48” W $800-1,200 Provenance: The Schultheis Estate, WA

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3004

Richard Baerman

(1929-2009) “Country Kitchen” Oil on canvas Signed with the artist’s device and dated lower right: Dick Baerman / © 90; titled in ink on the stretcher 16” H x 20” W $300-500 Provenance: The Schultheis Estate, WA

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3005

Heinie Hartwig

(b. 1937) Cooking beside a river Oil on Masonite With the incised signature lower left: Heinie Hartwig © 5” H x 7” W $500-700 Provenance: Joe & Retha Staats By family descent

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3006 Bill Neal

(b. 1942) “An Extra Calf,” 1996 Oil on canvas Signed and with the artist’s device lower right: © Bill Neal; signed again, titled, and dated, all verso 16” H x 20” W $300-500 Provenance: The Schultheis Estate, WA

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3007

Robert Walton

(1934-2019) Wagon train in red canyon, 2002 Oil on canvas Signed and dated lower left: Robert Walton © ‘02 26” H x 40” W $1,000-1,500 Provenance: The Schultheis Estate, WA

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3008

Robert Hagen

(b. 1947) “Startled” Oil on canvas laid to panel Signed lower left: Hagen; titled by repute 32” H x 55” W $2,000-3,000

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3009

John Stanford

(b. 1947) Mounted cowboy herding longhorns Oil on canvas Signed lower right: J. Stanford 20” H x 24” W $300-500 Provenance: The Schultheis Estate, WA

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3010

Karen Boylan

(b. 1946) “Just Between You and Me,” 2001 Oil on canvas Signed and dated lower left: K Boylan / © 2001; titled in ink, in another hand, on a label strung to the frame’s hanging wire 12” H x 16” W $2,000-3,000 Provenance: The Schultheis Estate, WA

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3011

Hans Ressdorf

(1918-2011) Cowboy and packhorse at rest Oil on canvas Signed lower left: HRessdorf 20” H x 16” W $800-1,200

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3012

Fred William Quitta

(1959-2018) “Leather Light,” 1998 Watercolor on paper Signed and dated lower right: JW Quitta / © 98; titled in pencil, possibly in another hand, on the frame’s backing board Sight: 28” H x 36” W $400-600 Provenance: The Schultheis Estate, WA

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3013

Steven Lang

(b. 1960) “God’s Country” Oil on canvas Signed lower right: © Lang OPA; titled on the frame plaque 25” H x 18” W $1,500-2,500 Provenance: The Schultheis Estate, WA

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3014

Bill Mittag

(1935-2025) “Fleeting Moments” Oil on linen laid to panel Signed lower left: Bill Mittag; signed again and with the artist’s device, verso; titled on the frame plaque 7” H x 5” W $400-600 Provenance: The Schultheis Estate, WA

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3015

Don Brown

(20th century) “Old Red Barn,” 2000 Oil on canvas Signed and dated lower right: © Brown 2000; titled, numbered, and inscribed, all verso: #040008 / (Barn Near Sisters, Oregon) 15” H x 30” W $600-800 Provenance: Fred Oldfield’s: Western Heritage & Art Center, Puyallup, WA The Schultheis Estate, WA

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3016

Don Brown

(20th century) “Long Day,” 2001 Oil on Masonite Signed lower right: © Brown ‘01; titled and numbered “#030106,” verso 11.5” H x 9” W $200-300 Provenance: The Schultheis Estate, WA

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3017

Frank Howard Marshall

(1866-1945) “Vernal and Nevada Falls,” 1925 Oil on canvas laid to board Signed lower right: F.H. Marshall; signed again, titled, dated, and inscribed in ink, possibly in another hand, on a label affixed verso: “1925 / Palo Alto. Cal. / From Glacier Point, Yosemite” 14” H x 9.5” W $600-800 Exhibited: Palo Alto, CA, Art Club, n.d.

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3018

Heinie Hartwig

(b. 1937) “Yosemite View” Oil on Masonite With the incised signature lower left: Heinie Hartwig; titled verso 9” H x 7” W $600-800

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3019

Heinie Hartwig

(b. 1937) “Campfire” Oil on Masonite With the incised signature lower right: Heinie Hartwig ©; titled on the frame’s verso 4.875” H x 6.875” W $400-600 Provenance: Joe & Retha Staats By family descent

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3020

Heinie Hartwig

(b. 1937) “Grand Teton Encampment” Oil on Masonite With the incised signature lower left: Heinie Hartwig ©; titled verso 9” H x 14” W $700-900 Provenance: Joe & Retha Staats By family descent

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3021

3022

(b.1937) “Light on the Ridge” Oil on Masonite With the incised signature lower left: Heinie Hartwig ©; titled verso, and again on an information label affixed verso 9” H x 12” W

(b. 1952) “Sunset Shadows” Oil on canvas Signed lower left: James Lee; titled by repute 24” H x 48” W

Heinie Hartwig

$700-900 Provenance: Joe & Retha Staats By family descent

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James Lee

$800-1,200 Provenance: The Schultheis Estate, WA

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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 th sensitivity to light and atmosphere. His painting coastline, the Sierra Nevada mountains, and de

Early in his career, Doheny worked as a comme foundation is evident in the technical precision of light, shadow, and texture that brings a sense sublime beauty of untouched nature. Each com grandeur and tranquility over human presence. dominated by abstraction and conceptualism s

Over the years, Dennis Doheny has received nu Prize” at the 2016 California Art Club’s 105th A West exhibition; the Frederic Remington Award Museum’s Prix de West; and the Inaugural Purc in both public and private collections, and he c

e painter Dennis Doheny is renowned for his luminous and meticulously detailed d in Los Angeles as a third-generation Californian, Doheny developed an early influenced his artistic vision. Though largely self-taught, his style reflects a he Hudson River School and early California Impressionists, with a modern gs often feature dramatic vistas of the American West, particularly the California esert landscapes.

ercial artist before turning to fine art full-time in the mid-1990s, and this of his work. Doheny’s paintings also have emotional resonance in the artist’s use e of realism and serenity to his landscapes, inviting viewers to experience the mposition reflects a deep reverence for the environment, often emphasizing . His dedication to traditional landscape painting in a contemporary art world sets him apart.

umerous accolades, including prestigious awards such as “The Irvine Museum Annual Gold Medal Exhibition and the Autry Museum’s Masters of the American d for “exceptional artistic merit” at the National Cowboy & Western Heritage chase Prize at the Eiteljorg Museum’s “Quest for the West.” His paintings are held continues to influence a new generation of realist landscape painters.

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3023

Dennis M. Doheny

(b. 1956) “Snow Landscape with Indians,” 1978 Oil on canvas Signed and dated lower left: Dennis M. Doheny 78’ ©; titled on a gallery label affixed to the frame’s verso 30” H x 40” W $8,000-12,000 Provenance: Petersen Galleries, Beverly Hills, CA

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3024

Hulan Fleming

(b. 1933) Moonlit river with teepees beneath a flat-topped mountain, 2002 Oil on Masonite Signed and with the artist’s device lower right: Hulan Fleming; dated in ink, verso: 10/17/02 11” H x 14” W $300-500 Provenance: The Schultheis Estate, WA

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3025

Joni Falk

(b. 1933) “Sunrise Serenity” Oil on canvas Signed and inscribed lower left: Joni Falk W/AWA; titled on the frame plaque 20” H x 20” W $2,000-3,000

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3026

Gene Speck

(b. 1937) “By the Grandfather Tree” Oil on Masonite Signed lower left: Gene Speck; titled in ink, possibly in another hand, on a label affixed to the frame’s backing paper 18” H x 24” W $2,000-4,000 Provenance: Zantman Art Galleries, Carmel, CA

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3027

Heinie Hartwig

(b. 1937) Ranch in a sunset landscape Oil on canvas With the incised signature lower left: Heinie 48” H x 60” W $3,000-5,000

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3028

Antonio Zeno Shindler

(1813-1899) Native Americans in a plains landscape Oil on canvas laid to board Signed with the artist’s monogram lower left 6.5” H x 10” W $2,000-3,000 Notes: The artist is also known as Antonion Zeno Shindler and A. Zeno Shindler.

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3029

Randy Van Beek

(b. 1958) “Blackfoot Lake Camp” Oil on canvas Signed lower right: R Van Beek ©; titled in green ink, in another hand, on a label strung on the frame’s hanging wire 20” H x 24” W $4,000-6,000 Provenance: The Schultheis Estate, WA

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3030

Jorge Tarallo

(b. 1951) “Before the Hunt,” 1984 Oil on canvas Signed, dated, and with the artist’s device, all lower right: Jorge Tarallo / 84 ©; titled on the stretcher; titled again on a gallery label affixed verso 30” H x 40” W $800-1,200 Provenance: The May Gallery, Jackson, WY

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3031

John Sykes

(1859-1934) “Wagon Trail Ambush” Oil on canvas Signed lower right: John Sykes; signed again verso; titled by repute 22” H x 28” W $500-700

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3032

Ron Bailey

(1943-1983) Three teepees by the river bend, 1971 Oil on Masonite Signed and dated lower right: Ron Bailey 71 24” H x 36” W $1,000-1,500 Provenance: The Schultheis Estate, WA

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3033

William Battermann

(20th century) “Heading for the Shade” Oil on Masonite With the incised signature lower left: WE Battermann; signed again, verso; titled on a label affixed verso 18” H x 24” W $600-800 Provenance: The Schultheis Estate, WA

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3034

Nancy McLaughlin

(1932-1985) Native American riders and horses, 1973 Offset lithograph in colors on paper With the printed signature and date lower right: McLaughlin / 1973 Sight: 4.875” H x 6.75” W $400-600 Provenance: The Schultheis Estate, WA

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3035

Sheryl Bodily

(b. 1936) “Drying Out” Oil on Masonite Signed lower left: Bodily; titled verso 18” H x 24” W $500-700 Provenance: The Schultheis Estate, WA

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3036

Steven Lang

(b. 1960) “New Sun Rising” Oil on canvas Signed lower right: © Lang; titled on the frame plaque 36” H x 26” W $1,000-1,500 Provenance: The Schultheis Estate, WA Notes: Steven Lang writes of the present work, “Among Native Americans, the sound of the drum is considered the heartbeat of the soul. Much of their old time music, songs and dances was a response to personal visions and tribal society accomplishments. Other drumming was to gather the people for significant events and tribal councils. As the poster artist for the Western Art Associations Year 2000 show, I felt compelled to depict a scene with elements of the Old West, i.e., the symbolic buffalo skull, the proud Indian singing his greeting to a new sun rising while beating out a rhythm on his drum. This combination seems to be the perfect metaphor for celebrating the dawn of the new millenium[sic] while acknowledging our Western Heritage.”

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3037

Walter Bambrook

(1910-1984) New Mexican adobe home, circa 1950s Oil on canvas Signed lower right: Bambrook 24.125” H x 29.125” W $500-700 Provenance: Private collection, California Private collection, acquired from the above by descent Notes: Lifelong Albuquerque-native Walter Bambrook’s artistic practice focused on depictions of his local New Mexican landscape and adobe structures. Bambrook attended art school at the University of New Mexico and then continued his studies under Carl von Hassler for four years. He made extensive painting trips throughout the state, working on sketches and completing works on site, and also taught art at the University, as well as the Heights Community Club, and the Women’s Club of Albuquerque. Bambrook was exhibited throughout the country, including at the Corcoran Gallery in Washington, D.C., and the High Plains Historical Museum in Canyon, TX, and received many prestigious awards. Bambrook was a member of and served as National Vice-President (1969-70) at Artists Equity. 52

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3038

Conrad Buff

(1886-1975) Mountain landscape Oil on paperboard Signed lower left: C. Buff 8” H x 11” W $400-600

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3039

Allan Houser

(1914-1994, Chiricahua Apache) “Night Song,” 1985 Patinated bronze on stone plinth Edition: 6/20 Signed and dated in the casting: Allan Houser © 85; impressed edition and foundry mark: AF [in a trapezoidal cartouche] Bronze: 10.625” H x 8” W x 6” D; Overall: 11.75” H x 8” W x 6” D $5,000-7,000 Notes: This lot is accompanied by an “insurance valuation” issued by Allan Houser Inc., Santa Fe, NM, dated May 2, 2013.

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3040

Dave McGary

(1958-2013) “Short Bull” from the “Warrior Series,” 1993 Cold-painted bronze on rotating wood plinth Edition: 2/75 Signed, dated, and numbered in the casting: Dave McGary; with applied thumbprint pastille; artist name and title to metal plaque applied to plinth Bronze: 17” H x 9.25” W x 7.5” D; Overall: 19.25” H x 9.25” W x 10” D $2,000-3,000 Notes: This lot is accompanied by Certificate of Authenticity issued by the artist’s studios, signed by the artist, dated July 27, 1993. Additionally accompanied by care instructions, infographic material, and a cassette tape with unknown contents, all from the artist’s studios.

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3041

Ted DeGrazia

(1909-1982) “Buffalo Kill,” 1961 Oil on canvas Signed lower right: DeGrazia; signed again and inscribed, verso: “Juan Galvan / Tucson / Arizona / USA”; titled and dated by repute 22” H x 28” W $3,000-5,000 Notes: This piece was commissioned to illustrate an unpublished account of a Spanish soldier, Juan Galvan, from the Presidio San Antonio, Texas, in the 1720s.

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3042

Ted DeGrazia

(1909-1982) “Big War Spaniards and Indians,” 1961 Oil on canvas Signed lower right: DeGrazia; signed again and inscribed, verso: “Juan Galvan / Tucson Arizona / USA”; titled in pencil on the stretcher; dated by repute 16” H x 22” W $1,500-2,000 Notes: This piece was commissioned to illustrate an unpublished account of a Spanish soldier, Juan Galvan, from the Presidio San Antonio, Texas, in the 1720s.

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3043

Ted DeGrazia

(1909-1982) “Indians on Warpath,” 1961 Oil on canvas Signed lower right: DeGrazia; signed again and inscribed, verso: “Juan Galvan / Tucson Arizona / USA”; titled in pencil on the stretcher; titled again and dated on a label taped to the frame’s verso 18” H x 20” W $1,500-2,000 Notes: This piece was commissioned to illustrate an unpublished account of a Spanish soldier, Juan Galvan, from the Presidio San Antonio, Texas, in the 1720s.

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3044

Ted DeGrazia

(1909-1982) “Indians Tan Hides,” 1961 Oil on canvas Signed lower right: DeGrazia; signed again and inscribed, verso: “The Life of Juan Galvan / Tucson Arizona / USA”; titled and dated on a label taped to the frame’s verso 18” H x 24” W $1,000-1,500 Notes: This piece was commissioned to illustrate an unpublished account of a Spanish soldier, Juan Galvan, from the Presidio San Antonio, Texas, in the 1720s.

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3045

Ted DeGrazia

(1909-1982) “Old Indian and Wife Trade,” 1961 Oil on canvas Signed lower right: DeGrazia; signed again and inscribed “Tucson / Arizona / Galvan” verso; titled in pencil on the stretcher 9” H x 12” W $1,500-2,000 Notes: This piece was commissioned to illustrate an unpublished account of a Spanish soldier, Juan Galvan, from the Presidio San Antonio, Texas, in the 1720s.

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3046

Ted DeGrazia

(1909-1982) “Juan 1722-1762,” 1961 Oil on canvas Signed lower right: DeGrazia; signed again and inscribed, verso: “Muy Macho / Juan Galvan / Tucson / Arizona / USA”; titled and again inscribed “Muy Macho,” all in pencil on the stretcher; dated by repute 24” H x 18” W $1,500-2,000 Notes: This piece was commissioned to illustrate an unpublished account of a Spanish soldier, Juan Galvan, from the Presidio San Antonio, Texas, in the 1720s.

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3047

Ted DeGrazia

(1909-1982) “Spirits War Dance,” 1961 Oil on canvas Signed lower right: DeGrazia; signed again and inscribed, verso: “Juan Galvan Story / Tucson / Arizona / USA”; titled in pencil on the stretcher; dated by repute 24” H x 20” W $1,500-2,000 Notes: This piece was commissioned to illustrate an unpublished account of a Spanish soldier, Juan Galvan, from the Presidio San Antonio, Texas, in the 1720s.

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3048

Ken Bjorge

(1943-2025) “Brothers of the Arrow,” 1993 Patinated bronze on slate and wood base Edition: 13/35 Signed, dated, and numbered in the casting: © Bjorge / 93 Overall: 13.5” H x 23” W x 11” D $1,000-2,000 Notes: By repute, a possible alternate title for this piece is “The Gift Was Ours.”

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3049

Gerald Balciar

(b. 1942) Cougar, 1993 Patinated bronze on wood plinth Edition: 8/20 Signed, dated, and numbered in the casting: G. Balciar © Bronze: 12.625” H x 18” W x 7” D; Overall: 14.25” H x 19.75” W x 7.5” D $1,000-1,500

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3050

Cheri Christensen

(20th century) “The End” Oil on Masonite Signed lower right: C. Christensen; titled on labels affixed to the frame’s verso 11” H x 14” W $300-500 Provenance: Contemporary Southwest Galleries, Santa Fe, NM Stanley and Mary Wadsworth, Durango, CO, acquired from the above, September 17, 1999 Exhibited: Santa Fe, NM, Contemporary Southwest Galleries, “Cheri Christensen: Light Dancing Across Forms,” September 17-28, 1999 Literature: “Cheri Christensen: Light Dancing Across Forms,” September 17-28, 1999 (Santa Fe: Contemporary Southwest Galleries, 1999), illus. Notes: This lot is sold together with information about the artist and a copy of the sales invoice dated September 17, 1999, from the gallery mentioned above.

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3051

William Cather Hook

(b. 1948) “Canyon Road Garden” Acrylic on canvas Signed lower left: W. C. Hook; titled and with the number 744 on the artist’s label affixed to the frame’s backing board 18” H x 24” W $1,500-2,000

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3052

Hita von Mende

(20th century) Horses watering along a stream Oil on canvas Signed lower right: von Mende 30” H x 30” W $1,000-1,500 Provenance: The Schultheis Estate, WA

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3053

Baje Whitethorne

(1951-2023, Diné/Navajo) “Middle Mesa,” 1989-90 Watercolor and ink on paper Signed and dated lower left: Baje Whitethorne © 89; signed again, titled, and dated 1990 in blue ink on the frame’s backing board Sight: 14.5” H x 10.5” W $300-500 Provenance: The Schultheis Estate, WA

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3054

Gabe Gabel

(20th century) “Waterhorse,” 2005 Acrylic on canvas Signed and dated lower right: © gabel ‘05; signed again and titled in pencil, verso 40” H x 30” W $1,000-1,500 Provenance: The Schultheis Estate, WA

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3055

Gabe Gabel

(20th century) “Rising Wind [Skyhorse Variation],” 1995 Cold-painted bronze on a wood plinth Edition: 15/20 Signed, dated, titled, and numbered in the casting: © 95 / gabel; titled to metal plaque Bronze: 18” H x 25” W x 7” D; Overall: 19.5” H $500-700 Provenance: The Schultheis Estate, WA Notes: This lot is accompanied by a purchase receipt from the artist’s studio.

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3056

Jim Nelson

(1943-2022) “High Mountain Sheep,” 2000 Acrylic on board Signed and dated lower left: J. Nelson 00; , signed again, titled, and with the artist’s copyright, all verso 48” H x 36” W $1,500-2,000 Provenance: The Schultheis Estate, WA

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3057

Jim Nelson

(1943-2022) “SkyHorse” Acrylic on panel Signed and titled lower right: J. Nelson 48” H x 24” W x 1.75” D $1,500-2,000 Provenance: The Schultheis Estate, WA

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3058

Jim Nelson

(1943-2022) “Eye of the Hunter” Acrylic on birch Signed lower left: J. Nelson; titled verso 18” H x 20” W $1,000-1,500 Provenance: The Schultheis Estate, WA

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3059

Jim Nelson

(1943-2022) “The Moon Dreamer” Acrylic on board Signed and titled, verso: J. Nelson; titled again on two labels affixed verso 16” H x 24” W $1,000-1,500 Provenance: The Schultheis Estate, WA Notes: According to the label affixed verso, “The Moon Dreamer is a painting depicting a shaman who gains his powers from the full moon. He prays to the moon and sends forth his messages by birds and by dragonflies.”

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3060

Jim Nelson

(1943-2022) “Buffalo Heart,” 1994 Acrylic on canvas Signed and dated lower right: J. Nelson / 94; signed (twice) and dated again, titled, and inscribed, all verso: “To Dick & Kathy / you support my work / thank you very much / run quick little / moose owl hunts you”; titled again on a label affixed to the frame’s verso 21” H x 17” W $1,000-1,500 Provenance: The Schultheis Estate, WA

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3061

Jim Nelson

(1943-2022) Native American wearing a blue robe with shells, 1993 Acrylic on canvasboard Signed and dated lower right: J. Nelson 93 10” H x 8” W $700-900 Provenance: The Schultheis Estate, WA

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3062

Jim Nelson

(1943-2022) “Keeper of the Shield,” 1991 Acrylic on canvas Signed, dated, and with the artist’s mouse device lower left: J. Nelson / 91; titled, dated, and inscribed, all verso: “A Ghost Shield from the outlawed / Ghost Dance. The Ghost Dance / and its performance...was a / contributing factor to the mass / murder of the Sioux at Wounded / Knee.. / J. 9/93” 36” H x 24” W $800-1,200 Provenance: The Schultheis Estate, WA

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3063

Jim Nelson

(1943-2022) Four Indigenous warriors and a crow Offset lithograph in colors on canvas Edition: AP 2/2 Signed and numbered in purple pigment, lower left: J. Nelson 40.5” H x 30.25” W $700-900 Provenance: The Schultheis Estate, WA

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3064

Jim Nelson

(1943-2022) “Top of the Order” Offset lithograph in colors on paper One of three artist’s proofs (aside from the edition of 20) Signed and numbered in blue pencil lower left: J. Nelson / AP 2/3; with the artist’s signature and copyright printed in the image in the same location; titled on a paperboard plaque affixed to the lower portion of the overmat Sight: 20.375” H x 42.125” W $400-600 Provenance: The Schultheis Estate, WA

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3065

Jim Nelson

(1943-2022) Warrior with wolf skin headdress, 1993 Offset lithograph in colors on canvas Edition: 2/100 Signed, dated, and numbered in ink, lower right: J. Nelson 18” H x 18” W $400-600 Provenance: The Schultheis Estate, WA

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3066

Mike Toledo

(1966-2025, Navajo/Diné) Five ceremonial men, 1994 Carved red alabaster on a wood plinth With etched signature and date: Mike Toledo / 94 Stone: 11” H x 28.25” W x 5” D; Overall: 13.625” H x 30.5” W x 6” D $300-500 Provenance: The Schultheis Estate, WA

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3067

Alvin Marshall

(b. 1959, Navajo/Diné) Male bust in wolf headdress Carved alabaster on wood plinth Incised signature verso: © Alvin K Marshall Stone: 11.625” H x 10.5” W x 6.375” D; Overall: 13” H $300-500 Provenance: The Schultheis Estate, WA

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3068

Amy Burnett

(b. 1944) Abstract composition of man and elk Offset image in colors on panel Signed in ink lower right: Amy Burnett 12.5” H x 25” W x 0.125” D $1,000-1,500 Provenance: The Schultheis Estate, WA

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3069

Amy Burnett

(b. 1944) “From a Train Window,” 1991 Offset image in colors on panel Signed in gold ink lower right: Amy Burnett; with the printed title and dated 1991 near the lower edge, at left 13.5” H x 25” W x 0.125” D $1,000-1,500 Provenance: The Schultheis Estate, WA

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3070

Jim Thomason

(20th century) “Reading Signs on the War Path,” 1993 Watercolor on paper Signed and dated lower right: Jim Thomason / ‘93; titled by repute Sight: 14” H x 10.375” W $800-1,200 Provenance: Sold: National Western Art Show and Auction, Ellensburg, WA, May 16, 1998, Lot 20 The Schultheis Estate, WA

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3071

Mike Larsen

(b. 1945) “Chief Gall” Acrylic on canvas Signed and inscribed lower right: Larsen / ©2M; titled on the sales invoice 50” H x 40” W $2,000-3,000 Provenance: Gallery A, Taos, NM Mary and Stanley Wadsworth, Durango, CO, acquired from the above Notes: This lot is accompanied by an artist’s sketchbook containing sketches and notes by the artist related to this work, as well as a sales invoice dated September 15, 2000, from the gallery mentioned above.

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3072

William Matthews

(b. 1949) “Ute Elder” Lithograph in colors on wove paper Edition: 16/50 Signed, titled, and numbered in pencil in the lower margin: William M.; titled and numbered again on a label strung to the hanging wire Image: 26.5” H x 12” W; Sight: 28.5” H x 13.5” W $200-400

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3073

John Manuel Gutierrez

(b. 1963) Shaman figure Painted burlap, copper, and mixed media mounted in a stone base Signed to burlap verso: J Gutierrez; with gallery tag from “Mystic Creations” Overall: 42.25” H x 27.5” W x 11.25” D $200-300 Provenance: Mary and Stanley Wadsworth, Durango, CO

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3074

A Dirk van Erp hammered copper table lamp

Circa 1913-1915; San Francisco, CA Base marked: Dirk van Erp [open-box mark] The two-light lamp with a rivetted copper base and a copper and mica shade, electrified Overall: 19.5” H x 19” Dia. $6,000-8,000

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3075

An L. & J.G. Stickley oak sideboard, no. 734

1912-1917; Fayetteville, NY With applied label: The Work of L. & J.G. Stickley The quarter-sawn oak sideboard with hammered copper hinges, pulls, and hardware, featuring three middle drawers centering opposed locking cabinets above a long lower drawer, surmounted by a removeable plate storage rack With dish rack: 44” H x 48” W x 20.75” D $800-1,200 Literature: Stephen Gray, ed., “The Mission Furniture of L. & J.G. Stickley” (New York, NY: Turn of the Century Editions, 1989), p. 197, fig. 734

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3076

An L. & J. G. Stickley oak dining table

1912-1917; Fayetteville, NY With applied label: The Work of L. & J.G. Stickley Possibly no. 713, the quarter-sawn oak pedestal table with two leaf extensions, raised on a corbeled base Round: 30.25” H x 48” Dia.; Each leaf: 12” D $700-900

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3077

Four Stickley Brothers side chairs, no. 479 1/2 and an armchair, no. 479 1/4

Early 20th century; Grand Rapids, MI Each with remnants of label: Quaint Furniture / Stickley Bros. Co. / Grand Rapids Mich.; four stenciled: 479 1/2; one stenciled: 479 1/4 The ‘Quaint’ quarter-sawn oak chairs, comprising four side chairs and one armchair, each seat cushion later reupholstered in a cotton fabric 5 pieces Each side chair: 37.25” H x 18.5” W x 19” D; Armchair: 39.25” H x 27.5” W x 21” D $600-800

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3078

An Arts & Crafts oak armchair and rocking chair

Early 20th century Armchair with partial indecipherable label Each with four slats to back and corbeled armrest supports, with later reupholstered leather seat cushion, one raised on rockers 2 pieces Armchair: 38.25” H x 27.5” W x 26.25” D; Rocking chair: 34.75” H x 27.5” W x 31.5” D $500-700

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3079

A Western-style tooled leather and wrought iron chair

Mid/late 20th/early 21st century The iron frame with antiquing/intentional oxidization and an X-form base, the seatback and seat cushion wrapped in a floral motif tooled leather 37” H x 18.5” W x 22.5” D $300-500

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3080

A Bushere & Son wrought iron and tile wall hanging

Late 20th/early 21st century Impressed verso: [cipher] SHERE & SON The glazed ceramic tile depicting a peacock, set into a wrought iron frame 15.875” H x 10.5” W x 1.75” D $700-900

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3081

A Tiffany Studios gilt-brass and slag glass ‘Pine Needle’ desk set

Early 20th century Each marked: Tiffany Studios / New York; and variously numbered Comprising an inkwell with glass well, a small scale, a blotter, a utility box, a letter opener, a pen tray, a picture frame with easel back, and a two-piece calendar frame 9 pieces Inkwell: 3.625” H x 4.25” W x 4.25” D; Each calendar frame: 19.125” L; Frame aperture: 2.125” H x 3.25” W $900-1,200

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3082

Joseph Henry Sharp

(1859-1953) “Delphiniums” Oil on canvas Signed lower right: JH Sharp; titled in pencil on the original backing board 25” H x 30” W $10,000-15,000 Provenance: Joyce and Ed Hackett, purchased in Carlsbad, New Mexico, circa late 1930s/early 1940s Private collection, Thousand Oaks, CA, gifted from the above, 1997

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3083

Gustave Baumann

(1881-1971) “Punch Hunting Chipmunks,” 1926 Woodcut in colors on laid paper with the artist’s hand-in-heart watermark Number 60 from the third edition of 125 (there were also earlier editions of 100 and 120 impressions) Signed “Gustave Baumann,” titled, and numbered “III 60 125” in pencil, and with the artist’s hand-in-heart red ink stamp, all in the lower margin Image: 9.5” H x 11.25” W; Sheet: 12.375” H x 13.375” W $10,000-15,000 Literature: Chamberlain 113 Notes: Baumann’s pet dog was named “Punch.”

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3084

Gustave Baumann

(1881-1971) “Live Oak Landa Park,” 1926 Woodcut in colors on laid paper Number 26 from the first edition of 125 Signed “Gustave Baumann,” titled, and numbered “I-26-125” in pencil, and with the artist’s hand-in-heart red ink stamp, all in the lower margin Image: 12.875” H x 12.875” W; Sheet: 14.5” H x 13.875” W $7,000-10,000 Literature: Chamberlain 100; Baumann 71

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3085

A Rookwood pottery vase

1921 Marked for Rookwood and dated; further impressed: 1655F / V; incised: C.S.T. [Charles Stewart Todd (active 1910-1922)] The vase decorated with floral motifs under a butterfat glaze 6.875” H x 3.875” Dia. $300-500 Provenance: Estate of Robert Baron, Huntington Beach, CA

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3086

George E. Ohr (1857-1918)

A small glazed earthenware bowl, early 20th century Impressed to underside: GEO E OHR / BILOXI MISS With mottled green and brown on a yellow ground glaze 2” H x 4.375” Dia. $800-1,200 Provenance: Collection of Arthur J. Williams Sold: Toomey & Co. Auctioneers, Chicago, IL, “Early 20th Century Design,” December 11, 2024, Lot 184

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3087

A Bauer pottery oil jar

Early/mid-20th century Unmarked The pale green-glazed jar with thick flared rim 21.5” H x 17” Dia. $600-800

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3088

A group of California Rainbow ceramic dishware

Mid/late 20th century Some dinner plates impressed to underside: California / Rainbow Comprising 16 dinner plates (9.5”), 9 salad plates (7.625”), and 8 bread & butter plates (7”) 33 pieces $300-500

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3089

Donald “Putt” Putman

(1926-2007) Portrait of Harold McCracken Oil on canvas Signed lower right: Putt 20” H x 24” W $600-800 Provenance: Estate of the artist Notes: Harold McCracken (1894-1983) was a noted Western scholar and long-time Director of the Buffalo Bill Historical Center (now Buffalo Bill Center of the West) in Cody, WY.

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3090

Larry Pirnie

(b. 1940) “When Everything is Perfect,” 1999 Acrylic on canvas Signed lower right: Pirnie; signed again, titled, dated, and inscribed, all verso: ACC99-11 / © 1999 30” H x 40” W $3,000-5,000 Provenance: Celebration of Fine Art, Scottsdale, AZ Mary and Stanley Wadsworth, Durango, CO, acquired from the above, March 3, 1999 Notes: This lot is sold together with information about the artist and a copy of the sales invoice dated March 3, 1999, from the gallery mentioned above.

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3091

Michael Baum

(b. 1950) “Backroad Service” Acrylic on three shaped and layered panels Signed lower left of the middle panel: M. Baum; signed again, dated “©2000,” and inscribed #620,” all verso; titled on the sales invoice 34.75” H x 40.5” W x 3” D (irreg.) $800-1,200 Provenance: Wade Gallery of Taos, Taos, NM Mary and Stanley Wadsworth, Durango, CO, acquired from the above Notes: This lot is accompanied by a sales receipt dated September 8, 2000, from the gallery mentioned above.

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3092

David Scott Rogers

(b. 1961) “They Put the Wild in the West,” 2004 Patinated bronze on raised and rotating plinth Edition: 16/30 Signed, dated, titled, and numbered in the casting: D.S. Rogers © ‘04 22.25” H x 19.5” W x 11” D $2,000-4,000 Provenance: The Schultheis Estate, WA Notes: This lot is accompanied by a bi-fold pamphlet from Metal Arts Foundry, Lehi, UT, including care instructions for the bronze.

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3093

Greg Kelsey

(b.1971) “Get Off My Back,” 2001 Patinated bronze on stone base and rotating wood plinth Edition: 16/25 Signed, dated, and numbered in the casting: Gregory M. Kelsey ©; titled to metal plaque Bronze: 29.5” H x 17.5” W x 11” D; Overall: 33.75” H x 19” W x 15” D $2,000-4,000 Provenance: The Schultheis Estate, WA

3094

Keith Christie

(1935-2017) “La Tradición de Vaquero,” 2006 Patinated bronze on a wood plinth Edition: 4/20 Signed, dated, and numbered in the casting: © K. Christie; titled to metal plaque Bronze: 19.5” H x 20.5” W x 8” D; Overall: 21.25” H x 23” W x 10.25” D $1,200-1,800

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3095

Craig Bergsgaard

(b. 1952) “Each Star’s a Pool of Water,” Circa 2010 Patinated and cold-painted bronze on wood plinth Edition: 1/10 Signed and numbered in the casting: Bergsgaard; artist name and title to wood plinth in gilt etching Bronze: 14.75” H x 14.5” W x 7.5” D; Overall: 16.5” H x 13.5” W x 8” D $400-600

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3096

A natural wood and hide pedestal table

20th century With two stretched hide tiers hammered with pegs into the lacquered natural wood frame 35.5” H x 21” W x 20” D $200-400 Provenance: The Schultheis Estate, WA

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3097

A Sioux carved catlinite pipe

Early 20th century; Great Plains The detachable red stone head with carved geometric band, tin inlay motifs, and hide lacings, fit to a turned wood stem with beaded collars suspending mixed metal cones on plaited thread strands, and with engraved brass collar and plaque accents, and a twined string 2 pieces Pipe head: 4” H x 1.5” W x 7.75” D; Stem: 28” L x 1.5” Dia. (detached) $2,000-3,000

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3098

A Santa Fe sterling silver salad serving set Mid-20th century Each unmarked, XRF tested for sterling 2 pieces Each: 11” L Total weight: 8.5 oz. troy approximately $600-800

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3099

A Plains quilled armband

Late 19th/early 20th century; Northern/Central Plains A leather armband wrapped with hide lacing with multicolored quill work, with attached quilled laces with dyed horsehair dangles Band: 11” inner C x 0.5” H; laces: 11.5” L approximately $200-400

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3100

A Plains beaded arm band

20th century; Great Plains The arm band or rattle with sinew-stitched green beads and hide laces, with attached hide medicine bundle and brass-toned bells Band: 13” inner C x 0.5” H; laces: 18.5” L $200-400

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3101

Alvin Marshall

(b. 1959, Navajo/Diné) Bust of a woman as a bird Carved alabaster on a stone plinth Incised signature verso: © Alvin K Marshall Carving: 10.5” H x 16.75” W x 4.5” D; Overall: 14.5” H $300-500 Provenance: The Schultheis Estate, WA

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3102

Ted De Grazia

(1909-1982) “A Work Sketch El Padre de California,” 1968 Watercolor and ink on paper Signed, titled, dated, and inscribed in ink along the lower edge: De Grazia / 1968 / “Arizona USA” Sight: 11.5” H x 8.5” W $1,000-1,500 Provenance: Estate of the artist

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3103

Ted De Grazia

(1909-1982) “20 Soldiers, 2 Chaplin, Mule Train, Battle,” 1966 Ink and watercolor wash on paper Signed and dated in ink, lower right: De Grazia / 1966; titled in pencil along the lower edge Sight: 10.75” H x 7.5” W $1,000-1,500 Provenance: Estate of the artist

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3104

Ted De Grazia

(1909-1982) Native American and his horse at rest, 1969 Sanguine ink on paper Signed, dated, and inscribed lower right: De Grazia / 1969 / “Arizona US” Sight: 8.5” H x 11.5” W $800-1,200 Provenance: Estate of the artist

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3105

Ted De Grazia

(1909-1982) “A Work Sketch Los Padres de California,” 1967 Ink and watercolor on paper Signed, titled, dated, and inscribed in ink along the lower edge: De Grazia / Oct 1967 / “USA” Sight: 8.375” H x 11.5” W $600-800 Provenance: Estate of the artist

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3106

Ace Powell

(1912-1978) Two Portraits of Native American men Each: Oil on canvasboard Each: Signed and with the artist’s device lower left: Powell Each: 10” H x 8” W $1,000-1,500

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3107

Michael (Oyégi Pín) Padilla

(b. 1960, Tewa) Three Native American dancers Mixed media on Arches wove paper Signed lower right: Oyégi Pín Sheet: 19.5” H x 29” W $300-500 Provenance: Wenatchee Gallery, Wenatchee, WA The Schultheis Estate, WA

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3108

Bev Doolittle

(b. 1947) “Guardian Spirits,” 1986-87 Each: Offset lithograph in colors on paper Edition of each: 12,348/13,238 Each signed or initialed and numbered in pencil, and with the printed signature and copyright, all lower right: Bev Doolittle / BD; The Greenwich Workshop, Trumbull, CT, prntr. and pub. 2 pieces Sight of each: 22” H x 19.5” W $400-600 Provenance: The Schultheis Estate, WA Notes: This lot is accompanied by documentation material from the printer/publisher.

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3109

Harrison (Haskay Yahne Yah) Begay

(1917-2012, Navajo/Diné) Shepherdess and lamb Gouache on light blue paper Signed lower left and right: Haskay Yahne Yah / Harrison Begay Sight: 10.5” H x 8.5” W $300-500

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3110

Harrison (Haskay Yahne Yah) Begay

(1917-2012, Navajo/Diné) Shepherd and lamb Gouache on light blue paper Signed lower left and right: Haskay Yahne Yah / Harrison Begay Sight: 10.5” H x 8.5” W $300-500

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3111

3112

(1917-2012, Navajo/Diné) Mashing corn Gouache on light blue paper Signed lower left and right: Haskay Yahne Yah / Harrison Begay Sight: 14” H x 12” W

(1932-2005, Navajo/Diné) “Frida,” 2003 Lithograph in colors on wove paper Edition: 30/100 Signed, dated, and numbered in pencil along Graphics Workshop, prntr. and pub., no blind blindstamp in the lower left corner, and a “Ho Sight: 19.5” H x 33” W

Harrison (Haskay Yahne Yah) Begay

$300-500

R.C. Gorman

$300-500

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g the lower edge: R.C. Gorman 2003; Western dstamps visible on the recto; with the artist’s ouston” blindstamp in the lower right corner

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3113

R.C. Gorman

(1932-2005, Navajo/Diné) “Salina,” 1989 Lithograph in colors on wove paper Edition: 39/224 Signed, dated, and numbered in pencil, and with the artist’s blindstamp, all along the lower edge: R.C. Gorman 1989; Western Graphics, Inc., prntr. and pub., with their blindstamp lower center Image/Sheet: 39.5” H x 32.5” W $300-500

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3114

R.C. Gorman

(1932-2005, Navajo/Diné) “Santa Fe Woman (State II),” 1978 Lithograph in colors on wove paper Edition: One of two record impressions, aside from the artist’s edition of 70 Signed, dated, and inscribed in pencil in the lower edge: R.C. Gorman 1978 / “Record Impression”; Western Graphics Workshop, prntr. and pub., with their blindstamp, as well as the artist’s blindstamp in the lower edge, left of center Sheet: 27.75” H x 22.25” W $300-500 Literature: Adams and Newlin p. 160

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3115

Beatien Yazz

(1928-2013, Navajo/Diné) Young dancer Gouache on paper Signed in ink lower right: B. Yazz Sight: 14.75” H x 11.75” W $300-500

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3116

Beatien Yazz

(1928-2013, Navajo/Diné) Young hunter with bow and arrow Gouche on paper Signed in ink lower right: B. Yazz Sight: 13.25” H x 13.25” W $300-500

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3117

Gene Kloss

(1903-1996) “Far Across the Rio Grande,” 1939 Etching on wove paper An artist’s proof aside from the edition of 75 Signed, titled, and inscribed “Artist’s Proof,” all in pencil in the lower margin: Gene Kloss imp. Plate: 9.875” H x 13.875” W; Sight: 10.75” H x 14.375” W $800-1,200 Provenance: Sold: Butterfield & Butterfield, Los Angeles and San Francisco, CA, October 11, 1989, Lot 2701 Sold: California Historical Design, Alameda, CA, March 18, 2023, Lot 85 University of California, Riverside, CA Private collection, Glendora, CA Literature: Sanchez 361

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3118

Tomás de Suría

(1761-1835) Monterey area Native American (Malaspina Expedition of 1789-94) India ink and ink wash on laid paper, partial watermark of a heraldic shield and initials J H & Z Signed in ink at lower right below the image: Tomas Suría; titled and/or inscribed at lower center below the image, partly indistinctly, including, “Indio de Monterrey” / “Borrador” (draft) annotation Sight: 11.5” H x 8.75” W $3,000-5,000 Notes: An enlarged and specially backlit photograph of the sheet’s partial watermark is stored against the verso of the back mat. The photograph is annotated by a previous owner, indicating that the initials within the watermark stand for the early Dutch papermaking firm, Jan Honig and Zoonen.

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3119

Tomás de Suría

(1761-1835) Monterey area soldier on horseback (Malaspina Expedition of 1789-94) India ink and ink wash on laid paper, partial watermark of a heraldic shield Signed in ink at lower right below the image: Tomas Suría; titled and/or inscribed at lower center below the image, partly indistinctly, including possibly, “Soldado Lancero de Monterrey” / “Borrador” (draft) annotation Sight: 10.375” H x 14.125” W $3,000-5,000 Notes: An enlarged and specially backlit photograph of the sheet’s partial watermark is stored against the verso of the back mat.

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3120

John James Audubon

(1785-1851) “Virginian Partridge,” Plate 76 from “The Birds of America, from Original Drawings by John James Audubon,” by Robert Havell, circa 1830 Engraving with etching, aquatint, and hand-coloring on wove paper, watermark J Whatman Turkey Mill 1829 From the original edition engraved and printed by Robert Havell, London, England, between 1827 and 1838 With the artist’s, engraver’s, printer’s, and publisher’s names, as well as the title and date, all engraved in the plate below the image, and the plate and series numbers engraved in the upper right and left corners of the plate, respectively Sheet: 26.25” H x 37.875” W $15,000-20,000

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3121

John James Audubon

(1785-1851) “Fresh Water Marsh Hen,” Plate 203 from “The Birds of America, from Original Drawings by John James Audubon,” by Robert Havell, circa 1830 Engraving with aquatint and hand-coloring on wove paper, watermark J Whatman 1836 From the original edition engraved and printed by Robert Havell, London, England, between 1827 and 1838 With the artist’s, engraver’s, printer’s, and publisher’s names, as well as the title and date, all engraved in the plate below the image, and the plate and series numbers engraved in the upper right and left corners of the plate, respectively Plate: 12.75” H x 19.375” W; Sheet: 25” H x 37.25” W $1,500-2,500

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3122

Alexandre Hogue

(1898-1994) “Cap Rock Ranch,” 1945 Lithograph on wove paper From the edition of 250 Signed and titled in pencil in the lower margin: Alexandre Hogue; titled on the publisher’s label affixed to the frame’s backing board; Associated American Artists, New York, NY, pub. Image: 7” H x 11.875” W; Sheet: 11.875” H x 16” W $1,200-1,800

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3123

Reginald Neal

(1909-1992) “The Gold Train,” 1945 Lithograph on paper From the edition of 250 Signed in pencil in the lower margin, at right: Reginald Neal; titled on the publisher’s label affixed to the frame’s backing paper; Associated American Artists, New York, NY, pub. Image: 8.5” H x 12.75” W; Sight: 9.25” H x 13.25” W $200-300

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3124

Edward Borein

(1872-1945) “The Overland Mail,” 1922 Etching and drypoint on wove paper From the edition of unknown size Signed in pencil in the lower margin, at right: Edward Borein; with the printed signature and date 1922 in the plate at lower left; titled on a gallery label affixed to the frame’s backing paper Plate: 4.625” H x 10.125” W; Sight: 5.25” H x 10.5” W $700-900 Provenance: Arlington Gallery, Santa Barbara, CA Literature: Galvin 140 ii/ii

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3125

Attributed to Carl Clemens Moritz Rungius (1869-1959) Elk bugling Watercolor on light brown paper Bears signature lower right: C. Rungius Sheet: 10” H x 14.875” W $2,000-3,000

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3126

Carl Oscar Borg

(1879-1947) “On the South Rim Trail,” circa 1935 Watercolor on paperboard Signed lower right: Carl Oscar Borg.; titled and dated on the gallery label affixed to the frame’s backing paper 6.75” H x 8.75” W $2,000-3,000 Provenance: Adamson-Duvannes Galleries, Los Angeles, CA

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3127

Carl Oscar Borg (1879-1947)

A bound collection of “Touring Topics” magazines with illustrated covers, 1931 Hardcover book Hanna, Phil Townsend, ed. “Touring Topics.” January-December 1931 Bound together with black cloth boards, the collection includes all 12 issues of the magazine from the year 1931, each cover with color illustrations by Carl Oscar Borg 12.25” H x 9.625” W x 1.625” D $200-300

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3128

Olaf Wieghorst

(1899-1988) Roper on horseback, 1920 Watercolor and traces of graphite on paperboard Signed and with the artist’s 2C device at lower left: O-Weighorst © 16” H x 13.875” W $3,000-5,000

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3129

After Ansel Adams

(1902-1984) “Bridalveil Fall, Yosemite National Park,” circa 1927 Gelatin silver print on paper Unsigned; Alan Ross, California, 2006, prntr., and his initials, verso; with the special edition ink stamp, verso Image/Sheet: 9.375” H x 7.25” W $600-800 Notes: Affixed to the frame’s backing board is a photocopy of the verso of the gelatin silver print, showing the special edition ink stamp and the initials of the printer, Alan Ross.

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3130

Ansel Adams

(1902-1984) “Maynard Dixon, Tucson, Arizona,” 1945 Gelatin silver print on paper mounted to illustration board, as issued From the edition of unknown size, printed later Signed in pencil on the support board, lower right: Ansel Adams Image/Sheet: 9.375” H x 7” W; Support board: 18” H x 14” W $1,500-2,500 Provenance: Edith Hamlin, wife of Maynard Dixon John Dixon, Maynard Dixon’s son, gifted from the above Private collector, acquired from the above Notes: There is a pencil notation in the lower left corner of the support board, verso: DDL459.

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3131

Maynard Dixon

(1875-1946) “Hunter and Bear,” 1916 Gouache on paperboard Signed and dated in pencil lower left: Maynard Dixon / 1916; titled on a label affixed to the frame’s backing paper; alternatively titled “Surprised by a Bear,” on another label affixed to the frame’s backing paper Image/Paperboard: 16” H x 11” W $6,000-8,000 Provenance: Collection of Stan and Ginnie Eschner

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3132

Maynard Dixon

(1875-1946) “Lone Pine,” 1924 Oil on canvas laid to artist’s board Signed with initials, titled, and dated lower left: MD / June 1924; with the artist’s San Francisco studio label affixed verso 10” H x 14” W $20,000-30,000 Provenance: Karges Fine Art, Carmel, CA Olson Collection, Palm Desert, CA, acquired from the above, May 2001

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3133

William Willmarth

(1898-1984) “New Mexico and Arizona Rockies,” 1934 Lithograph in colors on paper laid to linen From the edition of unknown size and date 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 $2,000-3,000 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, producing 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.

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3134

Maynard Dixon

(1875-1946) “Overland Monthly August,” 1895 Lithograph in colors on paper From the edition of unknown size and date Unsigned; dated in pencil, in another hand, in the upper margin, at left: Aug/95 Image: 13.375” H x 10.75” W; Sheet: 14.375” H x 11.5” W $700-900 Provenance: Private collection, Studio City, CA Notes: Founded in 1868 and first edited by Bret Harte, the “Overland Monthly” was the West Coast’s answer to the literary magazines of the East Coast. In May of 1895, Dixon’s first posters for the publication appeared.

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3135

Maynard Dixon

(1875-1946) “Overland Monthly for August,” circa 1895 Relief print in colors on light brown paper From the edition of unknown size and date With the printed signature lower right: L.Maynard.Dixon Image: 14” H x 8.25” W; Sight: 16” H x 9.875” W $600-800 Provenance: Private collection, Studio City, CA Notes: Founded in 1868 and first edited by Bret Harte, the “Overland Monthly” was the West Coast’s answer to the literary magazines of the East Coast. In May of 1895, Dixon’s first posters for the publication appeared. Ultimately famous for his Western images in the Santa Fe School style, these early woodblocks, one in red and black and the other in yellow and black, demonstrate the young artist’s skill with design and composition. w w w. j o h n m o r a n . c o m 2 0 1

3136

Joseph A. Munk (1847-1927)

“Arizona Sketches,” 1905 Hardcover book Munk, Joseph A. “Arizona Sketches.” New York: The Grafton Press, 1905 Presentation Copy Inscribed by Author: To Maynard Dixon / Good friend and Comrade / Joseph A. Munk / Los Angeles / May 1913 / [cipher] The octavo with illustrated front board 9.375” H x 6.5” W x 0.875” D $500-700 Provenance: Private collection, Studio City, CA

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3137

Maynard Dixon (1875-1946)

“Overland Monthly” and “Out West” magazines with illustrated covers, 1895 and 1903 Softcover booklets Wildman, Rounsevelle, ed. “Overland Monthly.” November 1895. San Francisco: Overland Monthly Publishing Company, 1895 Lummis, Chas F., ed. “Out West: A Magazine of the Old Pacific and the New.” San Francisco: Out West Company, 1903 Each issue with early cover illustration by Maynard Dixon 2 pieces Overland: 10.25” H x 7” W x 0.25” D; West: 9.875” H x 7” W x 0.375” D $300-500 Provenance: Private collection, Studio City, CA

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3138

Maynard Dixon (1875-1946)

“Maynard Dixon: Painter of the West” exhibition booklet, 1967 Staple-bound pamphlet Millier, Arthur, intro. “Maynard Dixon: Painter of the West.” Tucson, AZ: Edith Hamlin, 1967 Signed and inscribed: Regards from Edith Hamlin Dixon / Maynard Dixon Retrospective / Phoenix - 1970 The illustrated booklet together with a bi-fold exhibition checklist from the exhibition “Maynard Dixon: Retrospective” from Western Art Associates at the Phoenix Art Museum held April 27-June 7, 1970 2 pieces Pamphlet: 11” H x 9” W $200-300 Provenance: Private collection, Studio City, CA

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3139

Maynard Dixon (1875-1946)

An issue of “Sunset” magazine with cover illustration of the San Francisco earthquake and fire, 1906 Staple-bound pamphlet and softcover booklet Aiken, Charles Sedgwick, ed. “Sunset.” May-July 1906. San Francisco: Passenger Department, Southern Pacific Comprising the staple-bound “Emergency Edition” pamphlet from May 1906, and the full June-July edition which headlined “San Francisco’s Story: Told and Pictured by San Franciscans,” which covered the earthquake and devastating fires that had ravaged the city earlier that year, each with cover illustrated by Maynard Dixon 2 pieces May: 10” H x 7” W; June/July: 9.625” H x 6.625” W x 0.375” D $300-500 Provenance: Private collection, Studio City, CA

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3140

Ross Santee (1888-1965)

“Cowboy,” 1928 Hardcover book Santee, Ross. “Cowboy.” New York: Grosset & Dunlap, 1928 Presentation Copy, Twice Signed with Illustrations, firstly with signed, inscribed, and dated under an inked Illustration to front free end paper: For Harry F Olmstead [famed Western pulp fiction writer] / with best wishes / Ross Santee / [illegible] / 36; the second inked illustration signed and dated to tipped-in half-title The octavo with deckled page edges and stamped illustration to front board 8” H x 5.875” W x 1.375” D $500-700 Provenance: Sold: Christie’s, Los Angeles, CA, “Rancho Mi Solar: Western Property from the Katherine H. Haley Trust,” October 30-31, 2000, Lot 871

3142

Maynard Dixon (1875-1946)

“Injun Babies,” 1923 Hardcover book Dixon, Maynard. “Injun Babies: Eight Stories and Eight Drawings for American Children.” New York: G. P. Putnam’s Sons, 1923 First Edition The octavo with illustrated front board and end papers 8.75” H x 6.5” W x 0.625” D $400-600 Provenance: Private collection, Studio City, CA

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3141

W. C. Morrow (1854-1923) & Maynard Dixon (1875-1946)

“Lentala of the South Seas: The Romantic Tale of a Lost Colony,” 1908 Hardcover book Morrow, W. C. “Lentala of the South Seas: The Romantic Tale of a Lost Colony.” Illustrated by Maynard Dixon. New York: Frederick A. Stokes Company, 1908 The octavo with illustrated front board and spine 8.375” H x 6” W x 1.5” D $200-300 Provenance: Private collection, Studio City, CA

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3143

“American Ethnology 1898-1899” ex-libris Maynard Dixon (1875-1946)

Hardcover book Powell, J. W. “Twentieth Annual Report of the Bureau of American Ethnology to the Secretary of the Smithsonian Institution 1898-99.” Washington: Government Printing Office, 1903 Signed and dated by Dixon to front fixed end paper: Maynard Dixon / [Thunderbird cipher] / San Francisco / 1914 The large quarto bound in green cloth with gilt-stamped illustrated front board and spine 11.625” H x 8.375” W x 2.5” D $200-300 Provenance: Private collection, Studio City, CA Notes: This was a reference Dixon used for his work.

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3144

Maynard Dixon (1875-1946) & Frederic Remington (1861-1909) Three Western illustrated hardcover books, 1897-1923 Three works:

“Tales of the Sun-Land,” 1897 Reed, Verner Z. “Tales of the Sun-Land.” Illustrated by Maynard Dixon. New York: Continental Publishing Co., 1897 First Edition of Maynard’s second illustrated book The octavo with illustrated cloth boards and spine, and deckled pages edges with gilt upper edge 7.75” H x 5.25” W x 0.875” D “Crooked Trails,” 1898 Remington, Frederic. “Crooked Trails.” New York: Harper & Brothers Publishers, 1898 First Edition The octavo with illustrated front board and spine 9” H x 6.375” W x 1” D “Injun Babies,” 1923 Dixon, Maynard. “Injun Babies: Eight Stories and Eight Drawings for American Children.” New York: G. P. Putnam’s Sons, 1923 Second Edition, Sixth Printing The octavo bound in red cloth 8.75” H x 6.5” W x 0.625” D 3 pieces $600-800 Provenance: Private collection, Studio City, CA

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3145

“Maynard Dixon: Artist of the West”

Hardcover book in slipcase Burnside, Wesley M. “Maynard Dixon: Artist of the West.” Provo, Utah: Brigham Young University Press, 1974 Edition: 160/250 Signed by the Author to title page The landscape quarto bound in canvas stamped with artist’s cipher to front and quarter sanigal faux leather, housed in a conformingly clad slipcase 11.375” H x 13.75” W x 1.5” D $300-500 Provenance: Private collection, Studio City, CA

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3146

“The Lark” books 1-24 in two volumes

Hardcover books Doxey, William. “The Lark, Book the First: Nos. 1 to 12. May 1895 to April 1896.” and “The Lark, Book the Second: Nos. 13 to 24. May 1896 to April 1897.” San Francisco: William Doxey, 1896 Each octavo with illustrated front boards, combined comprising 24 issues of “The Lark” magazine, compiled by the publisher 2 pieces Each: 8.125” H x 6” W; Together: 2” D $300-500

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3147

Maynard Dixon (1875-1946)

A collection of “Standard Oil” bulletins with illustrated covers, 1917-1936 Staple-bound pamphlets “Standard Oil Bulletin.” May 1917-January 1936. San Francisco: Standard Oil Company of California The collection includes an assortment of issues of the monthly bulletin, each with a cover that has color illustrations by Maynard Dixon 24 pieces Each: 9.5” H x 6.625” W; Together in sleeves: 1.5” D $1,000-1,500 Provenance: Private collection, Studio City, CA Notes: Included are issues: May 1917; September 1919; August and September 1926; July 1927, August, November, and October 1928; May and November 1929; August, September, and October 1930; January and April 1931; April and November 1932; March 1933; January 1934; January, April, June, and August 1935; January 1936

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3148

Maynard Dixon (1875-1946)

A collection of “Touring Topics” magazines with illustrated covers, 1929-1930 Staple-bound with soft wrappers Hanna, Phil Townsend, ed. “Touring Topics.” February 1929 & January-December 1930 The collection includes all 12 issues of the magazine from the year 1930, and one issue from February 1929, each cover with color illustrations by Maynard Dixon 13 pieces Each: 12.125” H x 9.5” W; Together: 2.125” D $300-500 Provenance: Private collection, Studio City, CA

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3149

Maynard Dixon (1875-1946)

A group of reference books, 20th/early 21st century Comprising hardcover and softcover books, and staple-bound pamphlets: “Escape to Reality: The Western World of Maynard Dixon,” 2001 “Space Silent Spirit: Maynard Dixon’s West,” 2002 “Mesas, Mountains & Man: The Western Vision of Maynard Dixon,” 1998 “Maynard Dixon Painter of the West,” 1945 “Maynard Dixon: Masterpieces from Brigham Young University & Private Collections,” 2007 “Maynard Dixon Sketch Book,” 1967 “Maynard Dixon: Images of the Native American,” 1981 “Maynard Dixon: Modernist Paintings,” 2008 “Querido Patron,” 1987 “The Thunderbird Remembered,” 1994 “Rim-Rock and Sage,” 1977 “Maynard Dixon: Artist of the West,” 1974 “The Drawings of Maynard Dixon,” 1985 “Maynard Dixon: A Museum to be Built in his Honor,” n.d. 14 pieces Largest: 10.875” H x 13.5” W x 1” D $400-600 Provenance: Private collection, Studio City, CA

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3150

Maynard Dixon (1875-1946)

A group of Western illustrated books, 1907-1943 Nine works: Rickard, T. A. “Journeys of Observation.” San Francisco: Dewey Publishing Company, 1907 First Edition The octavo with front board and spine illustrated by Dixon, with deckled page edges 9.75” H x 7” W x 2.5” D Truesdell, Amelia Woodward. “Francisca Reina.” Illustrated by Maynard Dixon. Boston: The Gorham Press, 1908 The saddle-stitched pamphlet in soft cloth wrappers illustrated at front 9.5” H x 6.25” W x 0.125” D Boyles, Kate and Virgil D. “The Homesteaders.” Illustrated by Maynard Dixon. Chicago: A. C. McClurg & Co., 1909 Third Edition The octavo with pastedown illustrations to cloth boards 8.25” H x 5.625” W x 1.25” D Strobridge, Idah Meacham. “The Land of Purple Shadows.” Illustrated by Maynard Dixon. Los Angeles: The Artemisia Bindery, 1909 The octavo in soft illustrated wrappers 8.5” H x 6.5” W x 0.75” D Bronson, Edgar Beecher. “The Red-Blooded Heroes of the Frontier.” Illustrated by Maynard Dixon. New York: George H. Doran Company, 1910 First Edition The octavo with illustrated front board and spine 8.25” H x 5.5” W x 1.5” D Balch, F. H. “The Bridge of the Gods: A Romance of Indian Origin.” Illustrated by Maynard Dixon. Chicago: A. C. McClurg & Co., 1912 and 1924 Sixteenth Edition and Twenty-sixth Edition Each octavo with gilt-stamped titles to front board and spine, and illustration to front board 2 pieces Larger: 7.75” H x 5.375” W x 1” D Whitaker, Herman, ed. “West Winds: California’s Book of Fiction Written by California Authors and Illustrated by California Artists.” San Francisco: Paul Elder and Company, 1914 First Edition Thus The octavo with gilt-stamped titles to front board and spine, pastedown illustration to front board, and pages uncut with deckled edges, with an illustration by Dixon 8.75” H x 6” W x 1.25” D Parkman, Francis. “The Oregon Trail.” Illustrated by Maynard Dixon. New York: The Heritage Press, 1943 The octavo with illustrated front board and spine, housed in a slipcase with pastedown titles to each side 10” H x 6.625” W x 1.375” D 9 pieces total $300-500 Provenance: Private collection, Studio City, CA

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3151

Maynard Dixon (1875-1946)

Four publication illustrations, early 20th century Staple-bound or bi-fold printed pamphlets Comprising a cover illustration from an early Life magazine issue December 31, 1908, a cover illustration for Harper’s Weekly issue March 22, 1902, a cover illustration for a bi-fold of YWCA sheet music “Get Behind the Girls Behind the Boys,” and another cover illustration for a bi-fold of sheet music “O, Love,” together with a Leslie’s Weekly issue May 5, 1904 with cover illustration by J. Duncan Gleason 5 pieces Largest: 16.125” H x 11.25” W $300-500 Provenance: Private collection, Studio City, CA

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3152

Maynard Dixon (1875-1946)

A collection of “Sunset” magazines with illustrated covers, 1902-1911 Softcover booklets Aiken, Charles Sedgwick, ed. “Sunset.” September 1902-October 1911. San Francisco: Passenger Department, Southern Pacific Comprising seven magazines and one loose cover, each cover with color illustrations by Maynard Dixon 8 pieces Each: 9.625” H x 6.626” W; Together: 2.375” D $300-500 Provenance: Private collection, Studio City, CA Notes: Issues include: September 1902, September 1904, February 1905, January and December 1907, January 1909, October 1911, and the loose cover from August of unknown year.

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3153

Maynard Dixon (1875-1946)

A group of publications with illustrated covers and ephemera, 1908-1942 Softcover booklets Comprising seven issues of “Sunset” magazine and two issues of “Pearson’s” magazine, each with cover illustrations by Maynard Dixon, and an issue of “Arizona Highways” magazine with an article about Dixon with representations of his art, together with an associated copy of “Arizona Highways” 11 pieces Largest: 12.125” H x 9.125” W $300-500 Provenance: Private collection, Studio City, CA Notes: Issues include: Sunset: January 1914, August and October 1916, July 1918, March 1920, August 1923, September 1934; Arizona Highways: May 1942 and unknown; Pearson’s: June 1908, February 1909

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3154

A group of Western art books, magazines, and ephemera 20th/early 21st century Comprising illustrated “Touring Topics” magazines, a Maynard Dixon monograph, a Georgia O’Keefe and Alfred Stieglitz hardcover book, various magazines, and other publications 17 pieces approximately Largest: 10.25” H x 10.5” W x 0.625” D $150-250

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3155

H. P. Mera (1875-1951)

A collection of “General Series Bulletin” pamphlets on Native American textiles, 1938-1943 Staple-bound pamphlets in wrappers Mera, Harry Percival. “General Series Bulletin.” Santa Fe, NM: Laboratory of Anthropology First Edition Titles: #2 “The So-Called ‘Chief Blanket’” 1938 (Second Printing), #3 “Navajo Blankets of the ‘Classic’ Period” 1938 (Second Printing), #5 “The ‘Slave Blanket’” 1938, #6 “Pictorial Blankets” 1938, #7 “Banded-Background Blankets” 1939, #9 “Wedge-Weave Blankets” 1939, #10 “Navajo Rugs of the Crystal and Two Grey Hills Type” 1940, #11 “The Serrate Designs of Navajo Blanketry” 1940, #12 “The Zoning Treatment in Navajo Blanket Design” 1940, #13 “The Chinlee Rug” 1942, #14 “Navajo Twilled Weaving” 1943 11 pieces Each: 6.5” H x 4.875” W; Together: 0.875” D $100-200

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3156

Margaretta Starrs

(20th century) “Cowgirl,” 1982 Offset lithograph in colors on paper Edition: AP 2/12 Signed, titled, and numbered in pencil in the lower margin: Starrs; with the printed signature and date 09.20.82, in the image at lower right Image: 35.75” H x 24” W; Sight: 36.5” H x 24.5” W $200-300

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3157

Willard Page

(1885-1958) “Adobe Hut” Oil on canvasboard Signed lower left: W Page; titled by the artist’s wife 9” H x 16” W $200-300 Provenance: Estate of the artist

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3158

Willard Page

(1885-1958) “St. Vrain Canyon” (Colorado) Oil on paperboard Signed with initials lower left: WP; titled twice in pencil by the artist’s wife, and with the artist’s studio ink stamp, both on the frame’s backing paper Sight: 3.25” H x 3.25” W $200-400

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3159

3160

(1885-1958) “Giant Cactus - Arizona” Oil on paperboard Signed with initials lower right: WP; titled in pencil by the artist’s wife, and with the artist’s studio ink stamp, both on the frame’s backing paper Sight: 3.25” H x 3.25” W

(1885-1958) “Aspen Trail” Oil on canvasboard Signed with initials lower artist’s wife, inscribed in in hand, and with the artist’s all on the frame’s backing Sight: 4.75” H x 3.625” W

Willard Page

$200-400

Willard Page

$300-500

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left: WP; titled in pencil by the nk, “Love to Sara / Jean / Dec. 2002,” in another s studio ink stamp, g paper W

3161

Willard Page

(1885-1958) “Pikes Pk. Highway” Oil on canvasboard Signed with initials lower left: WP; titled in pencil by the artist’s wife, and with the artist’s studio ink stamp, both on the frame’s backing paper Sight: 3.25” H x 3.25” W $200-400

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3162

Tim Solliday

(b. 1952) Lakeside landscape Oil on canvas Signed lower left: T. Solliday 20” H x 24” W $1,200-1,800 Provenance: Sax Galleries, Denver, CO

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3163

John Hilton

(1904-1983) Smoke trees in a desert landscape Oil on Masonite Signed lower right: John Hilton 19” H x 28.5” W $1,000-1,500

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3164

Raphael Lillywhite

1891-1958 “The Hogback” Oil on Masonite Signed lower left: Raphael Lillywhite; titled on a label affixed to the frame’s backing paper 25” H x 30” W $1,500-2,000

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3165

Howard H. Koehl (1889-1967)

Eight outdoor views featuring forests, oceans, and/or mountains Each: Pastel on five sheets of paper, one on a sheet of contact-type paper, and two on paperboards Three signed lower right: H.H. Koehl; five unsigned; one of the signed examples is inscribed, verso, “wax colors will melt in the sun” Sheet of smallest: 6.75” H x 7.625” W; Sheet of largest: 10.25” H x 12.5” W $600-900

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3166

After Frederic Remington

(1861-1909) “The Broncho Buster,” original 1895 Patinated bronze on a stone plinth Signed in the casting: Frederic Remington Bronze: 23” H x 17.5” W x 8.25” D; Overall: 24.25” H x 17.5” W x 9.75” D $600-900

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3167

A faux antler floor lamp

Mid/late 20th century The single-light lamp raised on a column of stacked imitation antlers, surmounted by an associated paper shade, electrified Lamp without harp: 56” H x 24” Dia., irregular; Overall: 64” H; Shade: 11.5” H x 28” Dia. $400-600

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3168

A tree stump stool

Late 20th century The lacquered live edge wood stump raised on plastic casters 19” H x 17.5” W x 15” D $600-800

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3169

A tree stump stool

Late 20th century The lacquered live edge wood stump raised on plastic casters 19.125” H x 17” W x 15.5” D $600-800

3170

A Gus* Modern cow hair cube stool

Late 20th/early 21st century With Gus* Modern fabric tag to underside 18.5” H x 17.5” W x 17.5” D $200-300

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3171

A Folk Art carved wood window view

20th century Carved signature lower right bricks: Doss Carved with curtains and brick to foreground with a glass pane over the “outside” view of birds and a squirrel in a tree 22.75” H x 28” W x 1.625” D $400-600

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3172

A carved wood swan decoy 20th century Unmarked Painted carved wood 20.75” H x 30.75” W x 9.75” D $400-600 Provenance: Collection of Claudia and Peter Bartlett, Los Angeles, CA

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3173

A Folk Art wood carving of an eagle and snake

19th/20th century The partially painted carving depicting an eagle perched atop a tree or bush with an approaching snake coiled around 27.125” H x 7.25” W x 5” D $400-600 Provenance: Collection of Claudia and Peter Bartlett, Los Angeles, CA

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3174

A Folk Art carved wood bird figural group

19th century Comprising five painted carved wood birds mounted to a natural wood “tree” set into a natural wood base 20.25” H x 15” W x 11.5” D $300-500 Provenance: Collection of Claudia and Peter Bartlett, Los Angeles, CA

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3176

A Bertha Harvey Navajo US flag pictorial weaving Bertha Harvey (b. 1955, Diné) Late 20th century Woven in red, cream, and blue wool 57.5” H x 34.5” W $600-900 Provenance: Purchased from Toh-Atin Gallery, Durango, CO, October 27, 1998 Mary and Stanley Wadsworth, Durango, CO Notes: This lot is accompanied by a purchase receipt/Certificate of Authenticity from the abovementioned gallery, as well as a photograph of the artist with the piece and a sheet with biographic information about the artist’s mother, Ester Harvey.

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3175

A Folk Art large carved wood dove

19th/20th century The white painted dove mounted on an enameled metal base 27.5” H x 34” W x 9” D $400-600 Provenance: Collection of Claudia and Peter Bartlett, Los Angeles, CA

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3177

A near pair of ram’s horn candlesticks

Mid/late 20th century Each with a nickel-plated metal candleholder and tip ornament 2 pieces Larger: 8.25” H x 12” W x 6.5” D; Smaller: 7.75” H x 9.25” W x 7.75” D $200-300

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3178

A saguaro cactus skeleton fragment

20th/21st century The cross-section with mounting hardware verso 41.5” H x 9.75” W x 17” D $200-400 Provenance: The Schultheis Estate, WA

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3179

A Native American hide and wood drum

20th century Stretched hide and carved wood, with opposed hide handles 17.25” H x 32.5” W x 30.5” D $700-900 Provenance: The Schultheis Estate, WA

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3180

Jim Jackson (b. 1963, Klamath/Modoc) & Baje Whitethorne (1950-2023, Navajo/Diné) “The First Two Appear (Yei)” Cold-painted bronze on marble plinth and rotating wood base Edition: 4/40 Signed by each artist and numbered in the casting: Jim Jackson / Baje Whitethorne; titled to metal plaque mounted to base Bronze: 18.75” H x 10.75” W x 8.75” D; Overall: 21” H x 12.75” W x 9” D $1,000-1,500 Provenance: The Schultheis Estate, WA

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3181

An Ella Yazzie Navajo Yei Bi Chei pictorial textile Ella Yazzie (b. 20th century, Diné) Late 20th century Woven in multicolor wool with serrated border 38.75” H x 64.75” W $800-1,200 Provenance: Purchased from Hubbell Trading Post, Ganado, AZ, January 16, 1998 Mary and Stanley Wadsworth, Durango, CO Notes: This lot is accompanied by a purchase receipt and a Certificate of Genuineness from the abovementioned trading post as well as multiple photographs of the weaving and a bi-fold pamphlet with care instructions.

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3182

A Navajo Yei weaving

Mid/late 20th century, Diné Woven in cream, black, grey, blue, and ochre with six standing Yei figures each holding feather strands 33.5” H x 45.75” W $300-500

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3183

A Navajo Yei textile

Late 20th century, Diné Woven in black, grey, red, turquoise, and ochre wool with five standing Yei figures, holding arrows and bows 34” H x 52.5” W $200-400

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3184

A Navajo pictorial weaving

Late 20th century, Diné Woven in brown, tan, grey, cream and orange wool depicting a house and hogan with donkeys, a horse, and a wagon in a desert landscape 29” H x 23” W $300-500 Provenance: The Schultheis Estate, WA

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3185

Cecilia Valencia Trujillo (b. 1954, Cochiti Pueblo)

A Cochiti Pueblo polychrome pottery figure, Signed to base: C. Valencia / Cochiti Pueblo NM A large seated storyteller with twenty children, holding a drum and beater, and with contrast black slip geometric motifs 11.25” H x 8.25” W x 8” D approximately $200-300

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3186

Two Jemez Pueblo pottery figures

Mid/late 20th century Each variously signed to base for artist and for Jemez Pueblo: J. Fragua / Jemez / VL / Jemez Comprising a large polychrome pottery storyteller with ten children, and a smaller polychrome pottery storyteller with four children and an infant 2 pieces Larger: 8.75” H x 5” W x 7” D; Smaller: 7” H x 3.5” W x 6.25” D $200-400

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3187

A group of Southwest Pueblo pottery storytellers Late 20th/21st century Three works:

Felicita Herrera Eustace (1927-2016, Cochiti Pueblo) A Cochiti Pueblo polychrome pottery storyteller Signed to base: Felicita Eustace Cochiti Pueblo NM With six children and a cat, with floral motifs to clothing 6.5” H x 4.25” W x 4.25” D Carol G. Lucero Gachupin (b.1958, Jemez Pueblo) A Jemez Pueblo polychrome pottery storyteller Signed to one leg: Lucero Gachupin The seated figure in slip painted red clay with a circle skirt and decorated mantle, with six children, a dog and a drum, a book, a scarf, and a decorated pottery bowl 6” H x 6.5” W x 8.25” D Vangie Suina (b. 1959, Cochiti Pueblo) A Cochiti Pueblo polychrome pottery storyteller Signed to base: Vangie Suina / 12/89 A tall finely painted figure wearing a large red decorated mantle or wearing blanket, and holding fourteen children 7.25” H x 5” W x 5”D 3 pieces $200-400

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3188

A Rio Grande blanket

Early 20th century; New Mexico Woven in orange, pink, and cream wool in variable striped and ticked bands 81” H x 53.5” W $400-600

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3189

A Rio Grande blanket

Early 20th century; New Mexico Comprising two joined loom-widths woven in red, orange, pink, and brown wool in variable striped bands 75.5” H x 50” W $300-500

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3190

A pair of Rio Grande textiles

Early/mid-20th century; New Mexico Two matching loom-width pieces woven in lilac, red, green, yellow and grey wool in a banded motif 87” & 84” H x 23” W approximately $200-300

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3191

A Navajo child’s blanket

Late 19th/early 20th century, Diné Woven in cream, red, yellow, brown, and blue wool with alternating geometric and striped banding 64.5” H x 42” W $3,000-5,000

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3192

A Navajo wearing blanket variant with spider woman crosses Early 20th century, Diné Woven in 4-ply Germantown wool with rows of red spider woman crosses alternating with natural cream and dark brown bands 63” H x 75” W $7,000-9,000

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3193

A Navajo Transitional woman’s wearing blanket

Late 19th century, Diné With alternating bands and rows of serrated diamonds, woven in red, natural grey, dark brown, blue, and blue/green wool 43.5” H x 51.5” W $4,000-6,000 Provenance: Purchased from Feathers Gallery, Scottsdale, AZ, November 25, 1998 Mary and Stanley Wadsworth, Durango, CO Notes: This lot is accompanied by a purchase receipt and business card from the abovementioned gallery, and two photographs of the weaving.

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3194

A Navajo Third Phase variant wearing blanket

Late 19th/early 20th century, Diné Woven in red, brown, cream, and blue wool, with alternating bands of stripes intersecting with conjoined stepped diamonds 49” H x 74” W $2,000-4,000

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3195

A Navajo Third Phase Transitional wearing blanket

Late 19th century, Diné With alternating bands and stepped diamonds, woven in dark brown, cream, pale blue, and red handspun wool, with yellow and green Germantown wool accents 48.5” H x 62.5” W $2,000-4,000 Provenance: Purchased from Notah Dineh Trading Co., Cortez, CO, December 22, 1997 Mary and Stanley Wadsworth, Durango, CO Notes: This lot is accompanied by a purchase receipt and business card from the abovementioned gallery, as well as several photographs of the weaving.

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3196

A Navajo Third Phase variant wearing blanket

Late 19th century, Diné With central serrated concentric diamond, a banded ground, and serrated corners, woven in dark brown, natural brown, cream, red, dark orange, and pale orange wool 66.5” H x 86” W $3,000-5,000 Provenance: Purchased from Exit One Traders, Durango, CO, March 27, 1998 Mary and Stanley Wadsworth, Durango, CO Notes: This lot is accompanied by a purchase receipt from the abovementioned retailer, as well as an inscribed business card and several photographs of the weaving.

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3197

A Navajo Third Phase Revival wearing blanket

Mid/late 20th century, Diné With bands and stepped diamonds, woven in red, dark brown, cream, and natural grey wool 55” H x 76” W $2,000-4,000 Provenance: Purchased from Toh-Atin Gallery, Durango, CO, October 30, 1998 Mary and Stanley Wadsworth, Durango, CO Notes: This lot is accompanied by a purchase receipt and retail tag from the abovementioned gallery, and a photograph of the weaving.

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3198

A Navajo Third Phase wearing blanket

Early 20th century, Diné With alternating bands and geometric accents, woven in black, cream, blue, and red wool 60” H x 81” W $3,000-5,000 Provenance: Purchased from Exit One Traders, Durango, CO, September 4, 1997 Mary and Stanley Wadsworth, Durango, CO Notes: This lot is accompanied by a purchase receipt from the abovementioned retailer, and two photographs of the weaving.

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3199

A Navajo Third Phase revival wearing blanket

Early 20th century, Diné With stripes and stepped diamonds, woven in dark brown, red, and cream wool 59.5” H x 62.5” W $700-900

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3200

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 $4,000-6,000 Provenance: Private collection, Studio City, CA

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3201

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 $1,500-2,500 Provenance: Private collection, Studio City, CA

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3202

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 $5,000-7,000 Provenance: Private collection, Studio City, CA

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3203

A Navajo Hubble Revival Moki-style textile

Late 19th century, Diné With central stepped diamonds centered by banding and outer stepped short end border, woven in blue, dark blue, red, and tan wool 83.5” H x 64” W $4,000-6,000 Provenance: Purchased from Toh-Atin Gallery, Durango, CO, September 16, 2007 Mary and Stanley Wadsworth, Durango, CO Notes: This lot is accompanied by a purchase receipt and retail tag from the abovementioned gallery.

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3204

A Navajo traditional dress

Mid-20th century, Diné A full dress comprising two woven panels in black, red and blue wool featuring banded ends with stepped triangle and striped motifs, the panels attached at various points at top and sides Each panel 47” H x 30” W approximately $800-1,200 Provenance: Purchased from Toh-Atin Gallery, Durango, CO, July 21, 1999 Mary and Stanley Wadsworth, Durango, CO Notes: This lot is accompanied by a purchase receipt, retail tag, and Certificate of Authenticity from the abovementioned gallery, as well as several photographs of the weaving.

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3205

A Navajo dress half weaving

Early 20th century, Diné Woven in dark brown and red wool with wide banded ends in red featuring stepped and cross motifs 51” H x 32” W $800-1,200

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3206

A Navajo double saddle blanket

Early 20th century, Diné With alternating bands woven in red, natural grey, and dark brown wool 51.5” H x 39” W $600-900

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3207

A Navajo saddle blanket

Early 20th century, Diné With alternating bands of crosses and diagonal ticking, woven in dark brown, natural grey, and cream wool 45.5” H x 29” W $400-600

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3208

A Navajo saddle blanket

Early 20th century, Diné With banding woven in cream and dark brown wool 36” H x 32.5” W $400-600

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3209

A Navajo double saddle blanket

Early 20th century, Diné Woven in brown, tan, cream, and grey wool with one end featuring a cross motif and four rectangles with diagonal sawtooth bands, and the other end with bands of terraced fret motifs and sawtooth corners 52” H x 34” W $500-700

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3210

A group of Southwest Pueblo pottery storytellers Late 20th/21st century Four works:

Maria Priscilla Romero (b. 1936, Cochiti Pueblo) A Cochiti Pueblo polychrome storyteller Signed to base: Priscilla Romero A seated figure with hands raised with seventeen children and contrasting red and black geometric motifs 6” H x 4” W x 5” D Ada Suina (b. 1930, Cochiti Pueblo) A Cochiti Pueblo polychrome storyteller Signed to base: Ada Suina / Cochiti A small seated figure in a black dress with two children 4.25” H x 3.5” W x 4.75” D Two Southwest Pueblo polychrome pottery storytellers Smaller signed to base: _an Gachupin / Jemez Comprising a small Jemez Pueblo figure with two children, each holding a decorated pottery tray, and a large unsigned storyteller with twenty-two children and a corn motif mantle Larger: 7.75” H x 7.5” W x 6” D; Smaller: 5” H x 3.25” W x 4.5” D 2 pieces 4 pieces total $300-500

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3211

Ivan & Rita Lewis (1919-2001 & 1920-1991, Cochiti Pueblo)

Two Cochiti Pueblo polychrome pottery storyteller figures, mid/late 20th century Each variously signed to underside: Ivan Lewis / Rita Lewis / Cochiti Pueblo, N.M. Comprising a large Ivan and Rita Lewis storyteller with eight children featuring slip painted jewelry and butterfly motifs, and a smaller Rita Lewis storyteller holding an infant 2 pieces Larger: 8.75” H x 6” W x 6.25” D; Smaller: 4.5” H x 2.75” W x 3.25” D $400-600 Notes: “Rita Lewis, the daughter of famous potter Ascencion Banada, married Ivan Lewis, son of famous potter Lucy Lewis. Together they started making bowls and animal figurines around 1971, and storyteller figurines around 1973.” https://www.adobegallery.com/artist/Rita_Lewis_1920_1991179912974

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3212

A group of Haudenosaunee beaded whimseys

Late 19th/early 20th century, Iroquois; Northeastern United States/Canada Seven works comprising a large beaded whimsey boot wall hanging, two smaller beaded whimsey boots on red fabric, two beaded whimsey wall pockets, and two beaded flap coin purses, one in red velvet and one in blue fabric 7 pieces Largest: 9” H x 6.75” W x 2.5” D; Smallest: 2.25” H x 3.25” W x 1.5” D $200-300

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3213

Two Native American beaded pouches Two works:

A Woodlands/Haudenosaunee Iroquois double-faced beaded pouch Late 19th/20th century; Northeastern United States/Canada A small shaped flapped bag with multicolored floral beadwork motifs on dark brown velvet with green ribbon trim and linen/cotton fabric lining 6” H x 5.5” W A Plateau round double-faced beaded bag Mid-20th century; Northwest United States/Canada With blue and multicolored beadwork to center and blue, brown, and silver beads to edges, with scalloped bead trim 5.25” Dia. 2 pieces $200-400 Notes: Each item accompanied by a purchase receipt from Galeria Capistrano, San Juan Capistrano, CA, dated December 1980 & January 1981.

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3216

A Navajo regional rug

Early 20th century, Diné Woven with bands of red, pale, red, cream, and dark brown wool 66” H x 45” W $400-600

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3217

A Navajo Ganado rug

Late 19th/early 20th century, Diné With a Spider Woman motif within a central diamond and a serrated border, woven in natural grey, dark brown, and aniline red wool 75.5” H x 54” W $1,000-1,500

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3218

A Navajo regional rug

Early 20th century, Diné With three central crosses and two stepped motifs within a stepped border to each longer side, woven in natural grey, dark brown and red wool 67.5” H x 44.5” W $800-1,200

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3219

A Navajo regional rug

Early 20th century, Diné With a central stepped diamond and denticulated border, woven in red, dark brown, light brown, ochre, cream, and natural grey wool 79” H x 46” W $400-600

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3220

A Navajo regional rug

Early 20th century, Diné With a central concentric checkered and stepped diamond and floating triangles, woven in red, natural grey, cream, and dark brown wool 71” H x 46.5” W $700-900

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3221

A Navajo regional rug

Early 20th century, Diné With stacked serrated diamonds woven in red, cream, natural brown, and dark brown wool 54” H x 46” W $500-700

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3222

A Navajo regional rug

Early 20th century, Diné With alternating bands of red and black serration woven in red, cream, grey, and black wool 68.5” H x 47.5” W $500-700

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3223

A Navajo regional rug

Mid-20th century, Diné A double saddle blanket woven in grey, red, brown, and cream wool with central stacked serrated diamonds 51” H x 34” W $200-400

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3224

A Navajo regional rug

Mid-20th century, Diné Woven red, black, grey, white and ochre wool in an optical checkered pattern of banded diamonds 63” H x 44” W $500-700

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3225

A Navajo regional rug

Mid-20th century, Diné With bands of stacked serrated diamonds, woven in red, cream, dark brown, natural brown, and ochre wool 60” H x 41” W $400-600

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3226

A Navajo regional storm pattern rug

Mid/late 20th century, Diné A storm pattern variant woven in natural grey/brown, dark brown, and cream wool with lightning and water bug motifs and a serrated border to sides 59” H x 38” W $500-700 Provenance: The Schultheis Estate, WA Notes: This lot with attached partial retail tag from Teec Nos Pos Trading Post, Arizona / Shiprock Trading Post, New Mexico. 3 0 2 A r t o f t h e Am e r i c a n We s t l We d n e sd ay, Nov e mb e r 1 9 , 2 0 2 5

3227

A Navajo regional rug

Early 20th century, Diné With banded serrated diamonds woven in dark brown, natural grey, cream, tan, and ochre wool 64.75” H x 49” W $400-600

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3228

A Navajo regional rug

Mid/late 20th century, Diné Woven in cream, brown, yellow, grey, and ochre wool with a central complex stepped diamond and crenellated border, with banded ends 55” H x 38.5” W $200-300

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3229

A Navajo regional weaving

Mid/late 20th century, Diné Tag indicates weaver as Dineh Hathale An optical style weaving in white, black, tan with rows of stacked triangular arrow motifs 35” H x 29” W $200-400 Provenance: The Schultheis Estate, WA Notes: This lot accompanied by a retail tag from Cow Canyon Trading Post, Bluff UT, indicating weaver. w w w. j o h n m o r a n . c o m 3 0 5

3230

A Navajo regional rug

Early 20th century, Diné A textile woven in grey, brown, cream, and red wool with conjoined hooked crosses and a sawtooth border 45.5” H x 25.25”W $200-400

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3231

A Navajo Two Grey Hills rug

Mid-20th century, Diné With two stacked elaborate stepped diamonds within an intricate long edge border, woven in dark brown, natural grey, ochre, tan, cream, and natural brown wool 99.5” H x 53.5” W $1,000-1,500

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3232

A Veloria Nez Navajo Two Grey Hills rug

Veloria Nez (b. 20th century, Diné) Late 20th century With central stepped diamonds and floating stepped elements, woven in black, dark brown, cream, and natural grey wool 83.5” H x 51.5” W $600-900 Provenance: Garland’s Navajo Rugs, Sedona, AZ The Schultheis Estate, WA, acquired from the above Notes: Attributed to retailer’s tag. 3 0 8 A r t o f t h e Am e r i c a n We s t l We d n e sd ay, Nov e mb e r 1 9 , 2 0 2 5

3233

A Marilyn Manhiemes Navajo regional rug

Marilyn Manhiemes (b. 20th century, Diné) Mid-20th century With an elaborate central diamond and intricate swirl to long edge border, woven in black, white, grey, and red wool 94.5” H x 50” W $800-1,200 Provenance: Richardson Trading Co, Gallup, NM The Schultheis Estate, WA, acquired from the above Notes: This lot is accompanied by a retailer’s tag/Certificate of Genuineness from the abovementioned retailer, with artist attribution. w w w. j o h n m o r a n . c o m 3 0 9

3234

A Navajo Two Grey Hills rug

Mid/late 20th century, Diné Woven in grey, black, cream, brown, and light brown wool with a large central stepped diamond with triangle ends and multiple banded borders 48” H x 36” W $200-400

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3235

A Navajo regional rug

Mid/late 20th century, Diné Woven in brown, tan, grey and black wool with a central sawtooth diamond and half diamonds to sides, with two-color cross motifs and a black border 54.5” H x 39.5” W $400-600 Provenance: The Schultheis Estate, WA

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3236

An Annie Watchman Navajo Two Grey Hills weaving

Annie Mae Watchman (1932-2001, Diné) Late 20th century Woven in cream, brown, grey, and black wool with stepped diamond to center 22.5” H x 14.5” W $200-400 Provenance: The Schultheis Estate, WA Notes: This lot with retail tag from Shiprock Trading Post, Shiprock, NM, indicating weaver. 3 1 2 A r t o f t h e Am e r i c a n We s t l We d n e sd ay, Nov e mb e r 1 9 , 2 0 2 5

3237

A Nellie Glasses Navajo regional rug

Nellie Glasses (b. 20th century, Diné) Mid/late 20th century With stacked serrated diamonds and floating elements and an intricate long edge border, woven in dark brown, light brown, cream, and natural grey 88” H x 66.5” W $600-800 Provenance: Richardson’s Trading Co., Gallup, NM The Schultheis Estate, WA, acquired from the above Notes: This lot is accompanied by a photograph of the artist with the weaving, with inked attribution and provenance notes verso. w w w. j o h n m o r a n . c o m 3 1 3

3238

A Navajo Ganado rug

Early 20th century, Diné With three conjoined latticed diamonds and an elaborate hooked long border, woven in red, cream, natural grey, orange/brown, and dark brown wool 103.5” H x 53” W $700-900

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3239

A Navajo Two Grey Hills rug

Early 20th century, Diné With conjoined stepped diamonds and floating figural motifs within a denticulated border, woven in dark brown, cream, natural grey, and ochre wool 83.5” H x 55.5” W $600-800

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3240

A Navajo Two Grey Hills rug

Early 20th century, Diné With rows of denticulated diamonds and floating hooked and geometric elements, woven in dark brown, cream, and natural grey wool 81.75” H x 61” W $700-900

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3241

A large Navajo regional rug

Early 20th century, Diné With a central stepped diamond, woven in dark brown, natural grey, and cream wool 87.5” H x 65.5” W $700-900

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3242

A Navajo regional rug

Late 20th/21st century, Diné Woven in natural grey, black, cream, tan, and ochre wool in an all-over stepped star pattern with hooked borders to sides 47.5” H x 34.5” W $300-500

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3243

A Hairston Roberson Ropa fully beaded fringed coat

Late 20th century With maker’s label to interior, Size Small The heavy short beaded coat with overall multicolored Plains-style floral motifs on a white beaded field, trimmed with buckskin fringe to sleeves and hem, and with shoulder pads and a blue printed cotton lining Center back: 19.5”; fringe: 5.5”; back underarms: 20”; shoulders: 16”; sleeves: 21.5” $200-400 Provenance: The Schultheis Estate, WA Acquired July 26, 1995

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3244

A Native American Plains wool dress with shells

Late 19th/early 20th century In blue wool with patterned rows of shells to shoulders and to center front and back, with hide fringe to sleeves and a zigzag band of tubular glass beads at hem, with pink and red ribbon trim to edges 38” H x 30” W (at sleeves) $800-1,200

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3245

Two Western-style leather and fur vests

Late 20th century One with label: Created by the “City Slicker” Chelan, Wash Comprising a “City Slicker” long vest in soft buckskin or deer hide, with snakeskin panel accents and a removable hide and fox-hide fur collar, all with laced seams and edges, and lacing fringe ties to shaped hem (center back: 45”; back underarms: 21.5”), together with a custom-made long light brown leather vest with likely honey blond mink fur to the front, with a pale brown brocade lining and matching leather tie belt ( center back: 32”; back underarms: 22”; belt: 67” L) 2 pieces $200-400 Provenance: The Schultheis Estate, WA

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3246

A pair of Early American cowboy leather chaps and a lariat

Late 19th/early 20th century The chaps with applied leather scrolled motifs to fronts with large metal rivets and hide lacings, the leather finished with scalloped edges with applied rivets, and the pockets and belt with cutout leather floral motifs, with a silver-toned buckle, together with a stiffened coiled rope lariat 3 pieces Each leg: 39” H x 15’ W approximately; lariat: 30” approximately $100-150

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3247

A Northern Plains roach headdress

Early/mid-20th century; Great Plains/Northern United States/Canada A long headdress composed of dyed red animal hair, likely horse or deer tail hair, all stitched to twine laces, and attached to a felted fabric base 7” H x 2.5” W x 10.25” D $300-500

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3248

A Navajo Two Grey Hills rug

Early/mid-20th century, Diné With three central stylized stacked diamonds and a denticulated border, woven in natural grey, cream, dark brown, and light brown wool 73” H x 51” W $600-900 Provenance: Purchased from Toh-Atin Gallery, Durango, CO, August 25, 1997 Mary and Stanley Wadsworth, Durango, CO Notes: This lot is accompanied with photocopies of the original purchased receipt and Certificate of Authenticity issued by the abovementioned gallery, as well as the original retailer’s tag and photographs of the weaving. 3 2 6 A r t o f t h e Am e r i c a n We s t l We d n e sd ay, Nov e mb e r 1 9 , 2 0 2 5

3249

A Dorothy Cody Navajo regional rug

Dorothy “Aee” Cody (1914-2012, Diné) Mid/late 20th century Woven in white, brown, grey, tan, and black wool in a storm pattern with lightning motifs and floating diamonds 60” H x 32.5” W $400-600 Provenance: The Schultheis Estate, WA Notes: This lot accompanied by a retail tag from Garland’s Navajo Rugs, Sedona, AZ, indicating weaver. w w w. j o h n m o r a n . c o m 3 2 7

3250

A Mary “Little Water” Henderson Navajo Two Grey Hills rug

Mary “Little Water” Henderson (b. 20th century, Diné) Mid/late 20th century With a serrated central diamond and geometric motifs throughout, woven in black, cream, natural grey, dark brown, and light brown wool 49.75” H x 35.25” W $300-500 Provenance: Purchased from Toh-Atin Gallery, Durango, CO, August 24, 1997 Mary and Stanley Wadsworth, Durango, CO Notes: This lot is accompanied by a purchase receipt/Certificate of Authenticity from the abovementioned gallery, as well as a photograph of the artist with the weaving. 3 2 8 A r t o f t h e Am e r i c a n We s t l We d n e sd ay, Nov e mb e r 1 9 , 2 0 2 5

3251

A Navajo Red Mesa rug

Mid/late 20th century, Diné Finely woven in grey, black, cream, dark red, pink, and ochre wool with multiple vertical zigzag dazzle stripes and a complex sawtooth border 59” H x 39” W $500-700

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3252

A Navajo Red Mesa rug

Early 20th century, Diné With a central column of stacked serrated diamonds within a sawtooth border, woven in red, cream, dark brown, tan, and orange wool 97.25” H x 49.5” W $700-900

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3253

A Navajo Red Mesa rug

Mid-20th century, Diné With alternating rows of stacked and floating serrated diamonds, woven in red, cream, natural brown, and dark brown wool 60” H x 47.5” W $400-600

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3254

A Betty Scott Navajo Teec Nos Pos rug

Betty Scott (b. 20th century, Diné) Late 20th/21st century Finely woven in pale lilac, grey, purple, pink, pale blue, orange, salmon, brown and cream wool with an elaborate central panel with multiple stepped diamonds and serrated edges, with feather motifs, floating hooked motifs, and x-form motifs to border 47” H x 37.5” W $600-900 Provenance: The Schultheis Estate, WA Notes: This lot accompanied by a retail tag from Teec Nos Pos Trading Post, indicating weaver, and a photograph.

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3255

A Jackie Begay Navajo Teec Nos Pos rug

Jackie Begay (b. 20th century, Diné) Late 20th century Woven in grey, white, black, brown, and cream wool with floating stepped diamond and various floating motifs to center, with a feather-style motif border to all sides 63” H x 48” W approximately $600-900 Provenance: The Schultheis Estate, WA Notes: This lot accompanied by a retail tag from Teec Nos Pos Trading Post, Shiprock NM, indicating weaver, as well as a photograph.

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3256

A Darlene Littleben Navajo Teec Nos Pos rug

Darlene Littleben (b. 20th century, Diné) Late 20th century Woven in red, black, cream, green, orange, and ochre wool with an elaborate central panel of variously patterned diamonds and a wide border of elaborate stepped motifs 50” H x 40” W $600-900 Provenance: The Schultheis Estate, WA Notes: This lot is accompanied by a retail tag from Richardson’s Trading Post, Gallup, NM, indicating weaver, with photograph.

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3257

A Roselinda Benally Navajo Ganado sampler textile

Roselinda Benally (b. 20th century, Diné) Late 20th century Woven in red, black, grey, cream and dark blue wool as a sampler of six different textile styles 29” H x 20” W $200-400 Provenance: The Schultheis Estate, WA Notes: This lot accompanied by a signed photograph of the weaver and by a retail tag from Twin Rocks Trading Post, Bluff, UT, indicating weaver.

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3258

A Patricia Desiderio Navajo regional weaving

Patricia Desiderio (b. 20th century, Diné) Late 20th/21st century Woven in red, dark grey, light grey, black, and dark blue wool with an abstract ‘Whirlwind’ pattern stepped diamond to center, and red and blue color blocks to each end 37” H x 24” W $200-400 Provenance: The Schultheis Estate, WA Notes: This lot accompanied by a signed photograph of the weaver and by a retail tag from Twin Rocks Trading Post, Bluff, UT, indicating weaver.

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3259

A Susan Burbank Navajo regional weaving

Susan Burbank (b. 20th century, Diné) Late 20th/21st century Woven in red, dark blue and black wool in a traditional wearing blanket motif with striped banding and a central stepped diamond 22” H x 14.75” W $200-400 Provenance: The Schultheis Estate, WA Notes: This lot is accompanied by a retail tag indicating weaver’s name and by a photograph of the weaver.

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3260

A Mazie Begay Navajo weaving

Mazie Begay (b. 20th century, Diné) Mid/late 20th century Woven in burgundy red, teal green, dark grey, cream, and black wool with a Chief-style striped stepped diamond motif with central Spider Woman cross and banded borders to ends 24” H x 18” W $200-400 Provenance: The Schultheis Estate, WA Notes: This lot with attached retail tag denoting weaver.

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3261

A Navajo Ganado rug

Earl/mid-20th century, Diné With elaborate hooked diamonds, floating serrated diamonds and a latticed long edge border, woven in red, dark brown, cream, natural grey, and ochre wool 80.5” H x 47.25” W $1,500-2,500

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3262

A Navajo Ganado rug

Mid/late 20th century, Diné With elaborate concentric diamonds and intricate stepped borders, woven in grey, light grey, red, cream, and black wool 117.5” H x 80.5” W $1,000-1,500 Provenance: The Schultheis Estate, WA

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3263

A Navajo Ganado rug

Early/mid-20th century, Diné With an elaborate central stepped diamond and intricate border, woven in red, grey, black, light brown, and cream wool 112” H x 71” W $800-1,200 Provenance: Purchased from Pat Palmer Interiors, August 11, 1997 Mary and Stanley Wadsworth, Durango, CO Notes: This lot is accompanied by photographs of the artist with the weaving on the loom during construction and other photos of the artist displaying her work. w w w. j o h n m o r a n . c o m 3 4 1

3264

A Navajo J.B. Moore-style regional rug

Early 20th century, Diné With interlocking stepped pattern and intricate serrated diamonds, woven in red, black, cream, and natural grey wool 90” H x 59” W $1,000-2,000

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3265

A Sharron Bahe Navajo Ganado rug

Sharron Bahe (b. 20th century, Diné) Late 20th/21st century Woven in red, grey, white, and black wool in a stylized storm pattern with lightning and water bug motifs, and an elaborate sawtooth border 54” H x 39” W $600-900 Provenance: The Schultheis Estate, WA Notes: This lot is accompanied by a retail tag from Richardson’s Trading Co., Gallup, NM, indicating weaver. w w w. j o h n m o r a n . c o m 3 4 3

3266

A Sarah Ashie Navajo Ganado rug

Sarah Ashie (b. 20th century, Diné) Late 20th century Woven in red, grey, black, and cream wool with a large central stepped hooked diamond with stepped borders to sides 70” H x 50” W approximately $500-700 Provenance: The Schultheis Estate, WA Notes: This lot is accompanied by a retail tag and a purchase receipt issued by Gilbert Ortega Galleries, Scottsdale AZ, dated December, 1993.

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3267

A Navajo regional rug

Mid-20th century, Diné Woven in red, grey, black, and cream wool with a column of five stacked conjoined diamonds and a black border 61.5” H x 32” W $200-400

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3268

A Nancy Beyale Navajo storm pattern weaving

Nancy Beyale (b. 20th century, Diné) Mid/late 20th century Woven in gray, red, black, and cream wool with storm lightning and feather motifs, and a sawtooth border to sides 24” H x 19” W $200-400 Provenance: The Schultheis Estate, WA Notes: This lot with retail label indicating weaver.

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3269

A Marilyn Manhiemes Navajo regional weaving

Late 20th century, Diné Woven in black, white, red, brown, and grey wool with central radiating sawtooth diamond motif to center, and geometric arrow motifs to ends 59.5” H x 53” W $600-900 Provenance: The Schultheis Estate, WA

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3270

Two Navajo Ganado textiles

Mid/late 20th century, Diné Comprising a small rug woven in red, black, and cream wool with conjoined stacked serrated diamonds and an elaborate border to two sides with striped banding to ends, as well as a small pictorial Yei weaving woven in red, cream, grey, and ochre wool depicting three Yei figures with feathers and floating mask motifs, with an elaborate sawtooth border to two sides 2 pieces Larger: 37.25” H x 27” W; Smaller: 21.75” H x 30” W $300-500

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3271

A Lydia Peshlakai Navajo Crystal rug

Lydia Peshlakai (b. 20th century, Diné) Mid-20th century With banded chevrons woven in multicolor wool 43.75” H x 29.5” W $400-600 Provenance: Mary and Stanley Wadsworth, Durango, CO Notes: This lot is accompanied by a retail tag from Old Crystal Trading Post, Crystal, NM, indicating the weaver. w w w. j o h n m o r a n . c o m 3 4 9

3272

A Mary Arthur Navajo Crystal rug

Mary Arthur (b. 20th century, Diné) Mid/late 20th century Woven in tan, rust, grey, teal, and brown wool in an alternating geometric twill banded motif 43.5” H x 33” W $300-500 Provenance: The Schultheis Estate, WA Notes: This lot accompanied by a retail tag from Shiprock Trading Post, Shiprock, NM, indicating weaver.

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3273

A Louise Mike Navajo Crystal rug

Louise Mike (b. 20th century, Diné) Late 20th century Woven in brown, pink, red, grey, and cream wool with alternating bands of conjoined sawtooth diamonds and striped and twill banding 59” H x 45” W approximately $500-700 Provenance: The Schultheis Estate, WA Notes: This lot is accompanied by a copy of a purchase receipt and a Certificate of Authenticity issued by Gilbert Ortega Galleries, Scottsdale AZ, dated December, 1992. With attached tag from Gilbert Ortega Galleries indicating weaver.

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3274

Two early Hopi Pueblo polychrome dance rattles

Early 20th century; Southwest United States The double-sided painted gourd rattles, each mounted on a carved wood handle, comprising one in blue and black with fringed cross motif and a red handle, and the other in red with a blue and yellow flared cross motif 2 pieces Each: 9.25” H x 5” Dia. & 4.75” Dia. $400-600

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3276

A Sioux dance wand

Early 20th century; Great Plains A dance wand or club with double horn end with applied beaded hide accents, attached to a braided horsehair shaft with white bead accents, and with a horse hair fringe “tail” 19” H x 12” W; Fringe: 12” L $200-400 Notes: This lot accompanied by a copy of a retail receipt from The Indian Tree, Chicago, IL, dated January 1980.

3275

A group of Hopi Pueblo dance wands

Late 19th/early 20th century; Southwestern United States Comprising a painted wood and carved gourd floral shaped dance wand (12” H x 5” Dia.) as well as two blue and yellow painted hide flower dance wands mounted with string to carved wood sticks (Each: 11.5” H x 5” & 6” W) 3 pieces $600-900

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3277

A Navajo Chinle rug

Mid/Late 20th century, Diné Woven in natural vegetal dye colors of pale brown, ochre, cream, and grey wool in alternating serrated diamond and stripe banded motifs 63” H x 45” W $200-400

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3278

A Navajo regional weaving

Late 20th century, Diné With label: Fannie Begay / Rock Point Woven in cream, tan, green, black, burgundy, and grey wool with two stacked stepped diamonds and crenellated border to sides 34.5” H x 24” W $200-400 Provenance: The Schultheis Estate, WA Notes: With attached retail label from Cow Canyon Trading Post, Bluff, Utah, indicating Fannie Begay, Rock Point, as weaver. w w w. j o h n m o r a n . c o m 3 5 5

3279

A Navajo regional rug

Mid/late 20th century, Diné Woven in white, red, grey, and cream wool with a large central serrated diamond and four floating diamonds, with black serrated borders to sides 58” H x 29” W $200-300 Provenance: The Schultheis Estate, WA

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3280

A Navajo regional rug

Late 20th/21st century, Diné Woven in brown, tan, light grey, dark grey, cream, and black wool in an optical style with finely serrated concentric diamonds radiating from the center 46” H x 27” W $300-500 Provenance: The Schultheis Estate, WA

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3281

A small Gallup throw

Mid-20th century, Diné With central floating geometric motif, woven in dark brown, natural brown, cream, and red wool 42.5” H x 20.5” W $200-300

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3282

A Gallup throw

Early/mid-20th century, Diné With stacked concentric diamonds woven in red, cream, dark brown, light brown, and natural grey wool 56” H x 31.75” W $200-400

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3283

A Marilyn Manhiemes Navajo regional rug

Late 20th century, Diné Woven in grey, black, brown, tan, and white wool with alternating bands of sawtooth zigzags and striped banding 57.5” H x 39.5” W approximately $300-500 Provenance: The Schultheis Estate, WA

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3284

Two Navajo regional rugs

Mid-20th century, Diné Comprising a small rug woven in red, brown, and light brown wool with an X-form motif to center as well as a banded saddle blanket woven in red, black and cream with ticked and geometric striped banding 2 pieces Larger: 60” H x 33” W; Smaller: 49” H x 33” W $200-400

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3285

Two Navajo textiles

Early/mid-20th century, Diné Comprising a small rug woven in grey, brown, cream and red wool with central serrated diamonds and floating diamond motifs to corners, as well as a smaller Gallup throw woven in red, grey, brown, and cream wool with a large central sawtooth diamond in red and half diamonds to corners 2 pieces Larger: 43” H x 32” W; Smaller: 39” H x18” W $300-500

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3286

Two Navajo saddle blankets

Mid/late 20th century, Diné Comprising two striped saddle blankets, one with twill banded stripes in orange, red, black, and cream wool, with blue and orange diamonds to each corner, and one of similar banded design in grey, orange, blue, cream, and black wool with multiple fret motifs to ends 2 pieces Larger: 30.5” H x 30.5” W; Smaller: 30” H x 29.5” W $200-400 Provenance: Estate, Glendora, CA Private collection, Glendora, CA

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3287

A group of Navajo textiles

Mid/late 20th century, Diné Comprising a double saddle blanket in brown and cream wool with striped and arrow motif banding, together with four Gallup throws in various styles, colors and motifs including one with a central sawtooth diamond, one with a stepped central X-form, and two with geometric and striped banding 5 pieces Largest: 52” H x 30” W; Smallest: 30” H x 15.5” W $400-600

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3288

A group of Navajo regional weavings Late 20th century Four works:

A Selena Yazzie Navajo Chinle mat Selena Yazzie (b. 20th century, Diné) Woven in grey, brown, beige, and tan wool with alternating bands of serrated diamonds and striped banding 22” H x 14.5” W A Roselyn Begay Navajo Burnt Water mat Roselyn Begay (b. 20th century, Diné) Woven in grey, red, tan, and white wool with an elaborate stepped diamond to center and sawtooth borders to sides 20” H x 16” W A Barbara Begay Navajo Ganado round mat Barbara Begay (b. 20th century, Diné) Woven in red, gray and black wool with a central finely serrated stylized diamond 15” Dia. A Navajo Chinle-style mat woven in red, black, white, tan, and multicolored wool with alternating bands of conjoined serrated diamonds and striped banding 19.5” H x 15.5” W 4 pieces total $200-400 Provenance: The Schultheis Estate, WA Notes: Three pieces accompanied by a retail tag indicating weaver, and two further accompanied by a photograph of the weaver.

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3289

A polychrome Washoe basketry bowl

Early/mid-20th century; Northern California/Nevada A coiled oval low bowl with four irregular sawtooth or flame motifs in black and in brown. 2.75” H x 8.75” W x 7” D $200-400 This lot accompanied by a copy of a purchase receipt from Indian Jewelry Center, Old Sacramento, CA, dated November 1982.

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3290

A large polychrome Mission basketry bowl

Early 20th century; Southern California A coiled extra-large tapered mush bowl style basket with three zigzag bands to body 10.75” H x 18” Dia. $800-1,200

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3291

A Klamath basketry hat

Early/mid-20th century; Northern California/Oregon A twined hat with three clusters of stacked triangles to sides and ticked banding above rim 4” H x 7.5” Dia. $300-500

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3292

A polychrome Hupa/Yurok/Karuk basket

Mid/late 20th century; Northern California The tall twined bowl with diagonal imbricated sawtooth and zigzag geometric motifs and triangular banding to rim and base 5.5” H x 8.5” W x 8” D $400-600

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3293

A polychrome Jicarilla Apache basketry tray

Mid-20th century; Southwest United States A coiled tray with stepped star motif and stepped triangles to rim 3.75” H x 14.75” Dia. $200-300 Provenance: Kania-Ferrin Gallery, Santa Fe, New Mexico Notes: This lot is accompanied by a purchase receipt from the abovementioned gallery, dated April 1995.

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3294

A large Pima basket

Early/mid-20th century, Akimel O’odham; Southwest United States A coiled basketry tray with ancestral pueblo motifs of swirling stepped bands issuing from a dark center 5.5” H x 15.75” Dia. $300-500

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3295

A group of Papago baskets

Early/mid-20th century, Tohono O’odham; Southwestern United States Four coiled baskets comprising a tall basket with interlocking diamonds and rim ticking (4.75” H x 7” Dia.), a smaller basket with a band of figures holding hands (2.5” H x 6.75” Dia.), a basket with a band of stepped diamonds (3” H x 6” Dia.), and a basketry tray with a central stepped cross motif with Y shapes to sides (1.5” H x 8.25” Dia.) 4 pieces $200-400

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3296

A Northwest Coast polychrome totem

Mid-20th century Unmarked The small painted carved cedar standing totem depicting two figures and a frog, with an eagle to the top 19.5” H x 3.75” W x 2.375” D $300-500

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3297

A Northwest Coast carved cedar grease bowl

20th century A sea lion form wooden bowl with shell disc eyes and diminutive shell inlay to back flippers 2.5” H x 4.25” W x 8.5” D $400-600

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3298

Richard Ebelacker (1946-2010, Santa Clara Pueblo)

A blackware pottery jar, late 20th/early 21st century Incised to underside: Richard Ebelacker / Santa Clara Pueblo With tiered shoulder and flared neck featuring four incised bear paw motifs 5” H x 5.125” Dia. $1,000-2,000 Notes: Richard Ebelacker was grandson to Margaret Tafoya (1904-2001).

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3299

Maria & Santana Martinez (1887-1980 & 1909-2002, San Ildefonso Pueblo) A blackware pottery small dish, mid/late 20th century Incised to underside: Marie + Santana With black on black geometric designs 1” H x 5.75” Dia. $700-900

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3300

Crucita “Blue Corn” Calabaza (1921-1999, San Ildefonso Pueblo)

Two blackware pottery vessels, mid-20th century Each incised to underside: Blue Corn / San Ildefonso Pueblo Each with black on black banded feather motif, comprising a small jar and a small dish 2 pieces Jar: 2” H x 3” Dia.; Dish:1.125” H x 5” Dia. $1,000-1,500

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3301

Maria Martinez & Popovi Da (1887-1980 & 1923-1971, San Ildefonso Pueblo) Two blackware pottery vessels, mid-20th century Each incised to underside: Maria / Popovi Each with black on black designs, comprising a small jar with banded feather motif to shoulder, and a small plate with swirling hook motif 2 pieces Jar: 3.375” H x 4.25” Dia.; Dish: 1” H x 5.625” Dia. $800-1,200

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3302

Vicky Martinez Tafoya (b. 1967, Santa Clara Pueblo)

A blackware pottery jar, early 21st century Incised to underside: Vicky Mrtz Tafoya / Santa Clara Pueblo With deeply carved Avanyu motif to the body and banded feather motif to neck, with slip paint to carved areas 11.75” H x 10” Dia. $400-600

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3303

Maria Martinez (1887-1980, San Ildefonso Pueblo)

A blackware pottery jar, circa 1920-1925 Incised to underside: Marie The jar with black on black stepped and stacked triangle motifs to shoulder 5.5” H x 7” Dia. $300-500

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3304

Rose Gonzales (1900-1989, San Ildefonso Pueblo) A blackware pottery jar, mid-20th century Incised to underside: Rose With carved wave and stepped motifs to shoulder 7” H x 7.75” Dia. $300-500 Provenance: Private collection, Judsonia, Arkansas

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3305

Sharon Naranjo Garcia (b. 1951, Santa Clara Pueblo)

A large blackware pottery jar, late 20th/early 21st century Incised to underside: Sharon Naranjo Garcia / Santa Clara Pueblo The stone burnished jar with piecrust rim that slopes down the neck to form lobes at the shoulder 8.75” H x 9.75” Dia. $400-600 Provenance: Pueblo Pottery Gallery, San Fidel, NM The Schultheis Estate, WA, acquired from the above, April 27, 1995 Notes: This lot is accompanied by a purchase receipt from the abovementioned gallery.

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3306

Phyllis & Marlin Hemlock (b. 20th century, Santa Clara Pueblo/Seneca Iroquois) A carved blackware pottery vessel, late 20th century Incised to underside: Phyllis + Marlin / Hemlock / Santa Clara With deeply carved Avanyu motif above stepped bands 7.25” H x 6.875” Dia. $200-400 Provenance: The Schultheis Estate, WA

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3307

Stella Chavarria (b. 1939, Santa Clara Pueblo)

A blackware pottery bowl, mid/late 20th century Incised to underside: Stella Chavarria / Santa Clara Pueblo Deeply carved with a band of geometric motifs 3.25” H x 5.375” Dia. $200-300

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3308

Stella Chavarria (b. 1939, Santa Clara Pueblo)

A blackware pottery jar, late 20th century Incised to underside: Stella Chavarria / Santa Clara With deeply carved Avanyu motif to the body and banded feather motif to neck, with slip paint to carved areas 5.75” H x 4.25” Dia. $200-400 Provenance: Private collection, Judsonia, Arkansas

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3309

Denise Chavarria (b. 1959, Santa Clara Pueblo)

Two blackware pottery vessels, late 20th/early 21st century Each incised to underside: Denise Chavarria / Santa Clara Each with deeply carved swirling motifs with a stepped motif at shoulder and slip painted carved areas, comprising a seed jar and a jar with long neck and shaped rim 2 pieces Seed: 4” H x 3.75” Dia.; Shaped rim: 5.125” H x 3.625” Dia. $100-200 Provenance: Private collection, Judsonia, Arkansas

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3310

Barbara “Jo-Povi” “Cactus Flower” Martinez (b. 1947, Santa Clara Pueblo) A blackware pottery wedding vase, late 20th/early 21st century Incised to underside: Barbara Martinez / Santa Clara Pueblo The double-spouted handled vase with deeply carved Avanyu motif to the body and banded feather motif to shoulder, with slip paint to carved areas 13.25” H x 8.625” W x 8.375” D $400-600

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3311

A group of Southwest Pueblo blackware pottery vessels 4 works:

Maria Martinez (1887-1980, Santa Clara Pueblo) A small blackware pottery jar, mid/late 20th century Incised to underside: Marie / Santa Clara With black on black Avanyu motif 3” H x 3” Dia. Melvin Tafoya (b. 1957, Santa Clara Pueblo) A small blackware pottery bowl, 1996 Incised to underside: Melvin Tafoya / Santa Clara Pueblo / 10-20-96 2.125” H x 5” Dia. Toni Roller (b. 1935, Santa Clara Pueblo) A blackware pottery canoe-form vessel Incised to underside: Toni Roller / Santa Clara 1.625” H 5.625” W x 2.25” D A blackware pottery jar, mid/late 20th century Incised to underside: Pueblo / San Ildefonso / Pueblo With black on black banded feather motif 3.625” H x 3.625” Dia. 4 pieces $500-700

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3312

Belen Tapia (1914-1999, Santa Clara Pueblo)

A redware pottery jar, late 20th century Incised with pencil to underside: Belen Tapia / Santa Clara Pue The jar deeply carved with tan slip painted to carved areas, depicting repeated stepped motifs to neck and an avanyu figure to shoulder 9.125” H x 11.625” Dia. $700-900 Provenance: Private collection, Judsonia, Arkansas

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3313

Vicky Martinez Tafoya (b. 1967, Santa Clara Pueblo)

A redware pottery jar, early 21st century Incised to underside: Vicky Mrtz Tafoya / Santa Clara Pueblo With deeply carved Avanyu motif to the body and banded feather motif to neck, with slip paint to carved areas 12.5” H x 10.25” Dia. $700-900 Provenance: Acquired from Two Grey Hills Gallery, Jackson Hole, WY, 2013

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3314

Vicky Martinez Tafoya (b. 1967, Santa Clara Pueblo)

A redware pottery bowl, early 21st century Incised to underside: Vicky Mrtz Tafoya / Santa Clara Pueblo The burnished bowl with deeply carved Avanyu motif to the body and slip paint to carved areas 7.625” H x 10.25” Dia. $400-600

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3315

Belen Tapia (1914-1999, Santa Clara Pueblo)

A redware pottery seed jar, mid-20th century Incised to underside: Belen Tapia / Santa Clara Pue Deeply carved with stepped and geometric motifs to shoulder with slip painted carved areas 3.375” H x 6.875” Dia. $100-200 Provenance: Private collection, Judsonia, Arkansas

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3316

Rose Naranjo & Polly Rose Folwell (1917-2004 & b. 1962, Santa Clara Pueblo) A sienna pottery jar, late 20th century Incised to underside: Rose Naranjo & Polly Rose The low jar with irregular shoulder and rim, with incised angular spirals and stepped motifs in band of matte slip paint 2.875” H x 6.125” Dia. $200-400 Provenance: Private collection, Judsonia, Arkansas

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3317

Andrew Padilla (1956-2021, Santa Clara/Laguna Pueblo)

A whiteware “melon” jar, early 21st century Signed and inscribed in slip to underside: Andrew Padilla / Laguna / N.M. The stone-polished low jar with lobed shoulder 4.625” H x 9.5” Dia. $200-400 Provenance: Private collection, Judsonia, Arkansas

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3318

Lorenzo Gonzalez (1922-1995, San Ildefonso Pueblo)

A redware pottery bowl, mid/late 20th century Incised to underside: Lorenzo / Santa Clara Pueblo The bowl with a band of slip-painted feather motifs to shoulder 3.25” H x 7.625” Dia. $200-400 Provenance: Private collection, Judsonia, Arkansas Notes: Lorenzo Gonzales was brother to Blue Corn (1921-1999).

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3319

Margaret & Luther Gutierrez (1936-2017 & 1911-1987, Santa Clara Pueblo) Three polychrome pottery figures, mid/late 20th century Each signed: Margaret / Luther Each figure decorated in multicolor slip on a cream ground 3 pieces Tallest: 3.375” H x 2.75” W x 2” D; Shortest: 2.25” H x 4” W x 3.125” D $200-300

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3320

Gloria Kahe (b. 1951, Navajo/Diné)

A polychrome pottery seed pot, late 20th/early 21st century Signed to underside: G. Kahe The three-color pot with shoulder decorated in red and black with bands of feathers, stepped, and geometric motifs on a cream slip ground 3” H x 6.875” Dia. $200-400 Provenance: Private collection, Judsonia, Arkansas

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3321

Alice Cling (b. 1946, Navajo/Diné)

A redware pottery jar, late 20th/early 21st century Incised to underside: Alice Cling With stylized fire clouding throughout 7.375” H x 8.375” Dia. $400-600 Provenance: The Schultheis Estate, WA

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3322

Alice Cling (b. 1946, Navajo/Diné)

A wide-shouldered redware pottery vase, late 20th/early 21st century Incised to underside: Alice Cling With stylized fire clouding throughout 6.5” H x 4.875” Dia. $200-400 Provenance: The Schultheis Estate, WA

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3323

Alice Cling (b. 1946, Navajo/Diné)

Three redware pottery vessels, late 20th/early 21st century Each incised to underside: Alice Cling Comprising a jar with twisted handles, a small pot with square rim and impressed details to shoulder, and a vase with attenuated body, each with stylized fire clouding throughout 3 pieces Largest: 12” H x 8.25” Dia.; Smallest: 3” H x 4.25” Dia. $500-700 Provenance: The Schultheis Estate, WA

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3324

Susie Crank (b. 1966, Navajo/Diné)

A tall redware pottery vase, 1998 Incised to underside: Susie W. Crank / Navajo / ‘98 With stylized fire clouding throughout 12” H x 6.625” Dia. $200-400 Provenance: The Schultheis Estate, WA

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3325

Susie Crank (b. 1966, Navajo/Diné)

A tall redware pottery vase, late 20th/early 21st century Incised to underside: Susie W. Crank / Navajo With stylized fire clouding throughout, featuring a braided rope-form band to upper neck in relief 11.625” H x 6.5” Dia. $200-400 Provenance: The Schultheis Estate, WA

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3326

Two Navajo redware pottery jars Two works:

Lorraine Williams (1955-2024, Navajo/Diné) A redware tall neck jar, late 20th/early 21st century Incised to underside: Lorraine Williams / LW With stylized fire clouding throughout 10.5” H x 6.75” Dia. Corena Crank (b. 20th century, Navajo/Diné) A redware globular jar, early 21st century Incised to underside: Corena C. / Navajo With stylized fire clouding throughout 7.125” H x 5.375” Dia. 2 pieces $200-400 Provenance: The Schultheis Estate, WA

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3327

Tony Dallas (b. 1956, Hopi Pueblo)

A Hopi Pueblo polychrome black and white Koshare clown storyteller, late 20th/21st century Signed to underside: Tony Dallas / Hopi The seated figure with thirteen children, many eating and holding watermelon slices 10.5” H x 5.5” W x 6” D $100-200

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3328

Alma “Painted Parrot” Loretto (Concha) Maestas (b. 1941, Laguna/ Taos & Jemez Pueblo) A Jemez Pueblo pottery storyteller figure, late 20th century Signed to base: Alma / [water symbol for Water Clan] / Jemez Pueblo N.M. A large figure in cream and rust clay slip with twelve children 10.5” H x 5.75” W x 9” D $300-500 Notes: “Alma’s accomplishments are too many to mention, but include being listed in the book of Guinness World Records, commissioned by the Vatican to have her art work displayed in Rome and receiving a Papal blessing.” (https://www.taosnews.com/tempo/arts/beloved-pueblo-potter-passes-on/ article_7637ef31-a056-5a00-80b0-3aca2f34419d.html)

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3329

Thomas Polacca (1935-2003, Hopi-Tewa)

Two carved pottery jars, circa 1990 One incised, the other painted to underside: TOM / POLACCA Each with slip-painted carved designs of katsinas 2 pieces Larger: 6.5” H x 8.25” Dia.; Smaller: 6.25” H x 4.875” Dia. $800-1,200 Provenance: The Smolarek Trust Collection Sold: Santa Fe Art Auction, Santa Fe, NM, “Native American,” February 5, 2022, Lot 440 Private collection, Judsonia, Arkansas

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3330

Lawrence Namoki (1949-2020, Hopi-Tewa)

“Anasazi” Sgraffito pottery jar Incised signature and title to underside: Lawrence Namoki / Hopi 5.5” H x 4.375” Dia. $200-400 Provenance: Private collection, Judsonia, Arkansas

3331

Lawrence Namoki (1949-2020, Hopi-Tewa)

“Rainmakers” Sgraffito pottery vessel and inlaid turquoise Incised signature and title to underside: Lawrence Namoki / Hopi 5.625” H x 4” Dia. $200-400 Provenance: The Schultheis Estate, WA

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3332

Delaine “Dee” Tootsie-Chee (b. 1962, Hopi-Tewa)

A shaped rim pottery jar, early 21st century Signed and inscribed to underside: D. Tootsie / ASAH / [roadrunner cipher] / Hopi The jar with brown bands of sawtooth and swirling motifs to shoulder, and fine-line and stacked arrows to body, over a white slip ground 9.5” H x 8.5” Dia. $300-500 Provenance: Private collection, Judsonia, Arkansas

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3333

Mark Tahbo & Grace Chapella (1958-2017 & 1874-1980, Hopi-Tewa) A polychrome yellowware pottery jar, mid/late 20th century Signed to underside: Mark Tahbo / Grace Chapella The three-color jar with red and dark brown moth figures, stars, and geometric motifs to shoulder on a cream slip ground 3.625” H x 7.125” Dia. $1,000-1,500 Provenance: Private collection, Judsonia, Arkansas

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3334

Mark Tahbo (1958-2017, Hopi-Tewa)

A polychrome yellowware pottery jar, 1989 Signed and dated to underside: Mark Tahbo / Tewa . Hopi / 89 The three-color jar with brown and dark brown moth figures and stars within wave motifs to shoulder, on a cream slip ground 4” H x 5.125” Dia. $300-500 Provenance: Private Collection, New York Sold: Santa Fe Art Auction, Santa Fe, NM, “Native American,” February 5, 2022, Lot 449 Private collection, Judsonia, Arkansas

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3335

Ramon Tahbo Howato (b. 1978, Hopi-Tewa)

A polychrome pottery flat shouldered jar, early 21st century Signed to underside: Ramon Tahbo Howato / [artist’s cipher] The three-color jar with four red and black swirling bird-forms filled in with geometric motifs 4.125” H x 8.25” Dia. $200-400 Provenance: Private collection, Judsonia, Arkansas

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3336

Fawn “Little Fawn” Navasie Garcia (b. 1959 Hopi-Tewa)

A polychrome pottery jar, late 20th/early 21st century Signed to underside: Fawn / [deer track cipher] The three-color pot with brown and black waves and whirlwind motifs to shoulder on a cream slip ground 2.75” H x 5.25” W $200-400 Provenance: Private collection, Judsonia, Arkansas

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3337

Priscilla Namingha Nampeyo (1924-2008, Hopi-Tewa)

A polychrome pottery jar, mid/late 20th century Signed to underside: Priscilla N. Nampeyo The three-color jar with two red and black bands of geometric motifs terminating in feathers, above two black bird figures in a red ground cartouche, all on a cream slip ground 5.25” H x 6” Dia. $600-900 Provenance: Private collection, Judsonia, Arkansas

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3338

Grace Chapella (1874-1980, Hopi-Tewa)

A polychrome yellowware pottery jar, 1975 Attributed and dated to underside, possibly in another hand: Grace Chapella / Sept 14, 1975 The three-color jar with brown and dark brown moth figures and stars within wave motifs to shoulder, on a cream slip ground 3.375” H x 4.875” Dia. $300-500 Provenance: Private Collection, New York Sold: Santa Fe Art Auction, Santa Fe, NM, “Native American,” February 5, 2022, Lot 449 Private collection, Judsonia, Arkansas

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3339

James Garcia Nampeyo (1958-2019, Hopi-Tewa)

A polychrome pottery jar, late 20th/early 21st century Signed to underside: James G Nampeyo / [corn cipher] The three-color jar with red and brown bands of moths and geometric motifs to shoulder over a beige slip ground 3.375” H x 7” Dia. $400-600 Provenance: Private collection, Judsonia, Arkansas

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3340

Clinton Polacca Nampeyo (1958-2022, Hopi-Tewa)

A polychrome pottery jar, late 20th century Signed to underside: Clinton Polacca “Nampeyo” The three-color jar with red and brown migration motif and fine-line work, on a cream slip ground, housed in a plate glass and wood, velvet-lined display case Jar: 6.375” H x 9” Dia.; Case: 9.75” H x 14.25” W x 14.25” D $300-500

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3341

Antoinette Silas Honie (b. 20th century, Hopi-Tewa)

A polychrome pottery low olla jar, late 20th century Signed to underside: Antoinette Honie / Tewa Hopi The three-color jar with black and red geometric and avian motifs on a cream slip ground 5.875” H x 9.5” Dia. $500-700 Provenance: Private collection, Judsonia, Arkansas

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3342

Garrett Maho (b. 20th century, Hopi-Tewa)

A polychrome pottery seed pot, late 20th/early 21st century Incised to underside: Garrett Maho / -HopiThe four-color pot with brown, pink, and dark brown swirling figurative and star motifs on a cream slip ground 3.625” H x 8.875” Dia. $400-600 Provenance: Private collection, Judsonia, Arkansas

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3343

Stetson Setalla (b. 1962, Hopi-Tewa)

A polychrome pottery low bowl, late 20th/early 21st century Signed to underside: S. Setalla The three-color bowl with piecrust rim above red and black dragonfly motifs to interior and geometric motifs to exterior 4.375” H x 11.875” Dia. $300-500 Provenance: Private collection, Judsonia, Arkansas

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3344

Rondina Huma (b. 1947, Hopi-Tewa)

A polychrome pottery jar, late 20th century Faintly signed and inscribed to underside: Rondina Huma / Tewa / Polacca Az The three-color jar with red and brown swirling bands of geometric and stepped motifs on a cream slip ground 2.625” H x 4.625” W $300-500 Provenance: Private collection, Judsonia, Arkansas

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3345

Garnet Pavatea (1915-1981, Hopi-Tewa) A redware pottery bowl, mid-20th century Signed to underside: Garnet Pavatea The oval bowl with notched banding 3.125” H x 7.125” W x 6.125” D $300-500

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3346

Louden Silas (b. 20th century, Hopi-Tewa)

A polychrome pottery jar, 2020 Signed and dated to underside: Louden Silas / Hopi / Polacca, Az. 86042 The three-color jar with red and black decorations depicting two polikmana butterfly maiden katsinas and bands of geometric and corn stalk motifs on a cream slip ground 10.25” H x 6.5” Dia. $300-500 Provenance: Private collection, Judsonia, Arkansas

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3347

Stella Huma (1929-1996, Hopi-Tewa)

A polychrome pottery water pitcher, mid/late 20th century Signed and inscribed to underside: Stella Huma / Tribe Tewa / 1st Mesa / Polacca AZ The three-color pitcher with piecrust rim and lug handles, featuring red and brown geometric and hooked motifs on a cream slip ground 8.5” H x 9.125” W x 7.5” D $100-200 Provenance: Private collection, Judsonia, Arkansas

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3348

Dorothy Torivio (1946-2011, Acoma Pueblo)

A geometric pottery seed jar, early 21st century Signed to underside: Dorothy Torivio / Acoma, N.M. With black repeated geometric motifs throughout over a white slip ground 7.5” H x 6” Dia $600-900 Provenance: Purchased Merrill B. Domas American Indian Art, New Orleans, Louisiana Purchased: Austin Auction Gallery lot 143, Aug 27, 2021 Private collection, Judsonia, Arkansas

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3349

Robert Patricio (b. 1976, Acoma Pueblo)

An Anasazi-style pottery olla, early 21st century Signed and inscribed to underside: Acoma, N.M. / R. Patricio With brown Tularosa swirl motifs on a white slip ground 6.25” H x 7.375” Dia. $300-500

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3350

Nelda Lucero (b. 20th century, Acoma Pueblo)

A fine-line pottery olla, late 20th century Signed in slip to underside: N. Lucero / Acoma With black bands of foliate and fine-line motifs over a white buff slip ground, above a puki indentation to underside 8.625” H x 10” Dia. $300-500 Provenance: Private collection, Judsonia, Arkansas

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3351

Sandra Victorino (b. 1958, Acoma Pueblo)

A polychrome pottery jar, late 20th/early 21st century Signed to underside: Sandra Victorino / Acoma, NM. The four-color jar with swirling bands of orange and yellow between bands of black and white geometric motifs 6.375” H x 6.875” Dia. $300-500 Provenance: Sold: Bradford’s Auction Gallery, Sun City, AZ, “Wild West Art Auction” September 12, 2021, Lot 5453 Private collection, Judsonia, Arkansas

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3352

Dorothy Sanchez (b. 20th century, Acoma Pueblo)

A polychrome canteen-form pottery vessel, early 21st century Signed to underside: Acoma / N.M. / By: Dorothy Sanchez / [corn cipher] / [conjoined letters] The three-color op-art-style vessel with circular form, featuring fine-line designs and a band of textured sawtooth and stepped designs running diagonally through the body 9.25” H x 10” W x 2.25” D $200-400 Provenance: Suzanne Brown Galleries, Scottsdale, AZ The Schultheis Estate, WA, acquired from the above Notes: This lot is accompanied by a gallery sheet from Suzanne Brown Galleries, Scottsdale, AZ, as well as a business card from the artist.

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3353

An Acoma Pueblo polychrome pottery jar

Late 20th/early 21st century Signed to underside: TL With black and red fine-line motifs throughout on a white slip ground 3.125” H x 4.5” Dia. $100-200

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3354

Juana Leno (1917-2020, Acoma Pueblo)

A polychrome pottery jar, late 20th/early 21st century Signed to underside: Leno / Acoma / N.M. The three-color jar with terracotta corrugated rim above three black rabbit figures on a white slip ground in friezes within a conjoined fine-line star motif throughout 8.125” H x 10” Dia. $200-400 Provenance: The Schultheis Estate, WA

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3355

Jolene Cerno (b. 20th century, Acoma Pueblo)

A polychrome pottery seed jar, circa 1992 Signed and dated to underside: Jolene Cerno / Acoma, N.M. / 11-’92 With red and black lizards and ladybugs on a white slip ground, above a puki indentation to underside 6.875” H x 8.875” Dia. $200-400 Provenance: The Schultheis Estate, WA Notes: This lot accompanied by a Certificate of Authenticity issued by Hudgins Santa Fe Collection, Scottsdale, AZ, dated December 1992.

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3356

Lilly María Salvador (b. 1944, Acoma Pueblo)

“Winter Parrots” Polychrome pottery vessel Signed, titled, and inscribed to underside: Acoma, NM / [illegible] 0160 / Dzaisratyaitsa / María Lilly 4.375” H x 3.875” Dia. $200-300 Provenance: The Schultheis Estate, WA

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3357

Lee Ann Cheromiah (b. 1954, Laguna Pueblo)

A polychrome pottery olla, early 21st century Signed to underside: L. A. Cheromiah / Old Laguna, N.M / [cross cipher] The three-color jar with brown fine-line and checkers within repeating diamonds joined by geometric flourishes and orange double bands, on a white slip ground, above a puki indentation to underside 6.375” H x 7” Dia. $200-300 Provenance: Private collection, Judsonia, Arkansas

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3358

Arthur & Hilda Tenorio Coriz (1948-1998 & 1949-2007, Kewa/Santo Domingo Pueblo) A polychrome pottery jar, late 20th/early 21st century Incised to underside: Arthur & Hilda Coriz / [artists’ jar cipher] The three-color jar with black banded bird and floral motifs on a cream slip ground, above a terracotta wash and puki indentation to underside 8.75” H x 11.125” Dia. $200-400 Provenance: Private collection, Judsonia, Arkansas

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3359

Robert Tenorio (b. 1950, Kewa/Santo Domingo Pueblo)

A polychrome pottery jar, late 20th/early 21st century Signed and inscribed to underside: Robert Tenorio / Santo Domingo [stars] Pueblo / N.M. The three-color jar with orange and black banded geometric and floral motifs on a white slip ground 12” H x 18.25” Dia. $500-700

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3360

A Casas Grandes polychrome pottery jar

Circa 1050-1350 CE The three-color jar with red and brown geometric motifs on a cream slip ground above a rounded bottom 4.375” H x 5.5” Dia. $300-500

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3361

A Gila polychrome pottery dough bowl

Circa 14th/15th century or later The red clay bowl decorated to interior and exterior with black and white stepped and geometric motifs 4.25” H x 10.125” Dia. $200-400

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3362

A large Gila/Southwest polychrome pottery dough bowl

Circa 14th/15th century or later The red clay bowl decorated with black geometric stacks to interior and white geometric pattern to exterior 6” H x 13” Dia. $100-200

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3363

Two Zuni Pueblo pottery jars Two works:

Anderson Jamie Peynetsa (b. 1997, Zuni Pueblo) An olla-form jar, early 21st century Signed and inscribed to underside: Anderson J. Peynetsa / Zuni N.M. / 16 years old “13” © With matte black banded step and foliate motifs to body 7” H x 9.25” Dia. Avelia Peynetsa (b. 1964, Zuni Pueblo) A pottery deer jar, 2013 Incised signature and date to underside: A.A. Peynetsa / Zuni N.M. / © With matte black banded heartline deer figures 5.75 H x 8.25” Dia. 2 pieces $400-600

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3364

Rosita de Herrera (b. 1940, San Juan Pueblo)

A redware pottery jar, late 20th/early 21st century Signed and inscribed to underside: Rosita De Herrera / San Juan Pueblo / N.M. The jar with a band of sgraffito fine-line work within unpolished micaceous ground, some in-filled with white slip paint 6.125” H x 6.375” Dia. $100-200 Provenance: The Schultheis Estate, WA

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3365

Christine Tosa (b. 1950, Jemez Pueblo)

A large redware pottery vase, late 20th/early 21st century Incised to underside: C. Tosa / Jemez / N.M. With black banded feather motifs to neck above chicken figures and floral motifs to body, over a burnished red slip ground 14” H x 12.5” Dia. $200-300 Provenance: The Schultheis Estate, WA

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3366

Elizabeth Toya Medina (b. 1956, Jemez/Zia Pueblo)

A polychrome pottery jar, circa 1985 Signed in felt ink to underside: Elizabeth Medina / Zia The four-color jar with orange, red, and brown roadrunner and foliate motifs on a cream slip ground, above a terracotta wash 10.75” H x 11” Dia. $500-700 Provenance: Private collection, Judsonia, Arkansas

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3367

Two Southwest Pueblo pottery jars Two works:

Kathy “Wan Povi” Sanchez (b. 1950, San Ildefonso Pueblo) A blackware sgraffito pottery vessel, late 20th/early 21st century Incised to underside: Wan Povi The burnished black vessel with highlights of sienna, featuring sgraffito figural scenes including an Avanyu figure and a Koshare clown depicted riding a turtle with a bear 5” H x 5.5” Dia. A Santa Clara Pueblo redware pottery jar, late 20th/early 21st century Incised to underside: Mary / S.C.P. With deeply carved Avanyu motif with matte slip-paint to the carved areas 5.25” H x 5.75” Dia. 2 pieces $200-300 Provenance: The Schultheis Estate, WA

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3368

Two Southwest sgraffito pottery vessels Two works:

William Yazzie (b. 20th century, Navajo/Diné) A polychrome pottery seed jar, 1991 Signed and dated to underside, with feather illustration: William Yazzie © / 91 The four-color jar with fine sgraffito decoration, depicting two quail, bands of feather, and geometric motifs to shoulder 1.875” H x 5.125” Dia. Brenda Tafoya (b. 1963, Jemez Pueblo) A redware pottery vase, late 20th/early 21st century Incised to underside: Brenda Tafoya / Jemez N.M. The upper portion with sgraffito decorated bear tracks and stepped motifs, above a carved textured spiral and terracotta wash 4.375” H x 3.5” Dia. 2 pieces $200-400 Provenance: The Schultheis Estate, WA

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3369

Two Southwest Pueblo pottery jars Two works:

Virgie Garcia (b. 1947, Acoma Pueblo) A wide-shouldered pottery jar, late 20th/early 21st century Signed and inscribed to underside: V. Garcia / Acoma / N.M. The jar decorated with black bands of linework, lizards, and swirling waves, all below a flared piecrust rim 9.5” H x 10.75” Dia. Deldrick Cellicion (b. 20th century, Zuni Pueblo) A large polychrome pottery jar, early 21st century Signed and inscribed to underside: Deldrick Cellicion / Zuni, N.M. / 8129103 With sculpted and slip-painted lizards in partial relief below a flared piecrust rim 13.75” H x 13.25” Dia. 2 pieces $200-400 Provenance: The Schultheis Estate, WA

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3370

A group of Southwest Pueblo pottery vessels Four works:

Juanita Fragua (1935-2023, Jemez Pueblo) Two “melon” pottery vessels, late 20th/early 21st century Each incised to underside: JCF; also signed and inscribed: Juanita Fragua / Jemez Pue / NM / (Walatowa) Comprising a two-spouted wedding vase with twisted handle above brown slip painted storm clouds and a corn stalk, and a rounded vase with lobed body and flared piecrust rim 2 pieces Wedding: 8.5” H x 5.25” W x 5.125” D; Piecrust: 5.375” H x 5.75” Dia. Simone Tsosie (b. 20th century, Jemez Pueblo) A redware pottery canteen vase, late 20th/early 21st century Incised to underside: Simone Tsosie / Jemez The four-color pot, each side decorated with grey, red, and brown stepped, sawtooth, and geometric motifs on a white slip ground 6.25” H x 6.875” W x 2.75” D Ramona Ami (b. 1929, Hopi-Tewa) A polychrome yellowware pottery vessel, mid/late 20th century Signed to underside: Ramona Ami / Polacca, Az The three-color vessel with red and black geometric bands on a cream slip ground 2.75” H x 4.375” Dia. 4 pieces total $300-500 Provenance: The Schultheis Estate, WA

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3371

Two Southwest Pueblo polychrome pottery seed jars Two works:

Judy Lewis (b. 1966, Acoma Pueblo) A polychrome seed jar with lizard motif, late 20th/early 21st century Signed to underside: J. Lewis / Acoma The multi-color pot with offset aperture in the shape of kiva steps and decorated with lizard and geometric motifs on a white slip ground 1.75” H x 5.5” Dia. Nona Naha (1958-2021, Hopi-Tewa) A polychrome pottery seed jar, early 21st century Signed to underside: Nona Naha [corn cipher] With multi-color geometric motifs to low shoulder on a cream slip ground 1.875” H x 4.25” Dia. 2 pieces $200-400 Provenance: Private collection, Judsonia, Arkansas

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3372

Two Southwest Pueblo pottery jars Two works:

Polly Rose Folwell (b. 1962, Santa Clara) A sgraffito pottery jar, 1988 Incised to underside: Polly Rose; with inked date: 4-11-88 With sgraffito banded hook motifs to shoulder 1.875” H x 5” Dia. Pearl Talachy (b. 1952, Nambé Pueblo) A sgraffito pottery jar, late 20th/early 21st century Incised to underside: Pearl Talachy / Nambé Pueblo / NM; incised to shoulder: PT The shoulder with sgraffito banded feather motif interrupted by a corn stalk centering stacked arrows 2.125” H x 4.375” Dia. 2 pieces $200-300 Provenance: Private collection, Judsonia, Arkansas

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3373

Andy Abeita (b. 20th century, Isleta Pueblo)

A large carved hardstone bear fetish figure, late 20th/early 21st century With artist’s etched double ‘A’ cipher to underside The bear fitted with carved shell teeth, featuring inlaid shell and turquoise heartline and mounted with offerings of carved stone, shells, and feathers, each side depicting incised katsina figures Overall with feathers: 12” H x 21” W x 3.5” D $400-600 Provenance: Gilbert Ortega Galleries, Scottsdale, AZ The Schultheis Estate, WA, acquired from the above, December 14, 1991 Notes: This lot is accompanied by a purchase receipt from the abovementioned gallery as well as a gallery-issued certificate of authenticity.

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3374

Four Southwest Pueblo carved stone bear fetish figures

Mid/late 20th century Two with unknown incised maker’s marks Comprising one selenite with inset turquoise eyes and nose accents, mounted with turquoise and shell offerings, one granite mounted with an arrow, metal turquoise, shells, and wood sticks as offerings, one pink onyx mounted with turquoise and hardstone offerings, and one pottery bear with incised details and an inset turquoise dot to the bear’s back 4 pieces Largest overall: 5.25” H x 6.375” W x 2.125” D; Shortest (selenite): 2.75” H x 6.875” W x 1.5” D $200-400 Provenance: The Schultheis Estate, WA

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3375

A Southwest Navajo sterling silver and turquoise cuff bracelet

Late 20th/21st century Stamped with pictograph for Monsterslayer shop, N.M.; further stamped: Navajo / Sterling A chunky cuff with a central set turquoise cabochon and a variety of silver overlay and stamped motifs 7” total inner C x 0.875” H, with a 1.125” gap 53.9 grams gross $200-400 Provenance: The Schultheis Estate, WA

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3376

A Benson Boyd Navajo sterling silver and stone inlay storyteller belt buckle

Benson Boyd (b. 20th century, Diné) Mid/late 20th century Stamped: BB An oval buckle with turquoise, coral and shell inlay, depicting Gan dancers in a starry landscape 2.75” H x 3.75” W 51.5 grams gross $250-350

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3377

A Wilford J. Henry Navajo cast silver and turquoise belt buckle

Wilford J. Henry (b. 20th century, Diné) Late 20th century Stamped: WHJ / Navajo A rectangular concho-style openwork buckle with central set turquoise and stamped accents 2.125” H x 3” W 67.4 grams $400-600 Provenance: Property from the Estate of Mary and Al Scott Mary (Wagner) and Al Scott met on Christmas Eve in 1945 at the iconic Smoke Tree Ranch in Palm Springs, California, where they were instantly drawn to each other. With their families present, alongside even Walt Disney, it was a night full of magic, and after just four weeks of dating, they eloped in Yuma, Arizona on February 11, 1946. Their love story spanned 47 years, filled with deep affection, playful nicknames, Momo and Rou, and a rich family life raising five children in Claremont, California. Many pieces in this jewelry collection were from her love Al as well as many pieces from her brother, actor Robert Wagner, which are engraved with heartfelt inscriptions marking anniversaries, holidays, and milestones.

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3378

A group of Southwest-style belt buckles

Late 20th century Variously stamped for maker and for metal Three works comprising a Chambers Phoenix large oval silverplated buckle with chased floral designs (2.75” H x 3.25” W), a large oval brass buckle with stone inlay bear and bearpaw motifs (2.25” H x 3. 125” W), and a J Ekorn small square buckle with multistone and wood mosaic and channel inlay, 1992 (2” H x 2.125” W) 3 pieces 228.3 grams gross $200-400 Provenance: The Schultheis Estate, WA

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3379

A Juliana Williams & Martha Smiley Navajo silver and cluster turquoise necklace Juliana Williams & Martha Smiley (each b. 20th century, Diné) Late 20th century Stamped verso: JW/MS / Sterling A Zuni-style sterling silver and turquoise collar necklace with row-set turquoise links and a central cluster-set medallion pendant 14.5” L x 3.5” Dia. 102.1 grams gross $600-800 Provenance: The Schultheis Estate, WA

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3380

A Juliana Williams & Martha Smiley Navajo sterling silver and turquoise concho belt

Juliana Williams & Martha Smiley (each b. 20th century, Diné) Late 20th century Buckle stamped to back: JWMS / Sterling A chunky belt with a large oval cluster set turquoise buckle, eight round matching medallion conchos and nine butterfly spacer half- conchos, all mounted to a black leather belt with narrow secondary strap Buckle: 3.25” H x 3.5” W; conchos: 3” Dia. [or] 3” H x 1.5” W; belt: 47.75” L x 2” H & 0.75” H 571.4 grams gross $2,000-3,000

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3381

A Navajo sterling silver “Peyote Bird” squash blossom necklace Late 20th century Stamped: A.J. A double strand sterling silver squash blossom-style necklace with ten turquoise mosaic chip inlay “anhinga” or peyote bird “blossoms” and a central anhinga/peyote bird naja 25” L x 3.625” H 183.3 grams gross $700-900

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3382

A set of Southwest sterling silver and turquoise squash blossom jewelry

Mid/late 20th century Unmarked A double strand chunky sterling silver squash blossom necklace with ten graduated turquoise “blossoms” and a central stone-set twowire naja, with a pair of matching earrings 3 pieces 28” L x 4” H; each earring” 1.75” H 242.9 grams gross $1,200-1,800 Provenance: Property from the Estate of Mary and Al Scott Mary (Wagner) and Al Scott met on Christmas Eve in 1945 at the iconic Smoke Tree Ranch in Palm Springs, California, where they were instantly drawn to each other. With their families present, alongside even Walt Disney, it was a night full of magic, and after just four weeks of dating, they eloped in Yuma, Arizona on February 11, 1946. Their love story spanned 47 years, filled with deep affection, playful nicknames, Momo and Rou, and a rich family life raising five children in Claremont, California. Many pieces in this jewelry collection were from her love Al as well as many pieces from her brother, actor Robert Wagner, which are engraved with heartfelt inscriptions marking anniversaries, holidays, and milestones. w w w. j o h n m o r a n . c o m 4 6 7

3383

A Southwest sterling silver and turquoise squash blossom necklace

Mid/late 20th century Unmarked With a central stone-set naja and ten blossoms, all set to double-strand of silver beads 27” L x 3” H 248.7 grams gross $700-900 Provenance: The Schultheis Estate, WA

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3384

A Southwest Pueblo-style carved turquoise necklace

Mid/late 20th century A strand of turquoise beads with chunky graduated tabs and a central stone pendant suspending two bead jaclas 31” L x 5.75” H 245.8 grams gross $500-700 Provenance: The Schultheis Estate, WA

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3385

A Tony Aguilar Sr. Kewa sterling silver and turquoise pendant necklace

Tony Aguilar, Sr. (1919-2002, Kewa/Santo Domingo Pueblo) Late 20th century Stamped to one side: A [with half circle above] / Sterling Comprising a double-sided pendant, one side with a silver overlay storyteller weaver motif with turquoise mosaic inlay, and with a cast silver and stepped diamond silver overlay motif with a single set turquoise, suspended from an associated chain 2 pieces 16.26” L x 3” H x 1.75” W 40.9 grams gross $200-400 Provenance: The Schultheis Estate, WA

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3386

A Southwest-style sterling silver and gem set necklace

Late 20th century Stamped 925 A square pendant necklace set with multicolor stones on a turquoise leather cord 2 pieces 16” L x 1.75” H 18.1 grams gross $300-500 Provenance: The Schultheis Estate, WA

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3387

A Southwest sterling silver and turquoise naja pendant necklace

Mid/late 20th century Unmarked Comprising a cast silver naja with central set turquoise, suspended from a single strand of silver beads 24” L x 3.75” H 97.5 grams gross $600-800 Provenance: Property from the Estate of Mary and Al Scott Mary (Wagner) and Al Scott met on Christmas Eve in 1945 at the iconic Smoke Tree Ranch in Palm Springs, California, where they were instantly drawn to each other. With their families present, alongside even Walt Disney, it was a night full of magic, and after just four weeks of dating, they eloped in Yuma, Arizona on February 11, 1946. Their love story spanned 47 years, filled with deep affection, playful nicknames, Momo and Rou, and a rich family life raising five children in Claremont, California. Many pieces in this jewelry collection were from her love Al as well as many pieces from her brother, actor Robert Wagner, which are engraved with heartfelt inscriptions marking anniversaries, holidays, and milestones.

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3388

Mary Tapia Trujillo (1937-2021, Ohkay Owingeh/San Juan Pueblo) & Leonard Trujillo (1936-2017, Cochiti Pueblo) A Cochiti Pueblo polychrome pottery storyteller figure Signed to base: Mary & Leonard Trujillo / Cochiti Pueblo With two children, a large black hat and braided hair, wearing a floral jacket 7.75” H x 5.25” W x 6” D $200-300

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3389

A group of Southwest Pueblo pottery storyteller figures Mid/late 20th century Three works:

Leonora “Sun Flower” Lupe Loretto Lucero (b. 1943, Jemez / Laguna / San Felipe Pueblo) Two San Felipe Pueblo polychrome pottery storytellers Each variously signed to base: L. Lupe Loretto Lucero / Loretto Lucero The larger with fifteen children and a dog, some figures holding pottery, an infant, and a drum (11.25” H x 7.25” W x 7.5” D), and the smaller with two-toned skin holding a lizard pot, with six children, some holding watermelon, a drum, and a lamb (6.25” H x 5” W x 5.25” D) 2 pieces Dorothy Trujillo (1932-1999, Jemez & Cochiti Pueblo) A Cochiti Pueblo polychrome pottery storyteller Signed to base: D. Trujillo / Cochiti Pue. N.M. A small figure with four children 3.5” H x 3” W x 3.5” D 3 pieces total $400-600 Notes: Leonora Lupe Loretto Lucero was inspired to make pottery by her sister, Dorothy Trujillo.

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3390

A group of Southwest-style silver and stone set rings

Mid/late 20th century Seven variously marked for maker: DG / NN / EY / I.Mc / P.D. Coonsis / L. Bennett [for Lee Bennett, Navajo/Diné] / F [or H] S/Zuni; nine marked for sterling A large group featuring various stones including turquoise, coral, mother of pearl, lapis, and onyx, in various styles including bezel-set, cluster-set, mosaic inlay, and silver overlay 42 pieces Ring sizes: 10 to 4.5 131.6 grams gross $200-400

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3391

A group of Southwest sterling silver and turquoise dress items

Late 20th century Two marked for maker and for sterling Three works comprising an adjustable Ivan Howard Navajo/Diné sterling silver hat band with row-set turquoise and two buckles, as well as two sets of silver collar points, including a pair of Oscar Alexius Navajo/Diné sterling silver collar points with silver overlay and set nugget turquoise, and a pair of chased silver openwork points 5 pieces Hat band: 25” to 22” Dia. x 0.625” H; Points: 3.5” H x 3” W & 2.25” H x 2” W 147.9 grams gross $200-400 Provenance: The Schultheis Estate, WA

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3392

A group of Southwest-style silver and turquoise jewelry Mid/late 20th century Eight works:

Lennie Parker (b, 20th century, Diné) A Navajo silver overlay pendant necklace Stamped: PL [conjoined, within an arrow] A large silver disc pendant featuring a Yei dancer and set turquoise, suspended from a single strand of liquid silver beads 19” L x 2.25” Dia. A group of Southwest-style necklaces and pendants Two variously marked, one illegibly; GB528; one marked for sterling Comprising a choker necklace with turquoise chips and silver beads (17” L), a turquoise nugget strand with large shell heishi (21.5” L), and a small heishi and turquoise bead choker (15.% “L), as well as a single strand of ridged silver beads (28” L), a chunky pendant with set nugget turquoise and silver feather overlay motifs on a paper clip chain (23.5”L), as well as a Hopi-style round silver overlay roadrunner pendant brooch (2” Dia.) and a sterling silver openwork cross pendant (2” H) 7 pieces 8 pieces total 300.4 grams gross $600-800 Provenance: Property from the Estate of Mary and Al Scott Mary (Wagner) and Al Scott met on Christmas Eve in 1945 at the iconic Smoke Tree Ranch in Palm Springs, California, where they were instantly drawn to each other. With their families present, alongside even Walt Disney, it was a night full of magic, and after just four weeks of dating, they eloped in Yuma, Arizona on February 11, 1946. Their love story spanned 47 years, filled with deep affection, playful nicknames, Momo and Rou, and a rich family life raising five children in Claremont, California. Many pieces in this jewelry collection were from her love Al as well as many pieces from her brother, actor Robert Wagner, which are engraved with heartfelt inscriptions marking anniversaries, holidays, and milestones.

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3393

A group of Southwest sterling silver and set coral jewelry Mid/late 20th century Eight works:

Steven Pooyouma (b. 20th century, Hopi Pueblo) A Hopi sterling silver narrow cuff, late 20th century Stamped with artist’s cipher A small cuff with sawtooth overlay design and shadowbox accents 6.125” inner C x 0.375: H, with a 1” gap A group of Southwest sterling silver and set coral jewelry One illegibly marked for maker; one marked for sterling Comprising three chunky incised and stamped narrow cuffs, as well as two twisted wire cuffs, a coral inlay cuff, and a large set coral eagle motif ring 7 pieces Largest cuff: 6.5” inner C x 0.25” H; smallest: 5.5” inner C x 0.125” H; Ring size: 5.25; 2.25” H 8 pieces total 190.5 grams gross $700-900 Provenance: Property from the Estate of Mary and Al Scott Mary (Wagner) and Al Scott met on Christmas Eve in 1945 at the iconic Smoke Tree Ranch in Palm Springs, California, where they were instantly drawn to each other. With their families present, alongside even Walt Disney, it was a night full of magic, and after just four weeks of dating, they eloped in Yuma, Arizona on February 11, 1946. Their love story spanned 47 years, filled with deep affection, playful nicknames, Momo and Rou, and a rich family life raising five children in Claremont, California. Many pieces in this jewelry collection were from her love Al as well as many pieces from her brother, actor Robert Wagner, which are engraved with heartfelt inscriptions marking anniversaries, holidays, and milestones.

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3394

Edwin Herrera (b. 1966, Cochiti Pueblo)

A Cochiti Pueblo polychrome pottery storyteller bear figure Signed to base: Edwin Herrera / Cochiti, N.M. The primarily redware bear with four cubs in white, red and black, with multiple bear paw motifs and a decorated vest 7.75” H x 5.25” W x 6.25” D $100-200 Notes: “Edwin gathers his clay and sand from within the hills of the Cochiti Pueblo. He hand mixes, hand coils, shapes, hand paints, and fires his pottery the traditional way, outdoors, using cedar wood chips. Edwin specializes in hand sculpted wildlife and southwestern nativities, bear sculptures, and hand coiled traditional pottery bowls. He boils his own natural minerals and vegetables to produce his colors used on his art. The designs which are painted on his pottery are from ancient Cochiti Pueblo designs.” https://www.pueblodirect.com/pages/edwin-herrera?

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3395

Three Southwest pottery storyteller figures Late 20th/21st century Three works:

Cheyenne Jim (Diane Lyn, b. 1957, Diné) A Navajo micaceous clay pottery storyteller Signed to base: Cheyenne Jim A large storyteller holding three children, with red and grey slip highlights and button motif accents 7.5” H x 4.75” W x 6” D Joyce Sisneros Gallegos (b. 1944, Santa Clara Pueblo) A Santa Clara Pueblo polychrome pottery storyteller Signed to base: Joyce Sisneros Gallegos A seated figure with white hair holding five children, two cats, and a pottery bowl, all adorned with scattered applied feather and bead accents 1.25” H x 4.75” W x 6” D A large Acoma Pueblo polychrome pottery storyteller Signed to base: H. A / Acoma NM A tall figure with twenty-two children of various sizes and one infant 11.75” H x 5.75” W x 8” D 3 pieces total $300-500

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3396

A group of Southwest-style silver and stone set rings

Mid/late 20th century Four variously marked for maker including: RB / EN / Charley / SC [within a cloud, for Silver Cloud, Inc NM shop]; nine marked for sterling A mixed group of rings featuring various stones including turquoise, coral, lapis lazuli, tiger’s eye, mother of pearl, and onyx, in various styles including bezel-set, cluster-set, mosaic inlay, and silver overlay, and figural motifs including a horse, a turtle, and a peyote bird 23 pieces Ring sizes: 11 to 4.5 128.2 grams gross $200-400

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3397

A group of Southwest-style jewelry

Late 20th century Each unmarked Comprising a triple-strand turquoise and coral necklace (16” L), a single strand necklace of carved shell bird fetish bead and shell heishi spacers (18” L), and a multistone bear fetish pendant on a small paperclip-style chain (26” L x 1.25” H), as well as a large sterling silver square pendant with a large multi-colored bezel-set stone cabochon (2.5” H x 2.25” W), and a narrow red coral and turquoise dagger-style pendant (4.5” L x 1” H) 5 pieces 224.5 grams gross $300-500 Provenance: The Schultheis Estate, WA

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3398

A group of Southwest silver and stone-set jewelry

Late 20th/early 21st century Variously marked for maker and for sterling Comprising three sterling silver cross pendants, two with set stones including greenstone and amber, together with four twisted sterling silver wire cuff bracelets, and seven rings in various styles by various makers including Ray Jack (Navajo/Diné), Leroy Honyaktewa (d. 2011, Hopi), and Steve J. Gunnyon (Yakima/Chippewa), as well as Carol Felley, some with silver overlay, set stones or stone inlay, including turquoise, coral, spiny oyster, lapis lazuli, sugilite, charoite, and malachite 14 pieces Pendants: 2.75” H to 2.25” H; Cuffs: 6.5” to 6” total inner C; Ring sizes: 11 to 3.75 156.9 grams gross $300-500 Provenance: The Schultheis Estate, WA

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3399

A group of Southwest silver and turquoise jewelry

Mid/late 20th century Five variously marked for maker or shop: S [with moon] / Fr / Maisel’s / Sanford; two marked for sterling Comprising seven small silver cuffs, from single to triple-wire, three with row-set needlepoint turquoise, two with row-set petit point turquoise, and two with single set stones, as well as fifteen silver and stone set rings in various styles, including one ring with a Yei dancer design in chipped turquoise and coral mosaic inlay, most with set stones including turquoise, coral and shell 22 pieces Largest cuff: 6.5” total inner C; Smallest: 6” total inner C; Ring sizes: 6.5 to 4.5 219.4 grams gross $700-900 Provenance: Property from the Estate of Mary and Al Scott Mary (Wagner) and Al Scott met on Christmas Eve in 1945 at the iconic Smoke Tree Ranch in Palm Springs, California, where they were instantly drawn to each other. With their families present, alongside even Walt Disney, it was a night full of magic, and after just four weeks of dating, they eloped in Yuma, Arizona on February 11, 1946. Their love story spanned 47 years, filled with deep affection, playful nicknames, Momo and Rou, and a rich family life raising five children in Claremont, California. Many pieces in this jewelry collection were from her love Al as well as many pieces from her brother, actor Robert Wagner, which are engraved with heartfelt inscriptions marking anniversaries, holidays, and milestones.

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3400

Marie Gachupin Romero (1927-2007, Jemez Pueblo)

A Jemez Pueblo polychrome pottery storyteller figure, mid/late 20th century Signed to base: Marie G. Romero / Jemez / [corn symbol, for Corn Clan] A small seated figure wearing a black dress and with five children and an infant in her arms 4.75” H x 3.75” W x 6” D $100-200

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3401

Two Jemez Pueblo pottery storytellers Mid/late 20th century Two works:

Marie Toya (b. 1956, Jemez Pueblo) A polychrome pottery storyteller Signed to base: Marie Toya / Jemez With seven children, variously holding a drum, a basket, and a pot or ball 6.75” H x 5” W x 5” D Mary E Toya (1934-1990, Jemez Pueblo) A polychrome pottery storyteller Signed to base: Mary E. Toya / Jemez With six children, variously holding a drum, a pot, and a child’s alphabet block 5.75” H x 4 4.5” W x 4.75” D 2 pieces $200-400

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3402

A group of Southwest-style silver and stone set rings

Mid/late 20th century Eight variously marked for maker: Paloma / RG+/ZI / TK [stylized with double feather, for Ray Tracey (Navajo/Diné)/Knifewing Segura] / ANC / GK / DT / C.L.T. [for Linda Tsalate, Zuni] / -C [inverted, unknown mark]; nine marked for sterling Featuring silver and gold-toned rings in various stones including turquoise, coral, malachite, mother of pearl, and onyx, in various styles including bezel-set, cluster-set, mosaic inlay, and silver overlay, and one figural motif ring of a horse 29 pieces Ring sizes: 9.5 to 4.5 96.0 grams gross $200-400

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3403

A group of Southwest-style silver and stone set rings

Mid/late 20th century Four variously marked for maker: L. Bennett [for Lee Bennett, Navajo/ Diné] / HS / PN / dP [within a circle]; eight marked for sterling A group of rings featuring various stones including turquoise, coral, spiny oyster, lapis lazuli, amber, mother of pearl, and opal, in various styles including bezel-set, cluster-set, mosaic inlay, and silver overlay 26 pieces Ring sizes: 10.5 to 3.75 98.0 grams gross $200-400

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3404

Edwina Tosa Tortalita (b. 1966, Jemez Pueblo)

A large Jemez Pueblo polychrome pottery storyteller figure Signed to base: Edwina Tortalita / Jemez _M [partial] A tall figure wearing black with a polychrome mantle to the back with geometric motifs and with twenty-five children 10.5” H x 5” W x 9” D $200-400

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3405

Matthew Fragua & Reyes Panana (1963-2015 & b. 1961, Jemez Pueblo)

Two Jemez Pueblo polychrome pottery storytellers, late 20th/21st century Each variously marked: M. Fragua / R. Panana / Jemez Comprising a Reyes Panana Koshare figure designed with contrast black, white, and red with corn husk tassels holding a child (7.25” H x 4.25” W x 6” D), together with a M. Fragua and R. Panana similar Koshare-style figure with earrings holding a child in a blanket (7” H x 4” W x 6.5” D) 2 pieces $200-400

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3406

Edwina A. Tosa (b. 20th century, Jemez Pueblo)

Two Jemez Pueblo polychrome pottery storyteller figures, late 20th century Each signed variously: Edwina A. Tosa / Jemez Pueblo, NM; one dated: 4-13 “1988” Comprising a large storyteller figure with twenty-two children, with elaborate decorated blanket and jewelry, circa 1988, as well as a small turtle storyteller figure with four figures atop the shell 2 pieces Larger: 10.25” H x 5.75” W x 6” D; Smaller: 3” H x 3” W x 4.5” D $200-300

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3407

A group of Isleta Pueblo storyteller pottery figures Late 20th/21st century Three works:

Christine Teller (b. 1960, Isleta Pueblo) Two polychrome pottery figures Each signed to underside: C. Teller / Isleta, N.M. Including one figure with a long braid and four children and a smaller figure in grey and white holding two infants, with whorled hairstyle, and a turquoise bead necklace Larger: 4.5” H x 3.125” W x 4.5” D; Smaller: 3” H x 2” W x 2.75” D 2 pieces Mona Teller (b. 1956, Isleta Pueblo) A polychrome pottery turtle storyteller figure Signed to underside: Mona Teller / Isleta N.M. A standing turtle figure wearing a turquoise bead necklace, with four turtle children 5” H x 3.5” W x 3” D 3 pieces total $200-400 Notes: Both Chris and Mona, sisters, create their pottery using natural pigments gathered from within the Isleta Pueblo. It is fired outdoors, the traditional way, with cow chips used as fuel.

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3408

A group of Southwest Pueblo carved stone frog fetish figures

Mid/late 20th century, mostly Zuni Pueblo Two labeled for artist Comprising eleven frog fetish figures in various stones including malachite, various green stones, and shell, and in various sizes, including two figures by Zuni artists including Laura Quam, and Fabian Tsethlikai, as well as nine further frog figures, many with inset turquoise accents and one with a mounted offering 11 pieces Largest: 0.5” H x 2” W x 2.25” D; Smallest: 0.75” H x 1.25” W x 1.5” D $200-400

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3409

A group of Southwest Pueblo carved stone horse fetish figures

Mid/late 20th century, mostly Zuni Pueblo Seven labeled for artist A large group of carved stone figures, primarily horses, in various stones and materials including pipestone, antler, and jet, and in various sizes, comprising seven figures by Zuni artists including Emery Boone, Lucy Cooeyate, Virginia Toombs, Herbert Halate, and Drucilla Martinez, as well as twenty further horse figures, most with mounted offerings 27 pieces Largest: 1.25” H x 2.625” W x 0.625” D; Smallest: 0.625” H x 1” W x 0.25” D $200-400

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3410

A group of Southwest Pueblo carved stone fox & badger fetish figures

Mid/late 20th century, mostly Zuni Pueblo Eleven labeled for artist; one marked: Lasiloo A group of carved stone figures, including foxes, badgers, bears, and other animals, in various sizes and various stones and materials including turquoise, pipestone, onyx, shell, spiny oyster, and other green, pink and grey hardstones, including ten figures by Zuni artists including Nelson Yatsattie, Virginia Toombs, Reynold Lunasee, Travis Panteah, Tim Lementino, Pat Homer, Thelma Sheche, and Jessie Le Boeuf, as well as twenty further figures, most with mounted offerings 30 pieces Largest: 1” H x 0.875” W x 3.75” D; Smallest: 0.5” H x 0.25” W x 1.375” D $200-400

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3411

A group of Southwest Pueblo carved stone horse fetish figures

Mid/late 20th century, mostly Zuni Pueblo Four labeled for artist A group of carved stone figures, primarily horses, in various sizes and various stones and materials including pipestone, shell, bone, and other pink, grey, and white hardstones, including four figures by Zuni artist Emery Boone, as well as twenty-three further figures including a ram, most with mounted offerings 27 pieces Largest: 1.625” H x 0.5” W x 2.75” D; Smallest: 0.625” H x 0.25” W x 1” D $200-400

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3412

Buffy Cordero Suina (b. 1969, Cochiti Pueblo)

A Cochiti Pueblo polychrome pottery storyteller, late 20th/21st century Signed to base: Buffy Cordero Suina With black and white geometric accents, and four children with colorful clothing 6.5” H x 5” W x 5.25” D $200-400

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3413

Dorothy Herrera (b. 1970, Cochiti Pueblo)

Two Cochiti Pueblo polychrome pottery storyteller figures, late 20th/21st century Each signed to base: Dorothy Herrera / Cochiti N. M. Comprising a large seated storyteller with contrast black slip jewelry motifs, and eleven children and a smaller frog storyteller with four small frog figures and elaborate geometric motifs in black on white 2 pieces Larger: 7.25” H x 5.75” W x 8.5” D; Smaller: 5.25” H x 3” W x 3.5” D $200-400

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3414

A group of Southwest Pueblo carved stone animal fetish figures

Mid/late 20th century, mostly Zuni Pueblo Nine labeled for artist; one marked: Yatsattie; two with unknown marks; one labeled: Carmella Snow A group of carved stone figures, including foxes, badgers, bears, squirrels, and other animals, in various sizes and various stones and materials including turquoise, pipestone, lapis lazuli, shell, and other green, pink and grey hardstones, including figures by Zuni and Navajo/Diné artists including Louise Singer, Thelma Sheche, and Jayne Quam, as well as twenty further figures, most with mounted offerings 29 pieces Largest: 1.5” H x 2” W x 4.25” D; Smallest: 0.5” H x 0.25” W x 1” D $200-400

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3415

Emily “Corn Pollen” Fragua Tsosie (b. 1951, Jemez Pueblo)

Two Jemez Pueblo polychrome slip-glazed pottery storytellers, late 20th century Each signed variably to underside: E. Fragua Tsosie / E. Tsosie / Jemez Each a Koshare clown Hopi-style figure, the larger with seven Koshare children and a painted pottery vessel and the smaller holding a single child 2 pieces Larger: 9.5” H x 5.5” W x 6.5” D; Smaller: 5” H x 3” W x 3.5” D00 $300-500

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3416

A group of Southwest Pueblo pottery storyteller figures Late 20th century Three works:

Wilma Gachupin (b. 20th century, Jemez Pueblo) A Jemez Pueblo polychrome pottery storyteller Signed indistinctly to base: W. Gachupin / Jemez With long hair, fifteen children and a pottery jar 7” H x 3.75” W x 6.5” D Bertha Early (b. 20th century, Laguna Pueblo) A Laguna Pueblo polychrome pottery storyteller Signed to base: Bertha Early / Laguna Pue., NM With five children, and holding a bowl, wearing a patterned blanket 7” H x 3.5” W x 5.25” D A large Cochiti Pueblo polychrome pottery storyteller Signed to base: N.S. / Hopi / Cochiti N. M In dark red and black with thirteen children front and back 8.5” H x 5.75” W x 6.75” D 3 pieces total $300-500

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3417

A group of Southwest Pueblo carved stone horse fetish figures

Mid/late 20th century, mostly Zuni Pueblo Six labeled for artist A group of carved stone figures, primarily horses, in various sizes and various stones and materials including turquoise, pipestone, jet, bone, and other pink and grey hardstones, including six figures by Zuni artists including Emery Boone, Virginia Toombs, Gabriel Burns, Keith Bobelu, and Tyler Quam, as well as twenty further figures, most with mounted offerings 26 pieces Largest: 1.375” H x 0.625” W x 2.5” D; Smallest: 0.375” H x 0.125” W x 1” D $200-400

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3418

A group of Southwest Pueblo pottery storytellers

Late 20th/21st century Two variously signed to base: MQ / [illegible] Cochiti N.M. Four polychrome pottery storytellers in red, black and white in various styles, including one with fourteen children, two with four children, and a small hollow figure with three children 4 pieces Largest: 6.5” H x 5.5” W x 5.75” D; Smallest: 4.5” H x 2.5” W x 2.5” D $200-400

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3419

A group of Southwest Pueblo pottery storyteller figures

Late 20th/21st century Each signed to underside Five works comprising four small polychrome pottery figures, each holding various numbers of children, by artists including Carol Pecos (Jemez Pueblo), a pair of figures by Mary R. Lucero (Jemez Pueblo), and J.B / T. Lujan (Cochiti Pueblo), as well as a blackware figure with two children by Dorothy and Paul Gutierrez (Santa Clara Pueblo) 5 pieces Largest: 4.5” H x 2.5” W x 3.5” D; Smallest: 2.75” H x 2.5” W x 2.75” D $200-400

w w w. j o h n m o r a n . c o m 5 1 5

Consign Today

Art of the American West April 7, 2026 A Pueblo silver cross necklace

Price Realized: $12,700

Consignment and Auction Inquiries: info@johnmoran.com SINCE 1969

AUCTIONEERS & APPRAISERS 5 1 6 A r t o f t h e Am e r i c a n We s t l We d n e sd ay, Nov e mb e r 1 9 , 2 0 2 5

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art - jewelry - decorative objects - furnishings and more Sold at John Moran Auctioneers:

Edward Borein “Roping” (Cowboy on horseback chasing a steer)

Price Realized: $15,240

SINCE 1969

AUCTIONEERS & APPRAISERS w w w. j o h n m o r a n . c o m 5 1 7

Condition Reports 5 1 8 A r t o f t h e Am e r i c a n We s t l We d n e sd ay, Nov e mb e r 1 9 , 2 0 2 5

w w w. j o h n m o r a n . c o m 5 1 9

3001 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 13.75” H x 16.75” W x 1.5” D 3002 Visual: Overall good appearance. Minor varnish discoloration, primarily visible in the clouds. Blacklight: No evidence of restoration. Frame: 25” H x 29” W x 3” D 3003 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 31” H x 55” W x 2.25” D 3004 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 25.75” H x 29.75” W x 4” D 3005 Visual: Overall good appearance. A tiny and unobtrusive, 0.125” diagonal surface scratch in the water at lower right.

Frame: 27” H x 31” W x 2.5” D 3010 Visual: Overall good appearance. A few small, very unobtrusive pigment losses scattered in places along the upper portion of the extreme left edge. Blacklight: No evidence of restoration. Frame: 17.625” H x 21.625” W x 2.5” D 3011 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 28.75” H x 24.625” W x 2.25” D 3012 Overall good appearance. Not examined out of the frame. Framed under Plexiglas: 36.125” H x 44.125” W x 1.5” D

Frame: 9” H x 11” W x 1.25” D

3013 Visual: Overall good appearance. Blacklight: No evidence of restoration.

Blacklight: No evidence of restoration.

Frame: 34” H x 27” W x 2.75” D

Frame: 25.25” H x 29.25” W x 3” D

3014 Visual: Overall good appearance.

3007 Visual: Overall good appearance.

Condition Reports

Blacklight: A few pea-sized spots of uneven varnish showing only under blacklight near the lower portion of the right edge.

Blacklight: No evidence of restoration.

3006 Visual: Overall good appearance.

520

3009 Visual: Overall good appearance. Very delicate paint shrinkage showing slightly in the darkest pigments under raking light. The extreme edge of a tiny piece of paper attached to the verso of the stretcher showing very slightly along the upper edge, at right, mostly hidden by the frame.

Blacklight: No evidence of restoration.

Frame: 13.5” H x 11.5” W x 1” D

Frame: 34.5” H x 49” W x 2.75” D

3015 Visual: Overall good appearance.

3008 Visual: Overall good appearance. As mentioned, the canvas has been laid to panel. Blacklight: No evidence of restoration. Frame: 40.5” H x 63.75” W x 2.75” D

Blacklight: No evidence of restoration. Frame: 24” H x 39” W x 3.5” D 3016 Visual: Overall good appearance. Minor frame abrasion scattered along the extreme upper edge. Blacklight: No evidence of restoration. Frame: 19.5” H x 16.125” W x 2.125” D

Blacklight: No evidence of restoration. Frame: 18.5” H x 13.75” W x 2” D 3018 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 12.5” H x 10.875” W x 1.5” D 3019 Visual: Overall good appearance. A small spot of grime near the upper left corner, visible only under raking light. Blacklight: No evidence of restoration. Frame: 9” H x 11” W x 1.5” D 3020 Overall good appearance. Occasional scattered specks of grime and a few equally minute surface abrasions, visible primarily in raking light

3025 Visual: Overall good appearance. Occasional specks of grime. Blacklight: No evidence of restoration. Frame: 27.25” H x 27.25” W x 2.75” D 3026 Visual: Overall good appearance. A small area of very fine, unobtrusive paint shrinkage scattered in the dark pigment, at the top of the teepee. Blacklight: No evidence of restoration. Frame: 25.75” H x 31.75” W x 2.125” D 3027 Visual: Overall good appearance. A 4” H x 0.25” W diagonal surface scuff in the orange pigment at the center of the lower edge, and other smaller and more faint surface scuffs, the longest 4”, scattered primarily in the upper left quadrant. Small, unobtrusive specks of grime scattered primarily in the outer edges. Blacklight: A 1” H x 0.25” W area of possible touch-up at the right of center of the upper half. Frame: 49.5” H x 61.5” W x 1.75” D

Frame: 18” H x 23” W x 2.5” D

3028 Visual: Overall good appearance. Frame abrasion along each edge. As mentioned, the canvas has been laid to board. The board is very slightly convex.

3021 Visual: Overall good appearance.

Blacklight: Pea-sized (or smaller) flecks of old touch-ups scattered throughout, the largest in the lower right corner.

Blacklight: No evidence of restoration.

Frame: 9.25” H x 12.75” W x 1.25” D

Frame: 14” H x 17” W x 1.5” D

3029 Visual: Overall good appearance.

Blacklight: No evidence of restoration.

3022 Visual: Overall good appearance. Very minor scattered fine craquelure. A rice-sized area of frame abrasion in the upper portion of the left edge. Blacklight: No evidence of restoration. Frame: 31” H x 55” W x 2.5” D 3023 Visual: Overall good appearance. Fine craquelure in the white pigment of the upper right quadrant. Specks of surface grime or old varnish along the right portion of the extreme lower edge.

Blacklight: No evidence of restoration. Frame: 27.25” H x 31” W x 2” D 3030 Visual: Overall good appearance. Three very fine lines of craquelure, the largest measuring 1” H, and all near the lower portion of the right edge. Blacklight: No evidence of restoration. Frame: 36.25” H x 46.375” W x 2.5” D

Frame: 37.5” H x 47.25” W x 3” D

3031 Visual: Overall good appearance. Slight varnish discoloration, grime, and craquelure. Frame abrasion along the upper edge.

3024 Visual: Overall good appearance.

Blacklight: Small flecks of touch-up and crack-fill scattered in the sky of the upper half.

Blacklight: No evidence of restoration.

Frame: 30” H x 36” W x 2.75” D

Blacklight: No evidence of restoration.

Frame: 18.375” H x 21.5” W x 2.5” D

Condition Reports

3017 Visual: Overall good appearance. Occasional specks of grime, minor varnish discoloration, and very fine, unobtrusive scattered craquelure, primarily visible in raking light, all commensurate with age. A pinhead-sized loss near the center of the right edge.

521

3032 Visual: Overall good appearance. Two very faint surface scuffs in the sky of the upper right quadrant. Two small, unobtrusive areas of thin surface scratches near the center of the left edge. Occasional specks of grime.

3039 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. One with with a thin 2.5” long scratch.

Blacklight: No evidence of restoration.

3040 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Feathered metal ends somewhat frayed.

Frame: 32.25” H x 44.25” W x 2.25” D 3033 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 23.875” H x 29.625” W x 2” D 3034 Overall good appearance. Not examined out of the frame. Framed under glass: 11.375” H x 13.125” W x 1.125” D 3035 Visual: Overall good appearance. Occasional specks of grime scattered in the right half of the work. Blacklight: No evidence of restoration. Frame: 26.625” H x 32.5” W x 2” D 3036 Visual: Overall good appearance. Blacklight: No evidence of restoration.

Condition Reports

Frame: 44.75” H x 35.5” W x 3.25” D

522

3041 Visual: Overall generally good appearance. Scattered specks of grime and fine craquelure. Unstable pigment along the upper and lower edges, with small attendant areas of pigment loss scattered throughout, and a few other smaller areas of pigment loss scattered in the center of the work. An approximately penny-sized reverse pressure mark near the center of the lower edge. The verso with surface soiling/damp staining on the right half of the work. Blacklight: No evidence of restoration. Frame: 23.25” H x 29.25” W x 1.5” D 3042 Visual: Specks of grime, fine scattered craquelure, and a soft stretcher bar crease along the upper edge. Unstable pigment scattered throughout, with attendant areas of approximately penny-sized (or smaller) pigment losses, now revealing the underpaint, and scattered primarily in the outer edges; however, smaller losses affecting the signature and scattered near the center of the work. Rippling along the right edge.

3037 Visual: Grime and craquelure, some of which is slightly unstable, with attendant small pigment losses, pea-sized or smaller, scattered throughout. A 1” H x 0.5” W area of loss to the top pigment layer, exposing the white underpaint, with surrounding attendant very unstable pigment, in the lower portion of the left edge. A rice-sized pigment loss, exposing the canvas, near the center of the upper edge. Stretcher bar creases showing mostly along the upper, lower, and right edges.

Blacklight: No evidence of restoration.

Blacklight: Small, possible touch-ups scattered in the upper half.

Blacklight: No evidence of restoration.

Frame: 28.75” H x 33.75” W x 2.25” D 3038 Visual: Overall generally good appearance. Specks of grime and minor varnish discoloration. Occasional surface scratches scattered throughout. Small bands or areas of pigment loss scattered along the extreme edges. Artist pinholes in the upper corners. The work is framed floating, mounted to the back mat. Not examined out of the frame. Blacklight: No evidence of restoration. Framed under glass: 12.25” H x 15.125” W x 1” D

Frame: 17.125” H x 23.125” W x 1.5” D 3043 Visual: Dust accumulation and grime, and very fine craquelure and paint shrinkage scattered throughout. Small, occasional areas of unstable pigment with attendant flecks of pigment loss, one area just above the figures, at center, and a few other areas scattered in the outer edges.

Frame: 19.125” H x 21.125” W x 1.375” D 3044 Visual: Overall generally good appearance. Specks of grime scattered throughout. Occasional reverse pressure marks, the largest being about dime-sized, with attendant areas of pigment loss, and the largest loss being 0.25” H x 0.5” W below the figures near the upper edge. Fine, scattered craquelure in the impasto, primarily visible in raking light. The upper left quadrant is slightly rippled. Artist pinholes at each of the four corners. Blacklight: No evidence of restoration. Frame: 19.125” H x 25.125” W x 1.375” D

3045 Visual: Overall generally good appearance. Scattered areas of fine craquelure, and a few reverse pressure marks with attendant craquelure, primarily scattered in the outer edges. A few small pigment losses affecting only the top impasto layer, revealing the underpaint, scattered within and around the figure’s clothing, the largest measuring approximately 0.5” W. A pinhead-sized area of grime in the lower portion of the right edge.

3052 Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Framed under glass: 24.5” H x 18.375” W x 1.125” D

Frame: 10” H x 13” W x 1.25” D

3054 Visual: Overall good appearance. A few specks of grime at the center of the left edge.

Blacklight: No evidence of restoration. Frame: 25.125” H x 19.125” W x 1.25” D 3047 Visual: Significant dust accumulation and grime throughout. Fine scattered areas of craquelure and paint shrinkage. Areas of unstable pigment with attendant pigment loss scattered primarily in the outer edges, most of them small; however, a cluster of pigment loss measuring 3” H x 0.75” W near the upper left corner. Rippling throughout the canvas. A few artist pinholes scattered in the edges and corners of the work.

Frame: 31.25” H x 31.25” W x 2.375” D 3053 Overall good appearance. Not examined out of the frame.

Blacklight: No evidence of restoration. Unframed 3055 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 3056 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 49” H x 37” W x 1.75” D

Blacklight: No evidence of restoration.

3057 Visual: Overall generally good appearance. Dust accumulation and scattered residue adhered to the surface. A few scattered surface scuffs and scratches. Minor abrasion, with small attendant pigment losses scattered along the extreme edges.

Frame: 25.125” H x 21.125” W x 1.5” D

Blacklight: No evidence of restoration.

3048 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. The horse figure detached from the base, the bison loose in its mounting.

Unframed

3049 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Soiling and staining to plinth.

3058 Visual: Overall good appearance. Dust accumulation. Blacklight: No evidence of restoration. Frame: 18.625” H x 20.875” W x 1.5” D

3050 Visual: Overall good appearance.

3059 Visual: Overall good appearance. Dust accumulation. Very fine craquelure scattered throughout, primarily visible in raking light.

Blacklight: No evidence of restoration.

Frame: 16.625” H x 19.75” W x 1.25” D

Frame: 16.625” H x 24.75” W x 1.5” D

3051 Visual: Overall good appearance. An occasional speck of grime.

3060 Visual: Overall good appearance. A few specks of grime scattered in the lower left quadrant.

Blacklight: No evidence of restoration.

Frame: 26.5” H x 32.5” W x 2.75” D

Frame: 21” H x 17” W x 1.25” D

Condition Reports

3046 Visual: Specks of occasional grime and fine scattered craquelure and paint shrinkage. Occasional areas of unstable pigment with attendant rice-sized (or smaller) pigment losses scattered throughout. A 1” diagonal tear with an attendant clear tape patch, verso, near the lower portion of the right edge. Rippling throughout the canvas. Artist pinholes at each of the four corners.

Blacklight: No evidence of restoration.

523

3061 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 11.875” H x 9.875” W x 1.125” D 3062 Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Unframed

Frame: 39.25” H x 27.25” W x 1.75” D

3072 Overall good appearance. With margins. The work appears to have slipped within its frame and is therefore slightly angled behind its overmat. Not examined out of the frame.

3063 Overall good appearance. A few small areas of residue adhered to the surface. Unframed 3064 Overall good appearance. Not examined out of the frame. Framed under glass: 28” H x 49” W x 1.5” D 3065 Overall generally good appearance. Dust accumulation and scattered grime residue adhered to the surface. Minor edge wear scattered in places along the extreme left and lower edges. An uneven varnish or protective layer has been applied. Unframed 3066 Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. 3067 Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. 3068 Overall good appearance. Unframed

Condition Reports

3069 Overall good appearance.

524

3071 Visual: Overall good appearance. A 0.5” vertical band of stray pigment in the upper portion of the right edge, and two more pea-sized (or smaller) areas of stray pigment in the lower portions of the left and right edges. A pinheadsized pigment loss just below the stray pigment in the left edge.

Unframed 3070 Overall good appearance. A few very pale, unobtrusive flecks of foxing. Not examined out of the frame. Framed under glass: 23.75” H x 20.125” W x 1.5” D

Framed under glass: 40.75” H x 24.75” W x 1.25” D 3073 Overall good condition with scattered minor scuffs, scratches, and oxidation to metal components commensurate with age. 3074 Overall good condition with shelf wear and scattered scuffs, scratches, and oxidation commensurate with age. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment. 3075 Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. The top with uneven lightening to wood finish. Left cabinet door with a 4” long scratch and 2” long area of possible restoration. A few small older chipped losses to bottom edge of bottom drawer as well as to each leg. Verso with a 1” x 0.5” chipped loss. Lacking key. 3076 Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. The bottom inch of base with more wear and lightening to finish. The tabletop with scattered small hairline cracks or chips to edge underside. The wood finishes of tabletop and leaves are incongruous, each with staining and areas of uneven fading. 3077 Each with scattered scuffs, scratches, nicks, hairline shrinkage cracks, and indentations commensurate with age. Each with uneven fading to wood and scattered small chipped losses at corners and edges, concentrated to legs and stretchers. The armchair missing two peg caps verso and one peg cap to joint of right armrest support, as well as a 2” long chip to right side upper stretcher, as well as a moisture stains to stretcher. Upholstery of each with staining, fading, and moisture damage.

3079 Overall good condition with minor wear and scattered minor scuffs and scratches commensurate with age. 3080 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Oxidation to iron frame.

3086 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Rim with a chip half the size of a grain of rice. Previous dealer’s annotation to underside in a felt ink pen, as well as an area of discoloration. 3087 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Soiling to interior and base. 3088 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Each with scratches to center wells from use. One dinner plate with a pea-sized chipped loss to rim. 3089 Visual: Overall good appearance. A rice-sized spot of grime to the right of the figure’s left shoulder.

3081 Each overall good condition with handling wear, scattered scuffs and scratches, indentations, and rubbed wear to gilding with attendant oxidation commensurate with age. The base of scale with bent and loose elements. Picture frame with two cracks in the slag glass. Inkwell with fleabite chips to interior rim.

Blacklight: No evidence of restoration.

3082 Visual: Overall good appearance. A few pinhead-sized (or smaller) spots of old varnish along the lower portion of the right edge, just above the signature.

Blacklight: No evidence of restoration.

Blacklight: No evidence of restoration. Frame: 30.75” H x 36” W x 3.5” D 3083 Overall good appearance. With margins. A nice impression and the colors good. A pinhead-sized foxmark at the center of the lower margin, and a few smaller, paler, unobtrusive foxmarks in the left and lower margins. The verso sheet with an occasional scattered foxmark. The sheet is taped to the overmat with bands of masking tape from the verso of the upper and lower margin edges. Framed under glass: 16.75” H x 18” W x 1.25” D 3084 Overall good appearance. With margins. Light-staining to the sheet in the area exposed through the overmat window, and toning to the verso, presumably from contact with an acidic backing board. A few soft handling marks in the lower portion of the right margin. Two paper hinge remnants are affixed to the upper margin corners. The sheet is taped to the overmat with pieces of clear tape along the upper and lower margins. Framed under glass: 22.625” H x 22.125” W x 1.5” D 3085 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

Unframed 3090 Visual: Overall good appearance. A few unobtrusive flecks of grime.

Unframed 3091 Visual: Overall good appearance. Very minor wear to some of the edges and corners of the panels. Blacklight: No evidence of restoration. Unframed 3092 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 3093 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 3094 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 3095 Overall good condition with scattered minor scuffs and darkening/oxidation to bronze commensurate with age. With a quarter-sized black ink mark where bronze is numbered.

Condition Reports

3078 Each with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Each with uneven fading to wood finish, particularly to armrests, staining to bottom edges, and scattered small chipped losses throughout, concentrated to supports and legs. Rocking chair slightly shaken with loose joints. The back of armchair crest rail supports at top with a 1” long loss, and multiple wood-filled areas, the largest measuring 2” long. Upholstery of each overall good condition with minor creasing to leather and minor scratches.

525

3096 Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. The hide with stiffening, discoloration, and staining, concentrated to top, with a pea-sized hole in the top, possibly inherent. 3097 Overall good condition with dust accumulation, oxidation, and wear commensurate with age and use. Stone with light wear, scratches and scuffs. A few scattered nicks to wood, and some minor shrinkage cracks to mouthpiece. Multiple losses to cones and associated ravelling to some thread strands, two cones retained. Metal tests for brass/mixed metal with XRF. 3098 Each overall good condition with tarnishing and light scratches commensurate with age. 3099 With dust accumulation and wear commensurate with age and use. Scattered wear including breaks and multiple losses to quill wraps to armband and to laces. One lace lacking dangles. Hide slightly stiff and laces slightly distorted. With glass-topped display box. 3100 Overall good condition with dust accumulation, light oxidation and wear commensurate with age and use. Hide elements with general light soiling overall. Scattered minor bead losses. 3101 With repaired break to headdress feather. Otherwise overall good condition with wear, dust accumulation, and minor scuffs commensurate with age.

3108 Each overall good appearance. The two works are matted and framed together. Not examined out of the frame. Framed under glass: 31.5” H x 50.25” W x 1.5” D 3109 Overall good appearance. Not examined out of the frame. Framed under glass: 13.75” H x 11.75” W x 1” D 3110 Overall good appearance. Not examined out of the frame. Framed under glass: 14.75” H x 11.75” W x 1” D 3111 Overall good appearance. A few unobtrusive flecks of stray pigment at the center of the upper and lower edges. Not examined out of the frame. Framed under glass: 20.375” H x 18.375” W x 1” D 3112 Overall good appearance. Not examined out of the frame. Framed under Plexiglas: 31.125” H x 44.5” W x 2” D

3102 Overall good appearance. Not examined out of the frame. Framed under glass: 21” H x 17.75” W x 1.25” D

Framed under Plexiglas: 48.75” H x 41.15” W x 1.5” D

3103 Overall good appearance. Not examined out of the frame.

3114 Overall good appearance. The full sheet with deckled edges. Pale time staining along the extreme sheet edges. The sheet is framed floating, tipped to the back mat in places along the verso sheet edges. Not examined out of the frame.

3104 Overall good appearance. Not examined out of the frame.

Condition Reports

Framed under glass: 26.25” H x 35.75” W x 1.5” D

3113 Overall good appearance. The full sheet with deckled edges. The sheet is framed floating, hinged to the back mat from the verso sheet corners.

Framed under glass: 19.5” H x 16.25” W x 1.5” D

526

3107 Overall good appearance. The full sheet with deckled edges. The sheet is framed floating, affixed to the back mat. Not examined out of the frame.

Framed under glass: 17.75” H x 20.875” W x 1.25” D 3105 Overall good appearance. A small, pale cluster of staining, including a pea-sized area and minor flecks, near the lower left corner. Not examined out of the frame. Framed under glass: 17.75” H x 20.875” W x 1.25” D 3106 Visual of each: Overall good appearance. Blacklight of each: No evidence of restoration. Frame of each: 18.25” H x 16.25” W x 1.25” D

Framed under Plexiglas: 38.5” H x 33” W x 2.25” D 3115 Overall good appearance. Not examined out of the frame. Framed under glass: 20.875” H x 17.875” W x 1” D 3116 Overall good appearance. A very pale, unobtrusive speck of foxing, just inside the border of the clouds, closest to the upper edge. Not examined out of the frame. Framed under glass: 19.875” H x 19.875” W x 1.125” D 3117 Overall good appearance. With margins. A good impression. Pale light-staining. Not examined out of the frame. Framed under glass: 18.25” H x 21.75” W x 1.25” D

Unframed 3119 Overall generally good appearance. With margins along all but the upper edge. Handling marks and occasional foxing or small and unobtrusive staining or surface soiling concentrated primarily near the outer edges. Scattered creasing and at least one edge tear extending horizontally approximately 0.5 inch from the uppermost portion of the right sheet edge. The sheet appears to be loose but sandwiched within the mat boards. Not examined out of the mat boards. Unframed 3120 Overall generally good appearance. The sheet very slightly trimmed along two or more edges (including just inside the platemark along the vertical edges), not affecting the engraved text or image. Pale toning throughout, as well as slight cockling in the upper part of the sheet. A few pale foxmarks in the blank portion of the plate showing through from the verso, with one much more distinct foxmark in the blank at lower left. The very small text in just the lower right corner is slightly smudged, as issued. A 1.25” H x 1” W L-shaped tear originating in the left portion of the upper sheet edge. A smaller, 0.25” tear extending vertically from the left portion of the lower sheet edge. Backboard staining and scattered foxing, verso. Three approximately pea-sized paper losses at the extreme upper and left sheet edges. Other lesser defects. The sheet is loose, not matted. Unframed 3121 Overall generally good appearance. With wide margins. Pale toning throughout, as well as slight cockling in the upper, lower, and left margin edges. A few very pale foxmarks in the blank portion of the plate. Occasional areas of foxing and minor handling marks scattered in the margins. Rectangular-shaped areas of reverse staining along the upper margin edge and corners, attendant with pieces of hinging tape on the verso. A small paper loss in the lower right margin corner. Pale, uneven backboard staining and scattered foxing, verso. Other lesser defects. The sheet is loose, not matted. Unframed

3122 Overall generally good appearance. Presumably full margins, deckled along the upper and left edges. Pale light-staining affecting the image and into the margins where exposed through the overmat’s window opening. Pale mat staining affecting the outer margins and verso. Slight time staining along the extreme margin edges. A few very unobtrusive specks of foxing scattered in the margins, primarily visible in raking light. The sheet is taped to the back mat with two small pieces of white tape placed diagonally across the tips of the upper margin corners. Framed under glass: 14.75” H x 19” W x 1.5” D 3123 Overall generally good appearance. With margins. Lightstained. Not examined out of the frame. Framed under glass: 14.75” H x 18.75” W x 1.375” D 3124 Overall good appearance. With margins. A good impression. Not examined out of the frame. Framed under glass: 12.875” H x 17.375” W x 1” D 3125 Overall generally good appearance. Pale light-staining, minor surface soiling, and occasional soft handling marks. Mostly small, and a few approximately pea-sized, losses along the extreme sheet edges. A few small, scattered edge tears, the largest being a repaired 1” diagonal tear in the lower portion of the left edge. The sheet is hinged to the back mat in two places from the upper center of the sheet’s verso. Framed under glass: 19.25” H x 23.25” W x 2.5” D 3126 Overall good appearance. A few small surface abrasions and occasional specks of glue residue scattered in places within the color section of the custom-painted overmat, not affecting the image. The paperboard is mounted to the back mat. Framed under Plexiglas: 19.625” H x 20.5” W x 2” D 3127 Overall good condition with shelf wear, minor soiling, and bumping to spine ends and corners commensurate with age. The gilt title on spine with losses. Some magazine covers with creasing or minor soiling. Partial bookplate to front free end paper and subsequent offsetting to fixed end paper. 3128 Overall good appearance. The palest light-staining visible in the portion of the paperboard exposed through the overmat’s window. The right edge trimmed slightly unevenly, presumably by the hand of the artist. Surface skinning along the verso of the upper and lower edges. Framed under Plexiglas: 23.125” H x 21.875” W x 2.25” D

Condition Reports

3118 Overall generally good appearance. With margins. A ricesized stain in the standing figure’s right forearm. Two pale stains, the largest approximately dime-sized, in the margin below the lowest ruled line. Occasional handling marks and small creases concentrated primarily near the outer edges. The sheet appears to be loose but sandwiched within the mat boards. Not examined out of the mat boards.

527

3129 Overall good appearance. A pale, pinpoint-sized foxmark near the upper right corner of the mat board. Framed floating, mounted to the back mat. Not examined out of the frame. Framed under glass: 16.75” H x 13.875” W x 1” D 3130 Overall good appearance. A few very unobtrusive flecks of surface loss at the extreme edges of the image/sheet. Occasional surface soiling and scattered pale stains and time staining to the support board, both recto and verso. Unframed 3131 Overall good appearance. Pale light-staining. A speck of foxing or grime at the top center of the figure’s left hand, as well as in a few other, paler, unobtrusive areas. Small, occasional abrasions scattered along the extreme edges. Brown paper tape along the verso edges. The work is hinged to the overmat from the verso of the paperboard’s upper edge. Framed under glass: 23.5” H x 18.25” W x 1.625” D 3132 Visual: Overall good appearance. Scattered areas of fine craquelure, primarily along the upper edge. Blacklight: A 4” band of touch-up along the extreme upper edge, with additional pea-sized (or smaller) touch-ups scattered along the upper edge and corners. A cluster of pinpoint-sized touch-ups scattered in the sky. Frame: 17” H x 20.75” W x 2.75” D

Condition Reports

3133 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”. Scattered, flattened creases in the margins and occasionally in the image. A few flattened, laid down tears scattered in the upper and lower margin edges. Scattered areas of surface soiling in the margins. As mentioned, the sheet is laid down to linen. The work is loose, not matted.

528

Framed under Plexiglas: 43.625” H x 29.25” W x 1.25” D 3134 Overall generally good appearance. With margins. Very pale light-staining. A 2” H x 2.5” W area of surface soiling in the lower right corner, affecting both the image and margins. Handling creases scattered in the margins. The sheet is loose, not matted. Unframed

3135 Overall good appearance. A horizontal folding crease along the center of the work. Two pale, unobtrusive, peasized stains, one in the upper edge, at left, and the other near the lower right corner. A few soft scattered handling marks. Not examined out of the frame. Framed under glass: 21.375” H x 15.125” W x 1” D 3136 Overall good condition with shelf wear, soiling, and bumping to spine ends and corners commensurate with age. Small tears to cloth of spine ends and upper and lower edges. Tanning to spine and faint staining to boards. Hinges slightly loose. Some pages with penciled marginalia. 3137 Each with shelf wear, minor soiling, and bumping to spine ends and corners commensurate with age. “Out West” with cockling to pages along spine and small tears along right and lower edges, unobtrusive to illustration. “Overland” with small tears along right edge and spine ends, unobtrusive to illustration. 3138 Each overall good condition with minor handling wear and minor bumping to corners commensurate with age. 3139 Each overall good condition with shelf wear, soiling, and minor bumping to spine ends and corners commensurate with age. Small tears to spine ends, with creasing to spine. Foxing to rear wrapper. May with an offset stain to upper margin. 3140 Overall good condition with shelf wear and minor bumping to spine ends and corners commensurate with age. Hinges very slightly loose. Spine with a lean. Dust jacket with fading throughout and small losses and tears at spine ends and corners, with a rice-sized tear along front edge. 3141 Hinges separated and loose, with some loose internal gutters. With shelf wear, soiling, and bumping to spine ends and corners commensurate with age. Splattered stains to verso board and spine. Front pastedown illustration with a 1” x 1” loss. 3142 With shelf wear, soiling, and bumping to spine ends and corners commensurate with age. Three small stains to boards verso and spine edge. Hinges slightly loose with two inner gutters exposed. Page 15/16 with a 4” long tear, some pages with small pencil marks or color-ed in chapter marker illustration. 3143 With shelf wear, soiling, and bumping to spine ends and corners commensurate with age. The spine with inked inscription in unknown hand ‘POTTERY EASTERN U.S.’ Spine ends with small tears to the cloth. Front hinge starting along lower half, with the first few leaves separated or loose, including loose unbound title page.

3145 Overall good condition with minor shelf wear commensurate with age. 3146 Each overall good condition with shelf wear, minor soiling, and minor bumping to spine ends and corners commensurate with age. Tanning to spines and pages. Pages uncut. 3147 Overall good condition with shelf wear, soiling, and bumping to corners commensurate with age. Some with small creases at corners. September 1930 with 3.5” long inked scribble to lower margin, unobtrusive to illustration. January 1936 with a pea-sized loss and attendant tear to lower edge, unobtrusive to illustration. 3148 Each overall good condition with shelf and handling wear, soiling, and minor bumping to corners commensurate with age. Six with mailer’s label applied to front, seven applied to the back. Some with vertical crease down the middle, or small creases to corners.

3153 Each with shelf and handling wear, soiling, and bumping to spine ends and corners, with varying degrees of general wear including losses, tears, and detached leaves commensurate with age. January 1914 “Sunset” with penciled notations to front cover. Three others with penciled attribution to front cover, unobtrusive to illustration. 3154 Each overall good condition with shelf wear and minor bumping to spine ends and corners commensurate with age. 3155 Each with shelf wear, minor bumping tom corners, and minor soiling commensurate with age. Most with moisture staining along spine or upper spine corners, some with attendant cockling to the paper. 3156 Overall good appearance. With margins. Not examined out of the frame. Framed under glass: 46.25” H x 33.625” W x 1.375” D 3157 Visual: Overall good appearance. Slight surface grime. Blacklight: A 0.125” H x 1” W touch-up in the extreme upper edge, at the far left.

3149 Each overall good condition with shelf wear and minor bumping to spine ends and corners commensurate with age.

Frame: 10” H x 17” W x 0.75” D

3150 Each with shelf wear, soiling, and bumping to spine ends and corners commensurate with age. Some with ex-libris markings to end papers. ‘Journeys’ with hinges starting. ‘Homesteaders’ with heavy staining and soiling to boards. Later ‘Bridge’ with tears to dust jacket, soiling, and repair to spine, which has a slight lean. ‘Purple with cover and front leaf mostly detached. Soft covers with creasing and tears along edges.

Blacklight: No evidence of restoration.

3151 Each with shelf and handling wear, soiling, creasing, bumping to spine ends and corners, and small losses at edges commensurate with age. “Leslie’s” with cover detached. Harper’s with creasing to bottom corners. 3152 Each with shelf wear, soiling, and bumping to spine ends and corners commensurate with age. Issues include but not limited to: September 1904 with cover detached, losses and tears at corners and edges, and some penciled marks to interior pages. Some with staining or other losses including to spine and

3158 Visual: Overall good appearance. Very slight surface grime.

Frame: 4.125” H x 4.125” W x 0.625” D 3159 Visual: Overall good appearance. Very slight surface grime. Minor frame abrasion scattered in places along the extreme upper edge. Blacklight: A few small areas fluoresce under blacklight along the left and upper edges. Frame: 4.125” H x 4.125” W x 0.5” D 3160 Visual: Overall good appearance. Slight surface grime. A very soft reverse pressure mark at the center of the upper edge, attendant with the nail on the verso. Blacklight: No evidence of restoration. Frame: 5.5” H x 4.5” W x 0.5” D 3161 Visual: Overall good appearance. Specks of surface grime scattered throughout. Blacklight: The specks of grime mentioned above fluoresce under blacklight.

Condition Reports

3144 Each overall good condition with shelf wear, soiling, and bumping to spine ends and corners commensurate with age. ‘Tales’ with small tears to cloth of tanned spine, hinges starting, and rubbed wear to board illustrations, with bookplate to front fixed end paper: WM S Llyod.

Frame: 4.125” H x 4.125” W x 0.5” D 529

3162 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 25.25” H x 29.5” W x 2.25” D 3163 Visual: Overall good appearance. An occasional pinheadsized (or smaller) pigment loss, the largest in the ground of the lower right quadrant. Minor imperfections in the surface of the Masonite. Blacklight: No evidence of restoration. Frame: 22.75” H x 32.5” W x 1.75” D 3164 Visual: Overall good appearance. Slight varnish discoloration and an occasional speck of grime. Blacklight: No evidence of restoration. Frame: 29.75” H x 34.75” W x 2” D 3165 Each overall generally good appearance. Each with minor surface soiling and occasional slight smudging of the pastel colors onto the outer edges or verso. Each with the tips of one or more corners dog-eared and/or creased. One of the sheets and one of the paperboards each with a small loss at the tip of one of their corners. Other lesser defects. Each work is loose, not matted. Each unframed 3166 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.

Condition Reports

3167 Overall good condition with dust accumulation, minor soiling, and scattered scuffs and scratches commensurate with age. A few scattered chips to the antler finish/paint, with a few small chipped losses to antler tips. The shade with a 0.5” long abrasion, moisture staining at edges, and scattered scratches and scuffs. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

530

3168 Overall good condition with minor handling wear and scattered scuffs and scratches commensurate with age and use. With a few abrasions to middle and two loose chips, the largest measuring 3” long. 3169 Overall good condition with minor handling wear and scattered scuffs and scratches commensurate with age and use. 3170 Overall good condition with minor wear commensurate with age.

3171 Overall good condition with scattered scuffs, scratches, small nicks to edges and corners, and minor soiling commensurate with age. 3172 Overall good condition with flaking and losses to paint, scattered shrinkage cracks, soiling, and older losses commensurate with age. 3173 With soiling, wear to the paint, and scattered scuffs and scratches commensurate with age. Small older chipped losses throughout. 3174 With soiling, wear to the paint, and scattered scuffs and scratches commensurate with age. Small older chipped losses to base. Inherent cracks in the twigs. 3175 With scattered small older chipped losses, soiling, and scattered scuffs and scratches commensurate with age. The wings with some drilled recesses for previous screws. Scattered small cracks. 3176 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. One quarter-sized stain to side A. 3177 One sits at a lean, the other with an indentation to the candleholder. Each with scattered scuffs, shelf wear, and soiling commensurate with age. Pitting to nickel plating. 3178 Overall good condition with wear and dust accumulation commensurate with age. Possibly with older losses at ends. 3179 Overall good condition with scuffs, scratches, and some stiffening to the hide commensurate with age. 3180 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 3181 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. 3182 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. Scattered minor breaks to selvage cords to one side, and a small semi-circular loss to the edge of one end. Each side with an area of scattered small losses to weave, likely from insect grazing. 3183 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. One corner of Side A with an area of scattered subtle shallow stitch losses, likely from insect grazing.

3185 Overall good condition with dust accumulation, shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age and use. With minor repaired fracture to left wrist. 3186 Overall good condition with dust accumulation, shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age and use. 3187 Each overall good condition with dust accumulation, shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age and use. The Eustace figure with a tiny pinhole to the back of the right shoulder. The Gachupin figure with extensive break to skirt at back, held together with felt applied to underside. 3188 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. A few scattered spots and small stains to each side. A few scattered small areas of loose weave; one edge with a small break to warps, 0.5” H.

3194 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to both sides, with more fading to side B, a few scattered minor small faint stains, and hanging fabric stitched to longer edge of side B. 3195 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to each side, but side A more faded, a few scattered breaks to selvage edges, and corners with wear and loose threads. 3196 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: with several scattered loose threads and broken stitches to selvage and short edges, a few scattered worn areas to center, a few central stitch breaks with loose threads, and scattered minor stains. 3197 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. 3198 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to:

3189 With dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few scattered areas of dark surface marks to each side, scattered wear and weave loss to all edges. Scattered small holes with attendant stitch loss and loose weave.

3199 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: staining throughout, side A with slight fading, scattered breaks and losses to selvage cording, and one corner with a 2.5” long area of loss.

3190 Overall good condition with dust accumulation, creasing, and typical signs of wear commensurate with age and use. Each with fading to one side. Scattered small spots and stains overall. Pieces likely previously attached down the center.

3200 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.

3191 Overall good condition with dust accumulation, creasing, and typical signs of wear commensurate with age and use. Slight fading to side A. Scattered breaks to selvage cords on all edges, with ravelling, loose weave, and stitch losses to a couple of areas on one end. Scattered areas of wear and thinning to weave.

3201 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.

3192 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: Scattered staining to side A, scattered areas of wear to threads and minor pulled threads, scattered breaks and small losses to selvage cording, and a rod pocket stitched to top of side B. 3193 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to side A, and a few scattered breaks to selvage edges.

3202 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. 3203 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few breaks to one short edge with attendant loose threads.

Condition Reports

3184 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use.

531

3204 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. Some loose stiches at top attachment points. 3205 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. With black fabric pole sleeve stitched to reverse. 3206 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few scattered minor stains, a few breaks in selvage edges with attendant loose threads, and a rod pocket stitched to one short end side A. 3207 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: losses and loose threads at corners, a few scattered faint stains to side A, and fading and general soiling to side B. 3208 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to side A, scattered stains concentrated to side B, loose threads at corners with possible older losses, and a fabric rod pocket stitched along one selvage edge. 3209 With dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. A few scattered single holes. Side edges with multiple breaks to selvage cords, with stich losses, areas of loose weave and ravelled edges. One end with holes, splits, and losses to weave, largest area: 2.25” x 1”. Side B cross motif with areas with dark marks.

Condition Reports

3210 Each overall good condition with dust accumulation, shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age and use. The larger with scattered areas of minor flaking to pigment slip.

532

3211 Each overall good condition with dust accumulation, shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age and use. The larger with label residue to base. 3212 Each with dust accumulation, scattered marks and light soiling and other typical signs of wear commensurate with age and use. Most with scattered loose and failing seams and stitches with attendant multiple bead losses. Some with scattered holes from previous insect activity. One small boot with split to front. Large boot with scattered marks and soiling to reverse.

3213 Overall good condition with dust accumulation and wear commensurate with age and use. The Woodlands with more extensive wear to edges, loose stitching and open seams at curved side edges (4.5” L) and a few losses to accent beads. Each with even discoloration and light soiling to linings. 3216 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered stitched repairs, staining throughout, and breaks and small losses at edges and corners. 3217 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered stitch breaks and loose threads at edges, and a rod pocket stitched to one short end of side A. 3218 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: several scattered stitched repairs, losses and selvage breaks at corners and edges, fading to each side, and soiling and more fading to side A, with scattered stains. 3219 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered small stitched repairs and one measuring 2.5” diameter at center, losses to weave and cording at edges, staining throughout each side, scattered areas of exposed warp, and a rod pocket stitched to one short end. 3220 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: staining and dye migration, with areas of hardening to center, and a few loose threads at corners. 3221 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: with a 1” x 1.5” area of hole and tear, as well as a pea-sized hole, fading to side A, a few small stains, and breaks to selvage cording throughout. 3222 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to one corner and one opposite edge, two corners with 3”-4” areas of breaks in selvage, and one corner with loose selvage cord. 3223 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Slight fading to side A. Each side with scattered minor spots and light soiling overall. A couple of discrete small areas of loose weave/small holes.

3225 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to side A, one corner with a 4” long area of loss, and each side with a few small stains. 3226 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. Side A with some scattered large stains. A couple of breaks to selvage cords to one side edge. 3227 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: side A with a softball-sized faint stain at center, small losses to corners and scattered breaks and losses to selvage edges and cording. 3228 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. Scattered small spots and faint marks to each side. 3229 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. A tiny area of stitch loss to one side, likely insect grazing. 3230 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. Scattered breaks to selvage cords at side edges with attendant loosening to weave. Loose stitches at some corners, with losses to tassels. 3231 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: side A with large yellow stains, each side with scattered minor stains, and a few breaks to selvage cording. 3232 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Scattered minor pulled threads at edges. 3233 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few small areas of moth grazing along a fold line, scattered small lines of exposed warp, and a few scattered pulled threads.

3234 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. Side A with a few scattered small faint stains/ spots. 3235 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. Each side with fluffiness to the weave. 3236 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. 3237 With dust accumulation, soiling, and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered moth grazing and areas of exposed warp, scattered breaks to selvage cording, and one short end with a quarter-sized hole at edge, with attendant loose threads. 3238 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to side A, which is more faded to one third of short end and has areas of dye migration in the border, scattered areas of loose weave and exposed warp along selvage edges, small losses to corners, each side with scattered stains, and scattered minor pulled threads. 3239 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered small areas of exposed warp, yellow staining to each side, and scattered breaks in the selvage cording. 3240 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered moth grazing, mostly surface, but with a few pea-sized holes, scattered stains, areas of uneven fading from moisture stains, concentrated to side A, losses at corners, and scattered breaks in selvage cording. 3241 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered staining to each side, areas of loose weave at center, and a few pulled threads. 3242 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. Each side with a few small area of surface soiling. Each side with a few scattered areas of single stitch losses, near one end. 3243 Overall good condition with dust accumulation and light wear commensurate with age and use. Beadwork with a few scattered loose threads, with a couple of areas of very minor bead loss. Hide fringe with minor creasing and a few minor marks.

Condition Reports

3224 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. One side with light soiling, scattered minor spots, and small stains. Raveling to each corner with loose weave, breaks to selvage cords, and losses to tassels.

533

3244 With dust accumulation and wear commensurate with age and use. Scattered small holes to wool, with scattered areas of machine darning. Heavier wear to pink ribbon at neck. A few scattered beads with minor breaks and a few losses. Machine stitched seams throughout; shells stitched with silk yarn and cotton string. 3245 Each overall good condition with dust accumulation, light wear, and creasing commensurate with age and use. The larger with scattered minor marks, with an ink mark to back armhole. The buckskin with scattered marks and a small hole inherent to the hide. The fur vest with a small spot and a few minor marks to fur, and a minor blemish to back near hem. 3246 Chaps with dust accumulation, extensive wear and soiling commensurate with age and use. Scattered areas of splitting/cracking to leather. Scattered creases, small tears, small holes, loose stitching, and losses to rivets. Replacement clips to interior. Lariat with wear and light soiling. Not examined uncoiled. 3247 Overall good condition with dust accumulation and wear commensurate with age and use. 3248 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: each side with scattered staining throughout. 3249 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. Side A with a few scattered small spots. 3250 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use.

Condition Reports

3251 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. With damaged label from Shiprock Trading Post attached to one tassel.

534

3252 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading to each side, predominantly to side A, areas fo reweaving to short ends and corners, scattered minor staining and pulled threads, one hole and attendant 2” long tear at one short end, and areas of dye migration in the cream. 3253 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: heavy fading to side A, scattered breaks and losses to selvage cording, with later replaced cording, dye migration in the cream.

3254 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. 3255 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Side A with a couple of faint minor spots. With attached custom wood display battens; not examined off of battens. Battens: 2” H x 48” W x 1.5” D 3256 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. A couple of small spots of very minor insect grazing. 3257 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. 3258 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. 3259 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. 3260 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. 3261 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a few areas of rewoven repairs, side A with scattered minor stains, and some areas of loose selvage cording. 3262 Overall good condition with dust accumulation, minor soiling, and typical signs of wear commensurate with age and use. 3263 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. 3264 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered small areas of exposed warp, with a few lines of separation, the longest measuring 6” long, scattered stains to each side, and breaks to selvage cording with attendant loos threads. 3265 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Side A with a wide faint yellowish spot to one diamond near one edge. Side B with a few scattered small spots.

Battens: 2” H x 54” W x 1.5” D 3267 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. One edge with minor breaks to selvage cords, with attendant loose stitches and slightly loose weave. Each side with scattered small subtle areas of minor shallow insect grazing. 3268 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. 3269 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. A few scattered small holes along one side edge. Side A with a couple of minor spots. Each side with fluffiness to weave. 3270 Each overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. The larger with scattered small faint stains, and with minor breaks to selvage cords to one edge, with some areas of loose weave. 3271 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: a couple of scattered minor loose threads, and a few minor spotted stains. 3272 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. A few areas of loose weave near some corner edges. Ravelling to two tassels. One side with slightly heavier wear and fluffiness and minor pilling to weave. 3273 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Slight fading to one side. With attached custom wood display battens; not examined off of battens. Battens: 2” H x 48” W x 1.5” D 3274 Each overall good condition with scattered scuffs, scratches and minor spots commensurate with age and use, with flaking and rubbed losses to polychrome. Red rattle with loss of feathers to tip. 3275 Each overall good condition with scattered scuffs and scratches commensurate with age, with flaking and rubbed losses to polychrome gourd rattle. Hide flowers with scattered marks and spots, and light soiling to string and carved wood.

3276 Overall good condition with dust accumulation and light wear commensurate with age and use. Horn slightly loose at shaft attachment point. 3277 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. Scattered areas of minor weave loss and small sympathetic repairs, especially near one corner. Each side with faint reddish stains to one stripe near center. A few scattered minor spots. 3278 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. 3279 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. Side A with minor surface soiling and a few couple of minor spots. 3280 Overall good condition with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. Slight fading to side A. A few scattered minor small spots to each side. 3281 With dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading and soiling to side A, scattered selvage breaks with attendant loose threads, and two corners with losses and possible reweaving with attendant loose threads. 3282 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Issues include, but not limited to: losses and breaks to corners, scattered breaks and losses to selvage edges, with attendant loose threads, and each side with a few scattered pea-sized stains. 3283 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. With attached custom wood display battens; not examined off of battens. Battens: 2” H x 48” W x 1.5” D 3284 Each with dust accumulation, slight creasing, and typical signs of wear commensurate with age and use. Each with scattered areas of wear to weave including a few small holes and areas of minor insect grazing and areas of repair stitching. Scattered breaks to selvage cords with attendant loose weave to edges. The larger with a few areas of staining/discoloration to red wool. The smaller with slight fading to one side. Several areas with sympathetic patched and stitched repairs to weave.

Condition Reports

3266 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. With attached custom wood display battens; not examined off of battens.

535

3285 Each overall good condition with dust accumulation, creasing, and typical signs of wear commensurate with age and use. The larger with slight fading to one side, scattered breaks to selvage cords with attendant stitch losses and a few scattered areas of loose weave. The smaller with a couple of areas of loose stitching, and later repair stitching to one end. 3286 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Each with scattered small spots and small areas of minor soiling. The red and black blanket with a few larger spots of possible dye migration. 3287 Each overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Each with a few scattered minor spots. Three with a few scattered minor areas of loose weave, primarily to corners or edges, some with attendant breaks to selvage cords. 3288 Each overall good condition with dust accumulation and typical signs of wear commensurate with age and use. 3289 Overall good condition with dust accumulation and wear commensurate with age and use. An area of minor wear to rim. A few areas of white residue to exterior. 3290 Overall good condition with dust accumulation and wear commensurate with age and use. Scattered multiple stitch losses to rim, largest: 0.75” L. Scattered single stitch losses to interior and exterior. Slight darkening overall. 3291 Overall good condition with dust accumulation and wear commensurate with age and use. Slight darkening to exterior.

Condition Reports

3292 With dust accumulation and wear commensurate with age and use. Damage and stitch loss to rim in several areas. Basket out of round and slightly distorted.

536

3293 With dust accumulation, wear, and fading commensurate with age and use. Heavier wear and soiling to rim. Slight fading to interior. Scattered single stitch losses to rim. A few scattered stitch losses overall. Rawhide strip through center. 3294 Overall good condition with dust accumulation and light wear commensurate with age and use. A couple of single stitch losses to interior, and a few to exterior. Uneven darkening to basket, with a couple of darker areas to interior, and a few scattered minor marks. 3295 Each overall good condition with dust accumulation and wear commensurate with age and use. Some with scattered single stitch losses to rim, and a few scattered single stitch losses to exterior.

3296 Overall good condition with dust accumulation, light soiling/darkening throughout, and scattered nicks, scuffs, scratches, and minor shrinkage cracks commensurate with age. Rubbed wear and some flaking to polychrome. Slightly unsteady on base. 3297 Overall good condition with dust accumulation, scattered scratches, scuffs, nicks, indentations, and rubbed wear commensurate with age and use. Bowl with pitted stains and dark marks. Heavier wear to bowl edges and back flipper edges. Scattered losses to shell inlay. 3298 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 3299 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 3300 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Dish with previous retailer’s sticker applied to underside. 3301 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 3302 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 3303 Previously lacquered, with losses to finish. With shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. Scattered abrasions and spalling. 3304 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Sticker remnants to underside. 3305 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 3306 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The figure’s eye missing a previously inset element. The underside with a previous dealer’s notation and a sticker ghost. 3307 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 3308 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

3309 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

3324 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

3310 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

3325 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Sticker ghost to underside.

3312 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 3313 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Previous retailer’s penciled note to underside. 3314 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Felt pads applied to underside. 3315 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 3316 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 3317 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 3318 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Previous retailer’s sticker applied to underside. 3319 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Each with minor rubbed wear to the polychrome. 3320 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 3321 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The shoulder with a 1” long paint mark. 3322 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Sticker ghost to underside. 3323 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

3326 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 3327 Overall good condition with dust accumulation, shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age and use. A few scattered elements with sympathetic minor repairs. 3328 Overall good condition with dust accumulation, shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age and use. 3329 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 3330 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 3331 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 3332 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 3333 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Scattered rubbed wear and losses to slip decorations. 3334 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 3335 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 3336 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 3337 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 3338 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With possibly previous retailer’s notes penciled to underside.

Condition Reports

3311 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

537

3339 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

3354 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

3340 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Case in good condition.

3355 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

3341 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 3342 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 3343 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 3344 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 3345 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With previous retailer sticker applied to underside.

Condition Reports

3346 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

538

3356 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 3357 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With a pea-sized abrasion near base 3358 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The interior with black spotting, possibly from moisture. 3359 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 3360 With shelf wear, scattered scuffs, and inherent firing flaws commensurate with age. Rubbed wear and losses to the polychrome. The rim with a pea-sized chip and two small holes drilled under the lip. With previous collector’s inked attribution and dating to underside.

3347 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Areas of fire clouding throughout.

3361 With repaired break and apparent crack down the middle. With shelf wear, scattered scuffs, rubbed wear and losses to polychrome, and inherent firing flaws commensurate with age.

3348 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With 4” x 2” area of slight discoloration to shoulder as well as to spout area. Black scuffing to shoulder edge.

3362 Item is sold as-is, reconstructed from multiple breaks with apparent cracks and some separation. With shelf wear, scattered scuffs, rubbed wear and losses to polychrome, and inherent firing flaws commensurate with age.

3349 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

3363 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

3350 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With staining to underside. 3351 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 3352 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 3353 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

3364 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The underside with previous dealer’s penciled notation as well as rubbed loss to the signature and inscription at edges. 3365 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Scattered areas of scuffed losses to the black slip painted decorations. Previous retailers penciled marks to underside. 3366 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

3367 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

3379 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions. Stones not tested for treatment.

3368 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Tafoya with sticker ghost to underside.

3380 Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Distortion to one side of a couple of half conchos. Minor wear to leather. Silver tests for sterling with XRF. Stones not tested for treatment.

3370 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 3371 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Lewis with previous dealer’s penciled notation to underside. 3372 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

3381 Overall good condition with light tarnishing and scratches commensurate with age and use. Inlay with scattered light abrasions. Tests for sterling with XRF. 3382 Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions. Tests for sterling with XRF. Stones not tested for treatment. 3383 Overall good condition with light tarnishing and minor scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. Stones not tested for treatment. Tests for sterling with XRF.

3373 Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. Top teeth are unmounted and retained with the lot. Possibly with small losses to feathers.

3384 Overall good condition with light wear and minor scratches commensurate with age and use. Stones with scattered light abrasions and surface reaching fractures. A couple of tabs with previously repaired minor chips and hairline fractures. Stones not tested for treatment.

3374 Each overall good condition with light wear, dust accumulation, and minor scuffs commensurate with age. Two with previous dealer’s notes to underside.

3385 Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.

3375 Overall good condition with light tarnishing and scratches commensurate with age and use. Stone with scattered abrasions and surface reaching fractures.

3386 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions.

3376 Overall good condition with light tarnishing and scratches commensurate with age and use. Inlay with scattered light abrasions. Tests for sterling with XRF.

3387 Overall good condition with light tarnishing and wear commensurate with age and use. Stone with scattered light abrasions and surface reaching fractures. Tests for sterling with XRF.

3377 Overall good condition with light tarnishing and scratches commensurate with age and use. Stone with scattered abrasions and surface reaching fractures. 3378 Overall good condition with light tarnishing, oxidation, and minor scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures.

3388 Overall good condition with dust accumulation, shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age and use. 3389 Each overall good condition with dust accumulation, shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age and use. The largest with flaking slip to one toe. The medium figure and some children lacking cornhusks to heads.

Condition Reports

3369 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Garcia with slightly irregular shape.

539

3390 Each in overall good condition with wear, tarnishing, and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Stones not tested for treatment. 3391 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures. 3392 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures. 3393 Each overall good condition with light tarnishing and scratches commensurate with age and use. Stones/inlay with scattered light abrasions. Tests for sterling with XRF. 3394 Overall good condition with dust accumulation, shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age and use. 3395 Each overall good condition with dust accumulation, shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age and use. Light wear and minor losses to feathers. 3396 Each in overall good condition with wear, tarnishing, and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Stones not tested for treatment. 3397 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures. Pendant tests for sterling with XRF.

Condition Reports

3398 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions and surface reaching fractures. Green cross stone with diagonal hairline fracture to center. Cuffs test for sterling with XRF.

540

3399 Each overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. One small cuff with minor distortion to terminals from wear. Not tested for sterling. 3400 Overall good condition with dust accumulation, shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age and use.

3401 Each overall good condition with dust accumulation, shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age and use. The larger with minor repair to legs of child figure on right toe. The smaller with larger scuff to right side of head. 3402 Each in overall good condition with wear, tarnishing, and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. A couple of stones with fine hairlines. Stones not tested for treatment. 3403 Each in overall good condition with wear, tarnishing, and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Stones not tested for treatment. 3404 Overall good condition with dust accumulation, shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age and use. 3405 Each overall good condition with dust accumulation, shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Minor wear to corn husks. 3406 Overall good condition with dust accumulation, shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age and use. The larger with break and loss to right hair ornament. Break and loss to top of left toe, retained. Minor partial hairline fracture to left arm at shoulder. 3407 Each overall good condition with dust accumulation, shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 3408 Each overall good condition with light wear, dust accumulation, and minor scuffs commensurate with age. Many with previous dealer’s labels applied to base or sides. 3409 Each overall good condition with light wear, dust accumulation, and minor scuffs commensurate with age. Many with previous dealer’s labels applied to base or sides. 3410 Each overall good condition with light wear, dust accumulation, and minor scuffs commensurate with age. Many with previous dealer’s labels applied to base or sides. 3411 Each overall good condition with light wear, dust accumulation, and minor scuffs commensurate with age. Large white horse with minor break and loss to one ear. Many with previous dealer’s labels applied to base or sides.

3412 Overall good condition with dust accumulation, shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age and use. A few scattered larger areas of flaking pigment slip. 3413 Each overall good condition with dust accumulation, shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age and use. 3414 Each overall good condition with light wear, dust accumulation, and minor scuffs commensurate with age. Many with previous dealer’s labels applied to base or sides. 3415 Each overall good condition with dust accumulation, shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age and use. 3416 Overall good condition with dust accumulation, shelf wear, scattered minor scuffs and faint marks, and inherent firing flaws commensurate with age and use. 3417 Each overall good condition with light wear, dust accumulation, and minor scuffs commensurate with age. Many with previous dealer’s labels applied to base or sides. 3418 Each overall good condition with dust accumulation, shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age and use.

Condition Reports

3419 Each overall good condition with dust accumulation, shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age and use. Largest figure with minor chip to nose and heavier scuffs to head area.

541

John Moran Auctioneers, Inc SPECIALISTS

Head of Sale, Vice President, Specialist Maranda Moran President, Auctioneer Jeffrey J. Moran Director, Fine Art Katherine Halligan, AAA Associate Specialist, Fine Art Bobby Cullen Department Administrator, Fine Art Jacob Baer Senior Cataloguer, Fine Art Anne Spink Cataloguer, Fine Art Madison Ari Cataloguer, Fine Art Lori Kassabian Director, Furniture and Decorative Arts Jen Kurtz Senior Specialist, Furniture & Decorative Art Angela Past Post-War & Contemporary Design Specialist Matthew Grayson Department Administrator, Furniture & Decorative Arts /Jewelry Jessica Crosbie Cataloguer, Furniture & Decorative Arts Grant Stevens Cataloguer, Silver, Western and American Indian Sally Andrew Director, Jewelry & Watches Senior Specialist, Jewelry & Watches

Tom Burstein Kelly Sitek

TRUSTS & ESTATES

Senior Vice President, Director Trusts & Estates Morgana Blackwelder, ISA AM Director, Appraisals Mariam Whitten, ISA AM Associate Appraiser Shannon Dailey Department Administrator, Trusts and Estates Julia Kelley

CLIENT SERVICES

Office/HR Manager Mario Esquivel Client Services Ella Fountain Finance Administrator Jamie Holthauser

OPERATIONS

Vice President, Business Director, Auctioneer Stephen Swan Controller Joseph Scott Consignment Coordinator Jean Rapagna Warehouse Supervisor, Senior Art Handler Richard Corral Transport Supervisor, Senior Art Handler Joe Miranda Art Handler Romero Corral

MARKETING

Director, Advertising & Marketing Manager, PR/Social Media Graphic Designer

PHOTOGRAPHY

Senior Photographer, Head of Photography Photographer Photographer Photographer

FOUNDERS

Nathan Martinez Brenda Smith Brian Olivas Keith Berson Madison Torres Wyatt Beserra Chloe Daniels

Founder John H. Moran (1942-2017) Co-Founder 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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Conditions of Sale 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.

Conditions of Sale Cont’d (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.

SINCE 1969

AUCTIONEERS & APPRAISERS

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Art of the American West — November 19, 2025 | John Moran Auctioneers